No tits, no ass, no hips, no thighs
No wonders she is the white man's cum dumpster
Most white men is undercover faggots
Music: Azealia Banks in Playboy Magazine April 2015
- Thread starter playahaitian
- Start date
Sexy chick, I need a tad more hips and titties, her skin gorgeous, facially right but That attitude lowers her severely
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Sent from my GT-N5110 using Tapatalk
Maybe because one has CLASS and acts like a LADY,
And the other doesn't?
That's my opinion anyway.
Even though neither woman has the shape I particularly like (No. I don't like them FAT either), I love the way Lupita Nyong'o carries herself. That chick has 1940s Hollywood style written all over her. What she wears, grace, EVERYTHING!!!
Azealia Banks is just another foul, loud-mouth looking for attention.
This shouldn't even be a comparison.
NICKLEBAGKILLA
Rising Star
This is a move that a female rapper should have done a long time ago. Just not this female rapper. If Kim,Foxy, Nicki (Salt N' Pepa would have set it off) would have done this in their prime... 
If she look this skinny on the pics just think how she would look in person. She shouldn't be allowed to pose nude lol
http://www.tmz.com/2015/09/22/azealia-banks-flight-homophobic-slur-delta-video/
http://www.hollywoodreporter.com/news/azealia-banks-homophobic-slur-flight-826136
http://www.hollywoodreporter.com/news/azealia-banks-blasts-middle-america-782014
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Has Azealia Banks Trolled Her Way Out of a Career?
When Azealia Banks arrived in 2011, the now-24-year-old Harlem rapper was wearing a Mickey Mouse sweater and braided pigtails in the video for her debut viral hit “212." Many of us fell instantly in love. Her propulsive scat, combination of rap and electro, unmistakable voice, and profane lyrics were a much-needed punch in the gut. Before long, Banks became the fearless rebel with a mischievous grin and razor-sharp tongue who had come to save everyone from the gold-leaf grandiosity of Watch the Throne and the disconsolate sadness of Take Care. Now, just five years into her career, that same mischievousness and verbal dexterity are being deployed to self-destructive ends. The rebel is rebelling too hard.
What she's going through as a young artist whose early success gave rise to a public-facing persona that soon overshadowed her music is hardly unique. In a recent New Yorker profile of the 27-year-old musician Grimes, Kelefa Sanneh hints at the disquieting possibility that the Canadian artist’s “online presence might be even more popular, and more influential, than her music.” In Grimes’s case, that could be advantageous: By connecting with fans through prolific social media output — in particular a delightful Tumblr — her cultural relevance is no longer singularly dependent on song output, though it does raise the question of how her standing as a credible musician will be affected by her rising social profile. With Banks, there is no question: Her behavior on social media, and generally in public, is destroying her career. Her once-lauded music has been eclipsed by a series of cringeworthy outbursts, beefs, and public meltdowns online that have left us wondering why we’re still paying any attention to her at all.
Almost immediately after “212” became a hit, Banks began initiating feuds and stirring controversy. In January of 2012 she called the Oakland rapper Kreayshawn a “dumb bitch” for tweeting and deleting a link to her "212" video. In March of 2013, she called Rita Ora "thirsty" for taking photos at a music festival. ("She’s mad she’s Rihanna’s understudy," she laughed.) Last year, she called T.I. a “shoe-shining coon” for promoting the career of noted freestyle-rap legend Iggy Azalea, whom Banks affectionately refers to as “Igloo Australia." The antics were often detestable, but at the same time her candor was refreshing, if not amusing. Some of our greatest artists, from Beethoven to Kanye, have been prone to fits driven by passion. Then, in December of last year, Banks tweeted, “Them bitches frontin’ like they wasn’t trying to get some of that pudding pop!!!” referring to the victims of Bill Cosby’s rape allegations. No longer could we laugh off her behavior.
