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We were among the very many disappointed last week with R&B’s hype man of the moment, The Weeknd’s live set at Coachella. The slick production and precision seen on record was simply nowhere to be seen on the vast stage, his voice cracking under the pressure of the spotlight and his live band seeming off-mark altogether.
So we were equally excited this weekend to see how Tesfaye’s femme buzz counterpart, Azealia Banks, fared. Thankfully, from these amateur-shot Youtube clips, she seemed to do a little better – translating all the raw energy of ’212′ and the like over to the gig setting. Even if the sound quality seems a bit sparse.
You can watch Banks perform ’212′ above, along with a bizarre take of The Prodigy’s ‘Firestarter’, while below is a cover of The Zutons/Ronson’-‘n’-Winehouse mega-hit ‘Valerie’.
Maybe We Should Stop Wondering If Azealia Banks Is Homophobic
Warning: This article contains language that some may find triggering.
Many of you may have heard by now that Azealia Banks, the NYC-based azealia banks 212 album cover rapper best known for her 2011 hit “212,” has gotten herself into some trouble.
Banks, who is known for her brash words, aggressive lyrics, and numerous ‘beefs’ with artists, found herself in a Twitter battle with another up-and-coming female, black rapper named Angel Haze last week. The two have a well-documented disliking of one another, so this battle came to no one’s surprise. However, things took a turn for the worst once gossip blogger Perez Hilton jumped in the ring after Banks made a disparaging comment in regards to Haze’s breasts. Banks, in response to Hilton, lashed back by calling him a “messy faggot” and ending their Twitter fight by telling him to kill himself.
And now rumors are circulating that Banks has been dropped from her label. A spokesman for the rapper denied this was the case, saying: “Azealia Banks is currently in the studio recording her debut album, which will be released this year through Interscope in the US and Polydor in the UK.”
The word ‘faggot,’ when heard by many people in the LGBT community brings back dark memories, moments of violence, and azealia banks 212 album cover of anxiety and hurt. The word has a long history, and is closely aligned with words like ‘nigger’ during discussions on language and identity. Azealia banks 212 album cover two words run symmetrically within a linguistic history, but their current popular usages differ in many communities. Nigger is used pretty commonly in the rap community, as well as in many racial and ethnic communities as a term with elasticity. It can mean: friend, family member, loved one, enemy, etc. It has multiple definitions.
However, faggot, in a modern day sense, is most commonly aligned with negativity and doesn’t yet hold as much elasticity, per se, as the former word.
It is sadly still heard in a McDonald’s restaurant late one night in Baltimore as a transgender woman is being beaten to an inch of her life, or in the streets during a homophobic fight with a group of men; it’s heard coming from the mouth of a fellow gay man right before he throws a punch at another gay man. And it’s even heard from the mouth of the same gossip blogger, Perez Hilton, toward artist Will.i.am, outside of a club in Toronto one early-summer morning in 2009.
There have been efforts to reclaim it, most popularly with the 50Faggots web-series, launched by Director Randall Jenson. This web-series documents the lives of effeminate gay men in America — men who are called ‘faggot’ by other gay men for being too gay. But even within the context of this project, many in the LGBT community at-large watch these webisodes with baited breath and anxious hands — still feeling the word faggot ring through them.
Faggot is a complicated word with a complicated history and future. And honestly, I don’t know when LGBT folks will heal from the pain they have felt from this word, but I pray soon.
When I read the headlines and the many articles discussing Banks’ usage of ‘faggot’ I didn’t flinch, I didn’t even get mad. (Though I did get upset about her asking him to kill himself, especially in light of the extremely high rates of suicide that plague LGBT people.) Instead of anger toward her usage of the word, all I could think about was Banks being bisexual, and that she grew up with gay kids who were active in the ball scene — a community that has reclaimed faggot. I thought about how Banks is a black woman, and I thought about how once again when a woman acts out against men (gay or not) in any way, the world descends upon her to “get her together,” as someone in the ball scene would say. And all of this made me remember the genre of rap — Banks being a rapper — and its relationship to the word faggot.
