mr marcus
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God I hope she doesn't apologize
Need this to leak
Need this to leak
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Azealia Banks Vs. Iggy Azalea tension grows, Iggy Responds to Banks
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One of the most informative & powerful interviews on Hot 97. What's "Vivero"? Never heard of that ethnicity.
Azelia is a young and somewhat-intelligent individual. The interview was all over the place; mainly because of the crying and emotions. So, Azelia is ticked off because of the way Black people have been treated over the past 600+ years? From music, to segregation, to the way we are talked about in the history books? Valid, but what does that have to do with your music, Azelia?
Azelia need not worry about Iggy or any other white musician. To say that they are not real or authentic Hip-Hop is discrediting their work. Iggy is talented but that voice and her rhymes are very often weak. Macklemore be spittin' heavy! He jus' felt like his music wouldn't be heard, if he didn't go the pop/gay rights route. However, they are both Hip-Hop artists in my eyes. Hip-Hop is essentially quote on quote "Black Music", but why can't it be now labeled as a worldly music? People from all walks of life listen and participate in the genre. It's such a beautiful thing. I'd honestly like to sit down with Azelia and engage in conversation.
Azelia is a young and somewhat-intelligent individual. The interview was all over the place; mainly because of the crying and emotions. So, Azelia is ticked off because of the way Black people have been treated over the past 600+ years? From music, to segregation, to the way we are talked about in the history books? Valid, but what does that have to do with your music, Azelia?
Azelia need not worry about Iggy or any other white musician. To say that they are not real or authentic Hip-Hop is discrediting their work. Iggy is talented but that voice and her rhymes are very often weak. Macklemore be spittin' heavy! He jus' felt like his music wouldn't be heard, if he didn't go the pop/gay rights route. However, they are both Hip-Hop artists in my eyes. Hip-Hop is essentially quote on quote "Black Music", but why can't it be now labeled as a worldly music? People from all walks of life listen and participate in the genre. It's such a beautiful thing. I'd honestly like to sit down with Azelia and engage in conversation.
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It's called politics and being diplomatic. It happens in every arena of life. If you want to get where you want, you have to play the game, even a little bit. You might not want to do it but at times, it's necessary. You come out like she did saying F everybody and you aren't an established artist, you can spell your doom. Be authentic and have your POV, but pick your spots when and how to do it. That's playing the game. Did I make it clear enough for you to understand?
Yes, she was emotional and all over the place. She was literally sounding like a skipping record, going from culture erasure to Bill Cosby in one sentence. Trick please
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Vivero is like a daycare
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lmao, what's talented about a rapper that doesn't write her own lyrics? we've all read out loud in class. doesn't mean i should be a rapper.
my issue with Iggy is... she wants all the accolades of being hip hop, without getting dirty. she doesn't want to inherit her beefs, and cries whenever somebody says some **** about her. THAT'S NOT HIP HOP. that's the same as wanting to say *****, but not wanting to be a *****.
iggy doesn't even / can't even rap about being from australia. Hip hop is rapping about where you came from, it's telling who you are.
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Not surprising knowing Australia's POV on race historicallydude already posted examples
mr marcus
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I remember these...talking about the sextape screenshots cause I've heard there was one in the past....Iggy just a straight up culture vulture....
Also an Australian making remarks like that is not surprising...look how they treat aborigines
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Bronson needs to DDT this *****
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Que the "I got hacked" response.
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Nah I get thatIt's called politics and being diplomatic. It happens in every arena of life. If you want to get where you want, you have to play the game, even a little bit. You might not want to do it but at times, it's necessary. You come out like she did saying F everybody and you aren't an established artist, you can spell your doom. Be authentic and have your POV, but pick your spots when and how to do it. That's playing the game. Did I make it clear enough for you to understand?
Yes, she was emotional and all over the place. She was literally sounding like a skipping record, going from culture erasure to Bill Cosby in one sentence. Trick please. But I'll attribute that to her age and not completely knowing how to navigate and express her thoughts in a cogent manner. Her spirit was in the right place though. Even Ebro tried to explain it to her in a roundabout way of how crazy she was talking, but she didn't pick up on that.