The latest meltdown happened on a late-September flight from New York to Los Angeles. According to reports, Banks spat in a passenger’s face after claiming he had tried to hit her; when a co-pilot appeared to help deescalate the situation, Banks was caught on camera calling him a “fucking faggot.” That would be problematic enough if Banks didn't have a history of publicly using that slur, but she does — in 2013, she called Perez Hilton a “messy faggot” on Twitter after he took sides in an online beef involving Banks and Detroit rapper Angel Haze. The public cried foul, and Banks defended her use of the word by tweeting, "I am bisexual. my brother is trans. My employees are all gay men. .Nothing else to say [sic].” Nevertheless, she told The Guardian at the time that she would never use the word again because it’s not “worth it” for her career. So much for that.
After the airplane incident, Banks posted a quote on Instagram that read, “Sometimes I just want someone to hug me and say 'I know it's hard. You're going to be okay. Here's a coffee. And 5 million dollars,'" with the caption, "I have never felt the pain of not being white the way I've felt it since I've been a public figure/part of this entertainment industry." A commenter replied to that Instagram post with, "Imagine the pain young gay fans feel when they hear the vile things you say,” which curiously set Banks off. She responded with a series of replies that included, "oh well imagine how I wanna spray a gay man in the face with pepper spray every time he calls me a bitch a slut or a hoe. Kiss my ass. Goodnight." and "Keep f*cking with me if you f*cking want to." and "One day your hemorrhoids are going to burst and you’ll bleed to death b*tch." and the most horrifying of all, "Yea keep trolling for d*ck on grindr. You’ll be murdered and stuffed under a truck somewhere soon."
This is the awful behavior of someone who is profoundly immature. But it also seems to be the increasingly desperate behavior of an artist who recognizes that her career is listing, badly, and who has neither the support structure in place to rein her in nor the discipline to course-correct by focusing on her work. Banks has always made it clear, with her actions if not words, that she embraces the role of iconoclast. What she's failing to realize is that even iconoclasts need people in their corner.
And it’s not just the fans that Banks has alienated. Jettisoned projects with Disclosure and Lady Gaga are examples of why artists find it increasingly difficult to collaborate with her. She was dropped by XL and walked away from Universal, and as The Guardian points out, isn't likely to find a home at another major anytime soon. She's not wrong when she points out the inherent challenges of being a young black woman in a predominantly white, male industry, but the reputation she once had, of being both talented and provocative, was one that she could have had success trading on. Her new reputation, less so. She could benefit tremendously from a trusted, close-knit group of seasoned professionals who could help shape her talent into a sustainable career, but who's going to make that investment at this point?
The temptation to give up on her is justified, but what a waste that would be. Her debut, Broke With Expensive Taste, was a triumphant album that showcased her exceptional rap skills and genre-bending playfulness. It received favorable reviews, which have since been eclipsed by Banks's subsequent troll-y antics. But she has never concealed her taste for the outrageous or the profane; she’s never been politically correct; she’s never been outwardly willing to conform. Consider: The most famous line from her first single was “I guess that cunt gettin’ eaten.” She has always been a provocateur, and for awhile that was what we loved about her. But she also had the music. The behavior was tolerable — or at least more so than it is now — because of that spellbinding output and scintillating potential. As the music fades from memory, we're suddenly being forced to ask just who this is that we've been championing.
Sensing she had gone too far after the airplane incident, Banks deleted her most incendiary comments (but didn’t admit to doing anything wrong or — heaven forbid! — apologize), and then tried to turn the situation into a teachable moment for the LGBT community. “All I had to do was say one word and I moved a whole community. What weaklings!!!” she tweeted. She then went on to evoke a “sticks and stones” schoolyard philosophy by claiming the word ****** does not offend her. “I'm not a weak bitch, being called a dyke or a ****** does absolutely nothing to move me.” “I'd be like ‘That's all you got???’"