Rappers have been using this word for as long as most of us can remember. It is a staple in aggressive lyrics that boom through speakers in clubs and cars and homes. Artist like Eminem, Tyler the Creator and many, many more — mostly all men — have made millions off the usage of this word in their lyrics. They have performed these songs at award shows and spit this word in sold-out arenas air fryer oven walmart members of the LGBT community stand among seas of heterosexual folks singing along. And most have argued, upon critique, that they use the word not to be homophobic, but to instead critique someone for acting like a woman. For being a bitch, for being a cunt (Banks later revised her definition of ‘faggot’ as someone acting like a cunt). Essentially it’s meant to be used on men who are not acting like ‘real men.’
The times I have been called faggot were moments when my “hey girl!” was too loud, times I would be walking down the street with another gay men or any time I was just “too gay to function.” It was the times that I was not acting like a ‘real man’ and being too public about it.
What I would like to offer up for this discussion is, instead of calling Azealia Banks homophobic, we should instead say she was perpetuating misogyny. Why? Because saying she is homophobic or arguing the politics around her using the word ‘faggot’ doesn’t get to the root of the problem.
Example: A female family member of mine would use the word faggot all the time. She used it quite flippantly, but never meant for it to be homophobic. One day, after calling her boyfriend a ‘fag,’ I stopped her and asked: Why did you just say that?
Because he wasn’t acting like a man, she told me.
Well what was he acting like, a woman? I responded. She shook her head yes and that’s where I stopped her before she could respond. You do realize what you mean when you say that, right? Not acting like a man means he is acting like a woman, if we use your logic. You’re a woman; do you think it’s so bad to be a woman? She shook her head no. I want you think about that every time you use that word, that you are essentially telling people to stop acting like you, a woman.
I haven’t heard her say the word since.
If I had instead said, YOU’RE BEING HOMOPHOBIC! OMG! That wouldn’t have been received as well; believe me, I’ve tried it. Even though she’s an ally, she isn’t gay or queer, and azealia banks 212 album cover doesn’t affect her in the ways that it does LGBT folks. And more importantly, even though she was using a homophobic word, she wasn’t meaning to be homophobic (even though that is what happened). Instead, she meant to shame someone for being effeminate, for not being man-enough.
I find re-situating this conversation from homophobia and onto misogyny is more productive, more directed at the systemic problem at hand.
Want another reason why we shouldn’t focus on the ‘faggot’ part of this issue?
You know that word ‘tranny’ so many capital one pay my bill use as an insult? People like gay icon Kathy Griffin and RuPaul, people like Azealia Banks who, in one of her songs directly shames transwomen in order to create humor; you know variations of the word like Trannylicious, coined by Perez Hilton himself? Tranny is another version of faggot. It comes from that same machine called misogyny pumping out hatred. And I would bet many folks have used that word loosely — without even realizing the meaning — and are probably some of the same folks that got so offended by Banks calling Hilton a “messy faggot.”
It may be easier to direct the anger and pain that surfaces when the word faggot is said by a celebrity, but what does that do to the larger problems? Does it make the word go away? Does it make the problems go away? No.
Instead, it makes all of this into a sound bite until another artist slips and says something homophobic and we cite this Banks vs. Hilton controversy as evidence in that person’s case. And maybe they will get dropped from their label and face public shame, all while another woman is paid less than a man and another gay boy azealia banks 212 album cover punched in the face and hears “faggot” screamed above him. It will be a sound bite as another transwoman is laughed at and called “tranny” by strangers on the street, and it will be a sound bite as the world continues to turn and people are still treated differently for acting “like a woman.”
So, was Banks wrong? Yes. Is homophobia a problem? Azealia banks 212 album cover. Are there other things to direct all of this media attention too? Yes, yes, and yes.
Can we all work to end all of this sexism, misogyny, racism, etc. in the world?
