One of the most frustrating things about Azealia Banks is how often you can break down her mountains of venomous, irrational vitriol and find hiding at the center a tiny, glittering nugget of truth. It’s almost impossible to defend Azealia Banks when she attacks her primary supporters, sprays her acerbic wit at any convenient target, and does some, uh, interesting things with chickens.
But every so often, she’ll make a point that, if you step back and take an objective squint, makes way too much sense, making you wish that literally anyone else had said it, so it could be properly contextualized and discussed without becoming a referendum on Azealia herself and how she probably needs some sort of counseling to level out a bit.
That’s to say nothing of the draconian double standard applied to her follies; she has yet to engage in horrific acts of violence against another human being, yet has been “canceled” at this point more times than most of us are willing to count. Meanwhile, her male counterparts are given chance after chance after chance, without ever facing any real consequences for their actions.
The point is, it’d be nice to be able to examine Azealia’s statements without Azealia, but then we probably wouldn’t have those statements to examine. Only a proud misfit like her would even think to question certain aspects of the music industry; she does, after all, have a unique “advantage” of being a triple minority within the business as a queer, Black woman. It might be most incumbent on her as one to call out the discrepancies when she sees them; it’s on us as music fans, critics, and consumers to interrogate her qualms with a critical eye.