She capped it off with a string of emoji, as though a yellow smiley could make watching her flail any less bearable. But she's right that something can be learned from all of this. If Banks wants to continue to have a successful career in music, she’ll have to realize that being carelessly provocative brings with it the risk of a burnt-out reputation and a vertiginous crash to Earth. She's falling fast, and no longer is anything about her spectacle entertaining.
http://www.vulture.com/2015/09/has-azealia-banks-trolled-her-career-to-death.html
When Azealia Banks arrived in 2011, the now-24-year-old Harlem rapper was wearing a Mickey Mouse sweater and braided pigtails in the video for her debut viral hit “212." Many of us fell instantly in love. Her propulsive scat, combination of rap and electro, unmistakable voice, and profane lyrics were a much-needed punch in the gut. Before long, Banks became the fearless rebel with a mischievous grin and razor-sharp tongue who had come to save everyone from the gold-leaf grandiosity of Watch the Throne and the disconsolate sadness of Take Care. Now, just five years into her career, that same mischievousness and verbal dexterity are being deployed to self-destructive ends. The rebel is rebelling too hard.
What she's going through as a young artist whose early success gave rise to a public-facing persona that soon overshadowed her music is hardly unique. In a recent New Yorker profile of the 27-year-old musician Grimes, Kelefa Sanneh hints at the disquieting possibility that the Canadian artist’s “online presence might be even more popular, and more influential, than her music.” In Grimes’s case, that could be advantageous: By connecting with fans through prolific social media output — in particular a delightful Tumblr — her cultural relevance is no longer singularly dependent on song output, though it does raise the question of how her standing as a credible musician will be affected by her rising social profile. With Banks, there is no question: Her behavior on social media, and generally in public, is destroying her career. Her once-lauded music has been eclipsed by a series of cringeworthy outbursts, beefs, and public meltdowns online that have left us wondering why we’re still paying any attention to her at all.
Almost immediately after “212” became a hit, Banks began initiating feuds and stirring controversy. In January of 2012 she called the Oakland rapper Kreayshawn a “dumb bitch” for tweeting and deleting a link to her "212" video. In March of 2013, she called Rita Ora "thirsty" for taking photos at a music festival. ("She’s mad she’s Rihanna’s understudy," she laughed.) Last year, she called T.I. a “shoe-shining coon” for promoting the career of noted freestyle-rap legend Iggy Azalea, whom Banks affectionately refers to as “Igloo Australia." The antics were often detestable, but at the same time her candor was refreshing, if not amusing. Some of our greatest artists, from Beethoven to Kanye, have been prone to fits driven by passion. Then, in December of last year, Banks tweeted, “Them bitches frontin’ like they wasn’t trying to get some of that pudding pop!!!” referring to the victims of Bill Cosby’s rape allegations. No longer could we laugh off her behavior.
The latest meltdown happened on a late-September flight from New York to Los Angeles. According to reports, Banks spat in a passenger’s face after claiming he had tried to hit her; when a co-pilot appeared to help deescalate the situation, Banks was caught on camera calling him a “fucking faggot.” That would be problematic enough if Banks didn't have a history of publicly using that slur, but she does — in 2013, she called Perez Hilton a “messy faggot” on Twitter after he took sides in an online beef involving Banks and Detroit rapper Angel Haze. The public cried foul, and Banks defended her use of the word by tweeting, "I am bisexual. my brother is trans. My employees are all gay men. .Nothing else to say [sic].” Nevertheless, she told The Guardian at the time that she would never use the word again because it’s not “worth it” for her career. So much for that.
After the airplane incident, Banks posted a quote on Instagram that read, “Sometimes I just want someone to hug me and say 'I know it's hard. You're going to be okay. Here's a coffee. And 5 million dollars,'" with the caption, "I have never felt the pain of not being white the way I've felt it since I've been a public figure/part of this entertainment industry." A commenter replied to that Instagram post with, "Imagine the pain young gay fans feel when they hear the vile things you say,” which curiously set Banks off. She responded with a series of replies that included, "oh well imagine how I wanna spray a gay man in the face with pepper spray every time he calls me a bitch a slut or a hoe. Kiss my ass. Goodnight." and "Keep f*cking with me if you f*cking want to." and "One day your hemorrhoids are going to burst and you’ll bleed to death b*tch." and the most horrifying of all, "Yea keep trolling for d*ck on grindr. You’ll be murdered and stuffed under a truck somewhere soon."