We sure as hell better try. cit savings Catalog Logo Mark" width="100" height="100">
Hey, I can be the answer I′m ready to dance when the vamp up And when I hit that dip, get your camera
You could see I been that bitch since the Pamper And that I am that young sis, the beacon The bitch who wants to compete, and I can freak a 'fit that pump with the peep and You know what your bitch become fidelity bank and trust anamosa iowa her weave in I just wanna sip that punch wit your peeps and Sit in that lunch if you′re treatin' Kick it wit your bitch who come from Parisian She know where I get mine from and the season Now she wanna lick my plum in the evenin' And fit that ton-tongue d-deep in I guess that cunt gettin′ eaten I guess that cunt gettin′ eaten I guess that cunt gettin' eaten I guess that cunt gettin′ eaten I guess that cunt. I was in the 212, on the uptown A Nigga, you know what's up or don′t you? Word to who made ya, I'm a rude bitch, nigga What are you made up of? I′ma eat your food up, boo I could bust your eight, I'ma do one too Fuck ya gon' do when ya do make bucks? I′m a look-bright nigga, bet you do want to fuck Fuck him like you do want to cum Ya gay to get discovered in my 2-1 deuce Cock-a-lickin′ in the water by the blue bayou Caught the warm goo in your doo-rag too, son? Nigga, you're a kool-aid dude, plus your bitch might lick it Wonder who let you come to 1-2 wit your doo-doo crew, son Fuck, are you into, huh? Niggas better ooh run-run You could get shot, homie If you do want to, put your guns up Tell your crew don′t front, I'm a hoodlum nigga You know you were too once Bitch, I′m 'bout to blew up too I′m the one today, I'm the new shit, boo, Yung Rapunxel Who are you bitch, new lunch? I'ma ruin you, cunt I′ma ruin you, cunt I′ma ruin you, cunt I'ma ruin you, cunt Ayo, ayo I heard you ridin′ with the same tall, tall tale Tellin' ′em you made some Saying you grindin' but ya ain′t goin' nowhere Why procrastinate, girl? You've got a second harvest food bank of central florida brevard branch, but you just waste all yours, and They′ll forget your name soon And won′t nobody be to blame but yourself, yeah What you gon' do when I appear? W-When-when I premiere? Bitch, the end of your lives are near This shit been mine, mine What you gon′ do when I appear? W-When-when I premiere? Bitch, the end of your lives are near This shit been mine, mine Bitch, I'm in the 212 With the fifth-cocked nigga, it′s the 2-1 zoo Fuck ya gon do when ya goon sprayed up? Bet his bitch won't get ′em, betcha you won't do much See, even if you do want to bust Your bitch'll get you cut and touch your crew up too, Pop You playin′ wit your butter like your boo won′t true, cock the gun too Where you do eat poom, hun? I'm fuckin′ wit ya cutie-q What's your dick like, homie? What are you into? What′s the run, dude? Where do you wake up? Tell your bitch keep hatin', I′m the new 1-2, huh? See, I remember you when you were The young new face, but you do like to slumber, don't you? Now your boo up too, hun I'ma ruin you, cunt What you gon′ do when I appear? W-When-when I premiere? Bitch, the end of your lives are near This shit been mine, mine What you gon′ do when I appear? W-When-when I premiere? Bitch, the end of your lives are near This shit been mine, mine This shit been mine, mine This shit been mine, mine
212 is written in the key of Bm.
Open Key notation: 3m.
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Convert to the Camelot notation with our Key Notation Converter
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Modulation in Bm for musicians
Best Keys to modulate are F♯m (dominant key), Em (subdominant), and D (relative major).
Notes in the scale:
B, C#, D, E, F#, G, A, B
Harmonic Mixing in 3m for DJs
Compatible Open Keys are 4m, 2m, and 3d.
Find similar songs (100) that will sound good when mixed with 212 by Azealia Banks. You'll find azealia banks 212 album cover a list of songs having similar tempos and adjacent Music Keys for your next playlist or Harmonic Mixing.
Legend: energy, danceability, acousticness, liveness.