But it's just
We all know u got to play the game
But if we all know it
Isn't it just ********
So why can't we just stop the bs is all I'm saying
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[h2][/h2]
What's Really Making Azealia Banks And Nicki Minaj Cry?
[h2]By MATTHEW TRAMMELL [/h2][h2]Two new interviews shed light on how hard it is to be a black woman in pop music, both on and off camera.[/h2]
Two new interviews shed light on how hard it is to be a black woman in pop music, both on and off camera. Yesterday, I dove into two different radio interviews, with Nicki Minaj on Power 105.1 and Azealia Banks on Hot 97, expecting little more than standard album promo and maybe some funny quotables. Instead, about halfway through each segment, both these hardened, guarded New Yorkers were cracked to tears in moments that felt too raw to be contrived. Nicki, when discussing the complicated state of a serious long-term relationship gone sour, tried to deflect explanation to her music: "A song is an argument frozen in time," she explained of emotional Pinkprintcuts like "Pills N Potions," "I Lied," and "All Things Go." But even skirting near the topic still proved too heavy: "I tell my girlfriends things, but sometimes I want to tell him…" she said before trailing off, and Angie paused the interview to let Minaj gain composure. On the other end of the dial, Hot 97's Ebro and Peter Rosenberg grilled Azealia Banks on her ongoing conflict with Iggy Azalea, and the young artist pulled the topic back to a macro level rarely discussed in mixed company. "When they give these Grammys out, all it says to white kids is 'You're amazing, you're great, you can do anything you put your mind to,' she said. "And all it says to Black kids is 'You don't have ****, you don't own ****, not even the **** you created for yourself.' And it makes me upset."
In 2014, Nicki Minaj was inescapable and Azealia Banks was largely invisible. I found myself more conflicted about Minaj than ever this year: after a well-earned run as a pop culture force and hip-hop heavyweight since breaking out in 2009, Minaj seemed to spend the year regressing into cartoonish, image-driven attention ploys that felt beneath her pedigree. The most impactful piece of media she released, more than any song or video, was an image of her ***. I wondered why an accomplished songwriter, who'd penned hooks as universal as "Your Love" and verses as hard as "Monster," would resort to "Baby Got Back" remakes. By contrast, Azealia Banks felt like a dream unrealized: the firecracker spitter reminded me of so many equally loud and brilliant girls that I knew from uptown, but seemed lost in a spiral of label drama and self-sabotage. Ultimately, she was released from her label, with permission to release her long-delayed debut album. And Broke With Expensive Taste proved her breakout single "212" wasn't a fluke: she'd expressed an exciting, singular vision that no one else had. We all knew her ideas were good. So why was her album's release so embattled, and why does Top 40 omnipresence still elude her?
Going into both interviews with these perspectives shed new light into the struggles both these young women grappled with throughout this year. Nicki and Azealia are both composites with similar cores: hood girls with performing arts educations, able to discuss broad culture as passionately as they can broken hearts. Unintentionally, the two interviews are in direct dialogue. Minaj seemed more plastic than ever this year, perhaps in reaction to the chaos and conflict of her personal life. She seemed to let her image speak loudest in order to keep her thoughts mute. "Nicki Minaj over the past two, three, four years, has done so much to create this social presence, and this hold on social consciousness," Banks told Hot 97 of Nicki's claw toward pop's center. Meanwhile, Minaj framed her role in the public eye against her personal decisions."This [relationship] can't be compared to the ******** in tabloids, where people get together just because they want to be on paparazzi ****," she said. "This is not that. This is me dealing with it publicly and putting it on an album, because if I didn't, I'd be quiet."