This is the awful behavior of someone who is profoundly immature. But it also seems to be the increasingly desperate behavior of an artist who recognizes that her career is listing, badly, and who has neither the support structure in place to rein her in nor the discipline to course-correct by focusing on her work. Banks has always made it clear, with her actions if not words, that she embraces the role of iconoclast. What she's failing to realize is that even iconoclasts need people in their corner.
And it’s not just the fans that Banks has alienated. Jettisoned projects with Disclosure and Lady Gaga are examples of why artists find it increasingly difficult to collaborate with her. She was dropped by XL and walked away from Universal, and as The Guardian points out, isn't likely to find a home at another major anytime soon. She's not wrong when she points out the inherent challenges of being a young black woman in a predominantly white, male industry, but the reputation she once had, of being both talented and provocative, was one that she could have had success trading on. Her new reputation, less so. She could benefit tremendously from a trusted, close-knit group of seasoned professionals who could help shape her talent into a sustainable career, but who's going to make that investment at this point?
The temptation to give up on her is justified, but what a waste that would be. Her debut, Broke With Expensive Taste, was a triumphant album that showcased her exceptional rap skills and genre-bending playfulness. It received favorable reviews, which have since been eclipsed by Banks's subsequent troll-y antics. But she has never concealed her taste for the outrageous or the profane; she’s never been politically correct; she’s never been outwardly willing to conform. Consider: The most famous line from her first single was “I guess that cunt gettin’ eaten.” She has always been a provocateur, and for awhile that was what we loved about her. But she also had the music. The behavior was tolerable — or at least more so than it is now — because of that spellbinding output and scintillating potential. As the music fades from memory, we're suddenly being forced to ask just who this is that we've been championing.
Sensing she had gone too far after the airplane incident, Banks deleted her most incendiary comments (but didn’t admit to doing anything wrong or — heaven forbid! — apologize), and then tried to turn the situation into a teachable moment for the LGBT community. “All I had to do was say one word and I moved a whole community. What weaklings!!!” she tweeted. She then went on to evoke a “sticks and stones” schoolyard philosophy by claiming the word ****** does not offend her. “I'm not a weak bitch, being called a dyke or a ****** does absolutely nothing to move me.” “I'd be like ‘That's all you got???’"
She capped it off with a string of emoji, as though a yellow smiley could make watching her flail any less bearable. But she's right that something can be learned from all of this. If Banks wants to continue to have a successful career in music, she’ll have to realize that being carelessly provocative brings with it the risk of a burnt-out reputation and a vertiginous crash to Earth. She's falling fast, and no longer is anything about her spectacle entertaining.
http://www.vulture.com/2015/09/has-azealia-banks-trolled-her-career-to-death.html
Attention is a helluva drug
Playboy Is Shutting Down the Print Magazine
By Jordan Crucchiola@jorcru
Photo: Playboy
Just as many other businesses are having to rapidly reevaluate structures and revenue streams in light of coronavirus-related isolation measures being put in place, so too is Playboy. The publication announced today that it will no longer be putting out its quarterly print magazine and going fully digital for the remainder of the year before recommencing more limited print runs in 2021. Here’s an excerpt from the long open letter by Playboy’s CEO:
By Jordan Crucchiola@jorcru
Photo: Playboy
Just as many other businesses are having to rapidly reevaluate structures and revenue streams in light of coronavirus-related isolation measures being put in place, so too is Playboy. The publication announced today that it will no longer be putting out its quarterly print magazine and going fully digital for the remainder of the year before recommencing more limited print runs in 2021. Here’s an excerpt from the long open letter by Playboy’s CEO:
So, it’s more of a pause in print than an outright stoppage. The “Rabbit Head,” as this letter bafflingly describes the Playboy Bunny logo, will return to the page, but another possible economic collapse sending 2008-PTSD waves through the publishing industry is certainly not what magazines needed right now.
