Azealia Banks

my gay friends in chicago fucked with like: azealia, rihanna and solange (and ty segall but i think we were a bit unique in that regard)

I liked the 1991 EP and Fantasea so I guess I'm part of the problem but w/e

alt-gay love for ty segall is not out of the norm ime

oh word

Shystie song above is the best thing I've heard her on - "212"/Rapunxel/etc. are okay but her schtick is overwhelming over an entire song.

This was funnier in my head

http://www.splicetoday.com/music/yung-rapunxel-throwing-down-behind-the-skillet

AZEALIA BANKS ‏@AZEALIABANKS

Your worth as a musician is now determined by what you can acquire rather than what you can create.

lol didn't she build her rep on jacking unauthorized tracks from producers?

i love the bombastic "now"

shit done changed, apparently

"I did something with Disclosure but they were, like, really rude in an interview, so I canned it."

"I might leak it, though," Azealia told the interviewer from AU Review. "And to be honest, I've got better stuff on my record... It can be an f-side. A fuck-you side."

When will people stop talking about this tiresome child

honestly we've bypassed a LOT of her recent twitter beefs lately, can't even be bothered to note them for posterity any more

(gaga was one)

i liked the one with lily allen

https://twitter.com/AZEALIABANKS/status/385321170515419136

deep thoughts

https://twitter.com/omgitismason/status/385321607696510976

first response hall of fame

also lol at the idea of Azealia Banks getting into Hampshire

has she been dropped by her label yet?

they probably don't want to deal with the fury

Its a shame. A lot of potential down the drain.

Seriously, we saw her at Glastonbury with fairly low expectations and she just tore it apart, it was fantastic. But she appears not to realise that the industry isn't going to just indulge her forever.

ayo, I heard you're riding with the same tall, tall tale
telling em you made some
saying you're grinding but you ain't going nowhere
why procrastinate girl
you got a lot, but you just waste all yours and
they'll forget your name soon
and won't nobody be to blame but yourself yeah

otm

seriously!! every time i hear that part i'm like.... yyyep

Apparently she played for 90 seconds at a Melbourne festival before walking off stage. She didn't return.

Saw her tonight. She played a full set, mentioned her problems this week. Kinda lacking in material. I think she'd be better off wrapping up the tour and getting an album out.

https://twitter.com/AmericanAir/status/388740862320332800

okay lol

i know no one cares about her anymore on even a schadenfreude level but her begging to be dropped from Universal is too funny

my favorite parts

I would literally give anything to be on XL right now

I'm tired of having to consult a group of old white guys about my black girl craft. they don't even know what they're listening for or to.

which is interesting, given that less than 2 years ago this is how she was explaining why she split with XL: "I was like, this is not what I worked so hard my entire life to do - to be rejected by some English guy in West Bumblefrickin' nowhere London, telling me I'm amateur or something like that."

I'm tired of having to consult a group of old white guys about myhttp://i934.photobucket.com/albums/ad184/sdolnack/thecraft_zpsae454a80.jpg

Everytime this thread is revived, I think, "oh who did she dis or underwhelm now?"

Would love to read a blow-by-blow oral history of this clusterfuck tbh - getting on for three years since 212 and I don't really know why

there's no way that Universal would willingly let this shit go on forever, not want to capitalise on how huge 212 was, etc. there are some idiots around but the biz isn't some huge cabal of evil forever destroying the souls of poor misunderstood artists - I'm betting all this will come back to her being unmanageable and irritating.

surely not the first or the most unmanageable/irritating artist signed to a major label tho

Less forgiving times. A decade ago she could have yapped her way into all kinds of dumb controversy and still probably have come up with at least a release date and while the ignominous fade into irrelevance couldn't happen to a more deserving person, can't help but rue the wasted potential.

There's not exactly a lack of historical precedents for artists that happen to get their shit together long enough to release one great song. It's just that there was nowhere other than the end of the local bar for those artists to bitch about how misunderstood they were.
Social media...

Also. There's a similarly long precedent for record companies sitting on records by people that literally no-one at the company can stand. Generally you have to get through at least one album campaign before that happens though. It takes a great perseverance to be enough of a nightmare that people won't even put your first record onto itunes.

She's managed to make herself the villain of the piece, in contrast to Sky Ferreira, whose whole narrative now is the woman who survived major label malice/cluelessness to make a great debut. I don't know if the behind-the-scenes scenarios are as different as they seem but when you've spent over two years publicly railing against everyone you meet, people are more likely to think the A&R guys have a point.

idk...i've certainly made my fair share of "hey azealia banks is beefing again" jokes and she rarely comes across well on twitter, but i just feel judging pop stars on social media actions shouldn't be the be-all and end-all that it seems to be now. she might well have herself to blame for turning herself into a punchline but like bieber, once someone seems to exist only as a punchline i question how much of that is informed and how much of that is just running with What Everyone Thinks regardless of how little we actually know of what's gone on behind the scenes.

let's not forget there's a long history of major labels fucking over artists, clashing with them over aesthetics etc, and generally being in the wrong in these situations. sky ferreira's a pretty good example.

Bumblefrickin' nowhere London

this is classic though.

on the other hand -- and I really liked night time, my time, this isn't about that -- there is a difference between sky ferreira and azealia banks that probably has a great deal to do with how the "whole narrative" shakes out

sorry West Bumblefrickin' nowhere London

I liked the 1991 EP and Fantasea mixtape but all the gross shit she's said since then has made me definitively stop caring about her.

just make a good goddamn song and all is forgiven

I am certain that the obvious difference between Azealia and Sky is playing into the way this narrative is being spun/received but then again I am not aware of Sky Ferreira saying anything remotely like any of the objectionable things posted on this thread

http://i1.wp.com/vigilantcitizen.com/wp-content/uploads/2012/08/7528190724_d35b4731fd_z-e1343855148482.jpg%3Fresize%3D330%2C500

http://i1.wp.com/vigilantcitizen.com/wp-content/uploads/2012/08/7528190724_d35b4731fd_z-e1343855148482.jpg

"just make a good goddamn song and all is forgiven"

I guess that's the sticking point for me, though -- everything Azealia Banks has released (for various definitions of "released," etc.) has been pretty good to really damn good. you can argue that it's mostly the fault of the beats, but in 2014 you can argue that for basically everyone, and even if Banks is more or less running through the same set of branding adjectives she's doing it with style and skill, at least.

everything Azealia Banks has released (for various definitions of "released," etc.) has been pretty good to really damn good.

I fundamentally disagree with this

i think her problem is that she either hasn't shown the skill or the desire to write a crossover pop song

"212" was completely accidental in that sense. but everything she releases just screams "small and very limited fanbase"

& i would more or less agree w/ katherine re the quality of her work

and by "crossover pop song" i don't mean selling out, she seems particularly well positioned to something that could appeal to a bunch of people while still sticking to her core sound and vision

but, i dunno. "ATM jam" just wasn't very good. i guess that was the one.

and if she didn't wanna have to write crossover stuff she probably should've signed with any number of indie labels that i'm sure would've been glad to have her