A Quote by Azealia Banks

The beats are like scripts, and the raps are my monologue. — © Azealia Banks
The beats are like scripts, and the raps are my monologue.
In hip-hop, there's not a lot of love. There's not a lot of love being spread. It's always like 'I'm stuntin' on you raps, or I'm better than you raps.' It's not a lot of 'Yo man, I idolize you raps.'
I remember, when I first rapped, I was writing raps. I don't write raps at all; I stopped early. I don't know - it seems like every day I find something a little bit easier.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
But I really like our experimental, performance and monologue videos, where there's barely jokes in the video, where it's almost a joke in itself that the monologue is even being recorded.
I'm aware that I have a career. But, if I was the hottest in the game, songs all over the radio - let's say whoever produced made me super big. Like, that would be cool, but there would be something in me that goes, 'You only wrote the raps. You didn't make the beats. You didn't direct. You didn't do all that.'
Naw, I don't write raps down. All my raps come off the top of the head.
This is going to seem odd, but I love Eminem because he has so much conviction and emotion in the way he raps. Every word that he raps, you feel it.
I feel like any single woman of color who's been onstage has a Shakespeare monologue in her back pocket, and a monologue from 'For Colored Girls.' It's just part of what you should have, as a woman of color.
Sometimes I go in and try to write beats, but I just trash 'em, and then the next time I go in, I'll make like six beats - six legit, nice beats. I'm really particular with how it needs to sound.
I'm livin' in times where my daughters are found around Kids who can't afford thinking caps... But always found drinkin' raps and eatin' off beats, Claimin' laws of the streets. But who made the laws? Everybody playin' rebel with no sign of a cause.
I started off making beats when I was like 12. Then when I linked with people who make beats full time, I was like, 'Bet, now I can focus on writing and singing.'
I feel like I've gotten myself comfortable making beats in front of people, so like, if I'm in a big room of people, I'm not like, nervous. I wanna be able to make beats on the spot.
Artists are controlled by the life that beats in them, like the ocean beats on the shore.
What made '400 Degreez' great is that Juvenile already had those raps. He already knew them. It was something that he knew every one of those raps.
["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.
I like challenging myself. I like the challenge of rapping to fast beats, rapping to beats that are super slow, whatever. I like the challenges, so I'm not afraid to take on any piece of music and create a song to it if it feels right to me.
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