What we heard of Minaj this year was that quiet, that muting of genuine emotion, replaced with more boobs, more ***, more pum pum patting, but delivered from a distracted, near-lifeless gaze. Maybe, in a rap landscape where Iggy Azalea was received with open arms largely on the merit of her image, Minaj (or those in her corner) doubled down on the image and assets that first got her through pop culture's heavy door, fighting fire with fire in a forest dense with brush. In her August FADER cover story, Minaj emphasized her desire to create visibility for young black women in white pop culture—even at the expense of her own image as a skilled rapper. "Every time I do a business venture or something that isn't the norm for a female rapper, I pat myself on the back," she said. "It's important that corporate America can see a young black woman being able to sell things outside of music." Unlike Minaj, Azealia Banks does not have a giant *** or a Home Shopping Network contract. But she does have a big mouth, and it has been her survival tactic. At Hot 97, Banks said that label executives spent 2 million dollars on her album, but "were very specific about wanting something they could play in Top 40" as a return on that investment. But there is no clear slot for a petite, densely lyrical female from Harlem rapping over '90s deep house on today's Top 40, and Banks wasn't interested in becoming anything else. This is the classic binary that black artists face: you can make art that you know a primarily mainstream audience will be receptive to, regardless of what you actually feel or what your influences actually are, or you can rebel, hoping that listeners will come along to wherever you want to take them. It's telling, then, that Banks' tearful surge of emotions landed on these words: "At the very ******* least, you owe me the right to my ******* identity, and not to exploit that ****." She's voicing an insight that Nicki showed instead of spoke: the gripping conflict between appeasing an audience and getting to be yourself. This year, Nicki sold her image and Azealia screamed her identity. But for all their scathing bars, pointed acceptance speeches, and social media rants, they were still both reduced to tears by December. Reckoning image, art and commerce is a challenge every celebrity faces, but it's a battle only magnified as a black celebrity, and extrapolated as a black female. My impulse, as a man, a black person, and lover of hip-hop, is protective: to listen more closely when these women speak, to guard more fiercely when they're challenged, and to subside my own opinions for their truths.
What's Really Making Azealia Banks And Nicki Minaj Cry?
[h2]By MATTHEW TRAMMELL [/h2][h2]Two new interviews shed light on how hard it is to be a black woman in pop music, both on and off camera.[/h2]
Two new interviews shed light on how hard it is to be a black woman in pop music, both on and off camera. Yesterday, I dove into two different radio interviews, with Nicki Minaj on Power 105.1 and Azealia Banks on Hot 97, expecting little more than standard album promo and maybe some funny quotables. Instead, about halfway through each segment, both these hardened, guarded New Yorkers were cracked to tears in moments that felt too raw to be contrived. Nicki, when discussing the complicated state of a serious long-term relationship gone sour, tried to deflect explanation to her music: "A song is an argument frozen in time," she explained of emotional Pinkprintcuts like "Pills N Potions," "I Lied," and "All Things Go." But even skirting near the topic still proved too heavy: "I tell my girlfriends things, but sometimes I want to tell him…" she said before trailing off, and Angie paused the interview to let Minaj gain composure. On the other end of the dial, Hot 97's Ebro and Peter Rosenberg grilled Azealia Banks on her ongoing conflict with Iggy Azalea, and the young artist pulled the topic back to a macro level rarely discussed in mixed company. "When they give these Grammys out, all it says to white kids is 'You're amazing, you're great, you can do anything you put your mind to,' she said. "And all it says to Black kids is 'You don't have ****, you don't own ****, not even the **** you created for yourself.' And it makes me upset."
In 2014, Nicki Minaj was inescapable and Azealia Banks was largely invisible. I found myself more conflicted about Minaj than ever this year: after a well-earned run as a pop culture force and hip-hop heavyweight since breaking out in 2009, Minaj seemed to spend the year regressing into cartoonish, image-driven attention ploys that felt beneath her pedigree. The most impactful piece of media she released, more than any song or video, was an image of her ***. I wondered why an accomplished songwriter, who'd penned hooks as universal as "Your Love" and verses as hard as "Monster," would resort to "Baby Got Back" remakes. By contrast, Azealia Banks felt like a dream unrealized: the firecracker spitter reminded me of so many equally loud and brilliant girls that I knew from uptown, but seemed lost in a spiral of label drama and self-sabotage. Ultimately, she was released from her label, with permission to release her long-delayed debut album. And Broke With Expensive Taste proved her breakout single "212" wasn't a fluke: she'd expressed an exciting, singular vision that no one else had. We all knew her ideas were good. So why was her album's release so embattled, and why does Top 40 omnipresence still elude her?