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The Azealia Banks Album Actually Happened [Updated]
I know, I know, but hear me out: Despite the ongoing drama surrounding Azealia Banks and her forever-delayed Broke With Expensive Taste, it appears that Spotify has the mythological album on its servers, greyed out and waiting for an actual, real-life release. Could azealia banks 212 album cover a mix-up, but Azealia “mysteriously” blacked out her social media this week — covering her various profiles with the black motif from the album’s cover. We’ve learned by now to not take her threats of an album seriously, but a track list on Spotify gives some credence: Could Azaelia Banks be going for a Beyoncé? Is it possible to pull a Beyoncé when you’re been essentially promising an album again and again since the start of your career? Here’s the Spotify-posted track list:
1. Idle Delilah
2. Gimme a Chance
4. JFK (feat. Theophilus London)
5. 212 (feat. Lazy Jay)
7. Heavy Metal and Reflective
9. Ice Princess
10. Yung Rapunxel
12. Chasing Time
14. Nude Beach A-Go-Go
15. Miss Amor
16. First midwest online banking app Camaraderie
The glaring problem? Most of these songs we’ve heard before — either on past EPs or through hastily-released mixtapes. “212,” the song that arguably made Azealia Banks, came out on an EP called 1991 in 2012. Even if the world finally gets this album, things might just sound all too familiar. Proceed with caution, Azealia Banks fans.
Update: It happened! Go buy it, I guess?
Related‘ATM Jam’ Video: Azealia Banks Is Still Trying
The easy, fast & fun way to learn how to sing: 30DaySinger.comHey, I can be the answer I'm ready to dance when the amp up And when I hit that dip, get your camera You could see I been that b**** since the Pamper And that I am that young sis, the beacon The b**** who wants to compete and I could freak a 'fit, that pump with the peep and You know what your b**** become when her weave in I just wanna sip that punch with your peeps and Sit in that lunch if you're treatin' Kick it with ya b**** who come from Parisian She know where I get mine from, and the season Now she wanna lick my plum in the evening And fit that ton-tongue d-deep in I guess that c*** getting eaten, I guess that c*** getting eaten, I guess that c*** getting eaten, I guess that c*** getting eaten, I guess that c*** getting eaten I was in the two-one-two On the uptown A, n**** you know what's up or don't you? Word to who made ya I'm a rude b****, n****, what are you made up of? I'm-a eat ya food up, boo I could bust your eight, I'm-a do one too, f*** ya gon' do? I want you to make bucks, I'm a look-right n****, bet ya do want to f*** F*** him like ya do want to cum You're gay to get discovered in my two-one-deuce C***-a-licking in the water by the blue bayou Caught the warm goo in your doo-rag too, son? N**** you're a Kool-Aid dude Plus your b**** might lick it, wonder who let you come to one-two With ya doo-doo crew son, f*** are you into, huh? N****s better oooh-run-run You could get shot, homie, if ya do want to Put ya guns up, tell your crew don't front I'm a hoodlum n****, you know you were too once B**** I'm 'bout to blew up too I'm the one today, I'm the new s***, boo, young Rapunzel Who are you, b****, new lunch? I'm-a ruin you, c***, I'm-a ruin you, c***, I'm-a ruin you, c***, I'm-a ruin you, c*** Ayo (ayo), I heard you're riding with the same tall, tall tale Telling them you made some (made some) Saying you're grinding but you ain't going nowhere Why you procrastinate girl? (nate girl) You got a lot, but you just waste all yourself They'll forget your name soon (name soon) And won't nobody be to blame but yourself, yeah What you gon' do when I appear? W-when-when I premiere? B****, the end of your lives are near This s*** been mine, mine, this s*** been mine, mine Azealia Banks B****, I'm in the two-one-two With the fifth c***ed n****, its the two-one-zoo F*** you gon' do, when your goon sprayed up? Bet his b**** won't get him, betcha you won't do much See, even if you do want to bust Your b****'ll get you cut and touch you crew up too, Pop You're playing with your butter like your boo won't chew c*** The gun, too ? where you do eat poon, hon? I'm f***ing with you, cutie-q What's your dick like homie, what are you into, what's the run, dude? Where do you wake up? Tell your b**** keep hating, I'm the new one too, huh? See, I remember you when you were The young new face, but you do like to slumber, don't you? Now your boo up too, hon I'm-a ruin you c*** What you gon' do azealia banks 212 album cover I appear? W-when-when I premiere? B****, the end of your lives are near This s*** been mine, mine, this s*** been mine, mine
The easy, fast & fun way to learn how to sing: 30DaySinger.com
Written by: Azealia Amanda Banks, Jef Martens
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Lyrics Licensed & Provided by LyricFind
Songs That Defined the Decade: Azealia Banks feat. Lazy Jay’s ‘212’
Billboard is celebrating the 2010s with essays on the 100 songs that we feel most define the decade that was — the songs that both shaped and reflected the music and culture of the period — with help telling their stories from some of the artists, behind-the-scenes collaborators and industry insiders involved.
