Azealia Banks's 2011 hit single “212” established her as one of hip-hop's rising stars, with critics highlighting the song's provocative lyrics and Banks's ability as an MC as standout qualities. Banks would later receive attention for her public dispute with white rapper Iggy Azalea, whom she accused of exploiting black musical culture. This article integrates an analysis of “212” with a discussion of Banks's recent public rhetoric in order to examine the ways in which Banks rearticulates the figure of the black female rapper and criticizes white fascination with black female sexuality and black cultural forms. I conclude by situating this discussion within the broader context of contemporary “post-racial” politics, in which the political elements of hip-hop and the systemic racial inequalities they address have become increasingly marginalized in favor of “color-blind” conceptions of United States society and popular culture.

中文翻译：

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Azealia Banks 的“212”：当代嘻哈中的黑人女性身份和白人凝视

Azealia Banks 2011 年的热门单曲“212”确立了她作为嘻哈新星之一的地位，评论家强调这首歌的挑衅歌词和 Banks 作为 MC 的能力是杰出的品质。班克斯后来因与白人说唱歌手伊基杜鹃花的公开争执而受到关注，她指责后者利用黑人音乐文化。本文将对“212”的分析与对班克斯近期公开言论的讨论相结合，以检验班克斯如何重新表述黑人女性说唱歌手的形象，并批评白人对黑人女性性行为和黑人文化形式的迷恋。最后，我将这一讨论置于当代“后种族”政治的更广泛背景下，