We teach girls to shrink themselves, to make themselves smaller. We say to girls: “You can have ambition, but not too much. You should aim to be successful, but not too successful otherwise, you will threaten the man” Because I am female, I am expected to aspire to marriage I am expected to make my life choices always keeping in mind that marriage is the most important now, marriage can be a source of joy and love and mutual support but why do we teach girls to aspire to marriage and we don’t teach boys the same? We raise girls to see each other as competitors not for jobs or for accomplishments, which I think can be a good thing but for the attention of men We teach girls that they cannot be sexual beings in the way that boys are Feminist: a person who believes in the social, political, and economic equality of the sexes…
Can I, can I save you from you? Cause you know there’s something missing And that champagne you’ve been sippin Not supposed to make you different all the time It’s starting to feel like the wrong thing to do Cause with all that recognition it gets hard for you to listen To the things that I must say to make you mine
"They’ll forget your name soon/ And won’t nobody be to blame but yourself," Azealia Banks sings on 2011’s viral hit “212”. In a song packed with visceral taunts and low blows, this line felt like a throwaway, but it turned out to be prophetic—even Banks said it was directed at herself and not, as everyone had assumed, Nicki Minaj. But so what if “212” becomes the only Azealia Banks song we ever remember? It sounds as fresh and audacious now as it did three years ago. Over Lazy Jay’s “Float My Boat”, Banks swings slings and arrows, knots of slang delivered by multiple characters. And while “cunt” will still shock listeners in three, six, or nine years, it’s Banks’ assonant, monosyllabic lyrics that give “212” delicious staying-power. “You’re playing with your butter like your boo won’t true/ Cock the gun, too” doesn’t sound “of the moment”—it sounds like any moment from 2011 on. If the quick wordplay and multiple voices feel like Nicki to you, remember that the year’s only other runaway hit by a female rapper was Minaj’s “Super Bass”, which was awfully soft compared to Banks’ promise to ruin cunts everywhere. She hasn’t given rappers much to worry about since “212” (except seeing her name in their Twitter mentions), but if this masterpiece of shit-talk encouraged at least one rapper to work less Pink and more blue, then that’s worth remembering
It could all be so simple But you’d rather make it hard Loving you is like a battle And we both end up with scars Tell me, who I have to be To get some reciprocity No one loves you more than me And no one ever will
"Dangerous Days" recasts an archetypical Zola Jesus song as an electro-pop banger of gothic grandeur. Danilova has suggested the title of her upcoming LP Taiga let her spiritually commune with her Russian heritage—in going home, she’s gone big.