The One, True Agent of Chaos Azealia Banks Finally Speaks, Criticizes Nicki Minaj on Instagram
By Chris Murphy
Trolls gonna troll. Photo: Getty Images
She’s back. After Grimes’s baby, and Lana Del Rey’s extended public meltdown, who among us was not wondering, where on God’s green earth is Azealia Banks? Well, on Monday, May 25, the one, true agent of chaos Miss Banks emerged from whatever hole she’s been hiding in and did what she does best: stirred the pot. But with so many scandals and controversies emerging over the long weekend, which did the “212” songstress choose to sink her teeth into first. In a surprising decision, she left Lana Del Rey and Grimes alone and chose to come for Nicki Minaj first. After telling some seriously NSFW stories about alleged encounters with Adrian Grenier and Dave Chappelle, Banks flamed Minaj for not calling out her “Say So (Remix)” partner after allegations emerged over the weekend that Doja mocked victims of police brutality with her song “Dindu Nuffin” and was involved in racist video chats.
“Nicki,” Banks says straight to camera, “for all that fucking mouth you have for Cardi B for talking shit about black women, and now you quiet because you got this little number one with this white bitch. You a pussy ass bitch.” If you thought that was as far as Miss Banks was going to go, then you clearly do not remember the artist formerly known as Azealia Banks. “Now I’m looking back at it and you was just jealous of Cardi… you was just jealous because she’s got more swag than you,” said Banks, going out of her way to throw salt in old wounds. If it wasn’t clear enough what Banks this of the situation, she goes on to say that if Minaj doesn’t get on QUEEN Radio and call out Doja for her comments then she’s “not the queen of rap… You’re working with Tekashi [6ix9ine] and Doja Cat and wack bitches like that like what? Trying to put fear in bitches hearts… I’m just very disappointed in you. All that shit you talk about female rap and female this and female that and look at you selling out. You selling out.” Ouch. Take a trip into Azealia Banks’s Instagram stories and check and watch the queen of chaotic evil go off.
By Chris Murphy
Trolls gonna troll. Photo: Getty Images
She’s back. After Grimes’s baby, and Lana Del Rey’s extended public meltdown, who among us was not wondering, where on God’s green earth is Azealia Banks? Well, on Monday, May 25, the one, true agent of chaos Miss Banks emerged from whatever hole she’s been hiding in and did what she does best: stirred the pot. But with so many scandals and controversies emerging over the long weekend, which did the “212” songstress choose to sink her teeth into first. In a surprising decision, she left Lana Del Rey and Grimes alone and chose to come for Nicki Minaj first. After telling some seriously NSFW stories about alleged encounters with Adrian Grenier and Dave Chappelle, Banks flamed Minaj for not calling out her “Say So (Remix)” partner after allegations emerged over the weekend that Doja mocked victims of police brutality with her song “Dindu Nuffin” and was involved in racist video chats.
“Nicki,” Banks says straight to camera, “for all that fucking mouth you have for Cardi B for talking shit about black women, and now you quiet because you got this little number one with this white bitch. You a pussy ass bitch.” If you thought that was as far as Miss Banks was going to go, then you clearly do not remember the artist formerly known as Azealia Banks. “Now I’m looking back at it and you was just jealous of Cardi… you was just jealous because she’s got more swag than you,” said Banks, going out of her way to throw salt in old wounds. If it wasn’t clear enough what Banks this of the situation, she goes on to say that if Minaj doesn’t get on QUEEN Radio and call out Doja for her comments then she’s “not the queen of rap… You’re working with Tekashi [6ix9ine] and Doja Cat and wack bitches like that like what? Trying to put fear in bitches hearts… I’m just very disappointed in you. All that shit you talk about female rap and female this and female that and look at you selling out. You selling out.” Ouch. Take a trip into Azealia Banks’s Instagram stories and check and watch the queen of chaotic evil go off.