Going into both interviews with these perspectives shed new light into the struggles both these young women grappled with throughout this year. Nicki and Azealia are both composites with similar cores: hood girls with performing arts educations, able to discuss broad culture as passionately as they can broken hearts. Unintentionally, the two interviews are in direct dialogue. Minaj seemed more plastic than ever this year, perhaps in reaction to the chaos and conflict of her personal life. She seemed to let her image speak loudest in order to keep her thoughts mute. "Nicki Minaj over the past two, three, four years, has done so much to create this social presence, and this hold on social consciousness," Banks told Hot 97 of Nicki's claw toward pop's center. Meanwhile, Minaj framed her role in the public eye against her personal decisions."This [relationship] can't be compared to the ******** in tabloids, where people get together just because they want to be on paparazzi ****," she said. "This is not that. This is me dealing with it publicly and putting it on an album, because if I didn't, I'd be quiet."
What we heard of Minaj this year was that quiet, that muting of genuine emotion, replaced with more boobs, more ***, more pum pum patting, but delivered from a distracted, near-lifeless gaze. Maybe, in a rap landscape where Iggy Azalea was received with open arms largely on the merit of her image, Minaj (or those in her corner) doubled down on the image and assets that first got her through pop culture's heavy door, fighting fire with fire in a forest dense with brush. In her August FADER cover story, Minaj emphasized her desire to create visibility for young black women in white pop culture—even at the expense of her own image as a skilled rapper. "Every time I do a business venture or something that isn't the norm for a female rapper, I pat myself on the back," she said. "It's important that corporate America can see a young black woman being able to sell things outside of music." Unlike Minaj, Azealia Banks does not have a giant *** or a Home Shopping Network contract. But she does have a big mouth, and it has been her survival tactic. At Hot 97, Banks said that label executives spent 2 million dollars on her album, but "were very specific about wanting something they could play in Top 40" as a return on that investment. But there is no clear slot for a petite, densely lyrical female from Harlem rapping over '90s deep house on today's Top 40, and Banks wasn't interested in becoming anything else. This is the classic binary that black artists face: you can make art that you know a primarily mainstream audience will be receptive to, regardless of what you actually feel or what your influences actually are, or you can rebel, hoping that listeners will come along to wherever you want to take them. It's telling, then, that Banks' tearful surge of emotions landed on these words: "At the very ******* least, you owe me the right to my ******* identity, and not to exploit that ****." She's voicing an insight that Nicki showed instead of spoke: the gripping conflict between appeasing an audience and getting to be yourself. This year, Nicki sold her image and Azealia screamed her identity. But for all their scathing bars, pointed acceptance speeches, and social media rants, they were still both reduced to tears by December. Reckoning image, art and commerce is a challenge every celebrity faces, but it's a battle only magnified as a black celebrity, and extrapolated as a black female. My impulse, as a man, a black person, and lover of hip-hop, is protective: to listen more closely when these women speak, to guard more fiercely when they're challenged, and to subside my own opinions for their truths.
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Banks is making some good points, but they get undermined by her delivery and the fact that she surrounds them with little sprinklings of pure nonsense.
Iggy is definitely a rotten person though. I'd be happy to see her drummed out of the business like yesterday.
Banks didn't punk TI backstage either. I don't believe that for a second.
Iggy is definitely a rotten person though. I'd be happy to see her drummed out of the business like yesterday.
Banks didn't punk TI backstage either. I don't believe that for a second.
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Ive never heard of Azaleia Banks, but Iggy Azalea is a straight troll. How does someone from Australia rap like a caricature of a southern black lady and get a pass for it? Because she has a nice ***? Her song "Fancy" made me cringe the whole time I first heard it. Its a walking mockery of black culture. TI saw $$$$ and sold out when he signed her.
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Patiently waiting for Anon to deliver
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Banks been going after both TI and Iggy since last year
Those tweets dug up were discovered a year ago (same time all the rappers was deleting they old comments) and they aint even racist (maybe offensive if yu sensitive).
Maybe I'm missing something cuz I stopped listening Iggy like 2 years ago (was kinda sorta a fan) but I don't get the hate. She been rapping with voice that since she came out and it's unique so I don't get the culture vulture.
Those tweets dug up were discovered a year ago (same time all the rappers was deleting they old comments) and they aint even racist (maybe offensive if yu sensitive).