See latest videos, charts and news
It can be tough to remember an era when Azealia Banks was known more for her music than her acerbic outbursts, and even more difficult to recall a world that existed before her debut single, “212.” But Canadian electronic musician Jacques Greene remembers those simpler times. “Azealia had moved to Montreal for the summer [of 2011], my friend was her manager at the time,” he says. “He asked us to show her around the city and we quickly became friends.”
Banks had been making music since 2008, bouncing around between affiliations with Diplo and XL Records with little to show for it other than an impressive demo version of an Interpol cover. “It was this funny thing where everything she did felt like it was immediately iconic,” says Greene, “but the day-to-day life of Montreal normalizes things to where she was also just ‘Azealia.’”
Her talent and eclectic abilities were obvious, she just needed something to click. “She had been working on a collection of tracks and there was this one Dutch house-sounding one that was just absolutely insane,” remembers Greene of the song that’d become Banks’ breakout.
In fact, the backbone of “212” was a previously existing Belgian house track. Jef Martens, who produced the original (entitled “Float My Boat”) with his brother Toon under the moniker Lazy Jay, says their song was already a “huge banger in the club scene” by the time Azealia picked it up.
“The funny thing is that even then, I told the label it azealia banks 212 album cover become a really iconic track with the right rapper on top of it,” Martens says. “But of course I didn’t know anybody in that scene at the time — and ‘Float My Boat’ azealia banks 212 album cover so well as an instrumental, so nothing really came of that idea. Until one day a girl hears the track, writes a vocal over it, and voilà: ‘212’ was born.”
Martens says he had “no hesitation whatsoever” clearing “Float My Boat” for Banks’ usage. “What she did with that vocal was so incredibly awesome,” he says, adding that it only took him “a few seconds” to decide to green-light “212.”
Banks crammed three distinct moods — the nimble, cutesy rapping of the first two verses, the airy, detached bridge, and the aggressive hook (“This shit been mine, mine!”) — into a compact, catchy product. Cementing the song’s popularity was its video, which showed Banks, clad in a Mickey Mouse sweater, goofily dancing with two dudes: Greene and fellow electronic producer Lunice, both innovators in their own right over the past decade. “The shoot was a perfect moment of spontaneous creativity. The kind you can’t rehearse can amazon use apple pay re-formulate,” recalls Lunice. Greene says he still gets recognized in airports as “that kid from that one video.”
The impact was immediate, with blogs breathlessly declaring “212” “a jaw-slackening demo reel” (Pitchfork), “a dancefloor-ready jam” (Fader), and “3 minutes and 25 seconds of pure filth-pop” (NME). “The minute that video went online, a bunch of musicians, tastemakers, big artists, etc. started sharing it over Twitter, and so the thing caught fire in a matter of hours,” Martens recalls.
“212” sounded like the future, but perhaps not Banks’ own future. Despite going on to drop some truly impressive music throughout the decade, she never quite fulfilled the raw potential radiating off the debut hit. In the age of soupy Spotify-core, the Internet doesn’t hold the same promise of boundless genre-mashing that it once did; “212” stands as one of the few lasting beacons of hope from that more optimistic time.
“Honestly I think it’s one of the most relevant songs of the decade,” says Martens, recalling the song’s impact. “It is the ultimate fusion of hip hop and electro house. Not that it hadn’t been done before, but never in a way that it came together like that, effortless, without feeling like a mix of two genres or cultures. To me, that is why it’s a work of art. It has a weird unifying quality.”