Maybe I'm missing something cuz I stopped listening Iggy like 2 years ago (was kinda sorta a fan) but I don't get the hate. She been rapping with voice that since she came out and it's unique so I don't get the culture vulture.
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You have to conform just a little bit, that's just how it is.Nah I get thatIt's called politics and being diplomatic. It happens in every arena of life. If you want to get where you want, you have to play the game, even a little bit. You might not want to do it but at times, it's necessary. You come out like she did saying F everybody and you aren't an established artist, you can spell your doom. Be authentic and have your POV, but pick your spots when and how to do it. That's playing the game. Did I make it clear enough for you to understand?
Yes, she was emotional and all over the place. She was literally sounding like a skipping record, going from culture erasure to Bill Cosby in one sentence. Trick please. But I'll attribute that to her age and not completely knowing how to navigate and express her thoughts in a cogent manner. Her spirit was in the right place though. Even Ebro tried to explain it to her in a roundabout way of how crazy she was talking, but she didn't pick up on that.
But it's just
We all know u got to play the game
But if we all know it
Isn't it just ********
So why can't we just stop the bs is all I'm saying
She does, but it goes right out the window with her candor. People won't take that pov seriously.
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But I'm sayinYou have to conform just a little bit, that's just how it is.
Nah I get that
It's called politics and being diplomatic. It happens in every arena of life. If you want to get where you want, you have to play the game, even a little bit. You might not want to do it but at times, it's necessary. You come out like she did saying F everybody and you aren't an established artist, you can spell your doom. Be authentic and have your POV, but pick your spots when and how to do it. That's playing the game. Did I make it clear enough for you to understand?
Yes, she was emotional and all over the place. She was literally sounding like a skipping record, going from culture erasure to Bill Cosby in one sentence. Trick please
But it's just
We all know u got to play the game
But if we all know it
Isn't it just ********
So why can't we just stop the bs is all I'm saying
She does, but it goes right out the window with her candor. People won't take that pov seriously.
We always talking about keeping it real
And how they try to take this and that
And how they don't want us to do blah blah blah
Well then why do we ******* gotta conform
People on this same forum telling other folks "Kanye should just do it himself he don't need such and such"
Well they don't want him to conform
Why the **** do we gotta conform!!!!
Why we gotta conform to do something we cultivated and created
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Im not gonna listen to that Azalea Banks interview but I see no problem with Iggy being popular. From reading yall posts seems Banks just salty that no one knows who she is
mr marcus
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^ nah
When I used to see her Twitter rants I thought she was just some hating *** chick but hearing her speak changed my first impression
She's very woke for a 23 year old lady but I will say the few tracks they played during her interview sound similar to iggy but better. I assumed she was just a straight up rapping female but her **** sound rap popish
That's only from the snippets they played so maybe her album is a different tune
When I used to see her Twitter rants I thought she was just some hating *** chick but hearing her speak changed my first impression
She's very woke for a 23 year old lady but I will say the few tracks they played during her interview sound similar to iggy but better. I assumed she was just a straight up rapping female but her **** sound rap popish
That's only from the snippets they played so maybe her album is a different tune
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aNYone
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She been on the steeze doe
her first joint 212 was in the same vein
bit she does sound like foxy rappin over dance music. that chasin time song is flames doe idc
and what it looks like is she got smacked with that reality like a ton of bricks suddenly and recently
she outchea distraught
mr marcus
Banned
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Yea I'm check out some of her ****...wasn't trying to imply she jacked iggy cause I heard of her before I knew who the hell iggy was
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Iggys fake black accent is disgraceful and completely offensive
offset pow clow
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whats sounding black?Just because you cant hear her Australian accent when she raps
I swear ppl dont think for themselves anymore, if one person say shes trying to sound black thats what everybody else runs with
Stop hating on a white girl that came to america to live her dream, yall sound lame
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you've proven to be a troll and even admitted it so I'm not wasting my time with you
Just because you cant hear her Australian accent when she raps
I swear ppl dont think for themselves anymore, if one person say shes trying to sound black thats what everybody else runs with
Stop hating on a white girl that came to america to live her dream, yall sound lame
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