Wallace by Azealia Banks Lyrics Meaning – Decoding the Fervent Flow of Identity and Empowerment
Lyrics
Hot high Lady Lucid, the city
What, what up? Rottweiler?
I might take ya to it, get ready
Friar flyer, I’m the Nostra-dyme and I say, say I says how do ya?
I cloud all day and night, outta sight
I’m miss “so-high” so I wore some eye wears and tie-dye
Alright, young blood, nice to know ya
Should I give my name, if I think ya knew it already
What a brave design, what a time
Ay, Monsieur I’m so live and so world-wide
If that’s what ya know
Wallace I say yo
Come and talk to me beam me up
When I reach that one do ya wild out, I suppose
I been hot in Europe yep
Tel Aviv, Istanbul, Seoul London, Toyko
Dawn is Dusk to me believe it yep
When I beat that drum boy, go
Wallace, I say yo come and talk to me
Beam me up
He said it’s just me Miss banks, a.k.a. Nestlé
A.k.a. best he, ever had sex he
Ever got licked, but he never got swallowed
Bitch you know that nigga in the sugar-pop lotto!
He was on her Twitter, but he never got followed
I’ma chin-up with that win, I get the yen and pop bottles!
And um
Official with the hitter-hop, y’all know
Ocie-beachie bathing with that, that top model and um
He already know what it does
I got hair for ya nigga, keep it deep in the fuzz!
I chat-cheek-cheeky chickle, sip a giggly-grape
Yes I jiggle when I wiggle-shake it, shook up the bait
Best to get her mister, for ya best one do
The jet-setter with the pleasure and the wet pum-poom
The Black-Cherry on her tickle when her breast undo
Ya lick the left one ya gotta lick the right one too, nigga!
Yeah, I’m styling a starlet a scene
Carve a diamond tiara, pour tea
One time for señora cherry, oh yeah
Yeah, I’m lilac and laurel a tease
You’re a giant, I saw all your teeth
Rottweiler, let’s barter let’s see
Bow-Wow yippee-yo yippee-yay
Poochie, you big dog, then bite for a taste!
Kitty in many cities, you licking for a lay
Claiming the big ticket then pay what you say!
Benji’s and Euro-izzy, The Yin for the Yang
Touring the world Crazy Make Rottweiler gray
Bottles of Gold frizzy, she’s frosty and chaste
Dead doggy-dog belongs in the Grave
If that’s what ya know
Wallace I say yo
Come and talk to me beam me up
When I reach that one do ya wild out, I suppose
I been hot in Europe yep
Tel Aviv, Istanbul, Seoul, London, Toyko
Dawn is dusk to me believe it yep
When I beat that drum boy, go
Wallace, I say yo come and talk to me
Beam me up
Hot lava, hot lava
Hot high lady Lucid, the city
Rottweiler, rottweiler
I might take it to you get ready
Hot lava, hot lava
Hot high lady Lucid, the city
Rottweiler, rottweiler
Azealia Banks – an artist known for her quick wit, rapid-fire flow, and unapologetic presence in the world of hip-hop, continually dives into the complexities of her own identity and the shared experience of her audience. With ‘Wallace,’ Banks weaves a narrative tapestry that is as enigmatic as it is vibrant, challenging listeners to look beyond the surface of its confounding verses.
The song ‘Wallace’ stands out as more than just a track; it is a multi-layered construct of references, braggadocio, and intimate insight into Banks’s psyche. This linguistic labyrinth is ripe for dissection, and in doing so, we may illuminate the corridors that lead to the core of its meaning.
A Lyrical Labyrinth of Self-Reference
From the outset, ‘Wallace’ throws us into a hotbed of linguistic intricacies – a characteristic Banks relishes in her music. The refrain ‘Hot lava, hot lava’ sets the stage for something fiery, dynamic and transformative. As the verses progress, Banks uses a series of cryptic allegories and clever wordplay to explore themes of identity and self-affirmation.
The various monikers Banks adopts – from ‘Lady Lucid’ to ‘Nostra-dyme’ – showcase a multiplicity of identities, each portraying different facets of her persona. These alter egos allow Banks to navigate the music industry and personal experiences with a fluid sense of self, never pinned down nor fully exposed.
The Hidden Meaning: Power Dynamics in the Spotlight
In ‘Wallace,’ Banks doesn’t simply craft a song; she constructs an audible chessboard of power dynamics. Calling herself ‘the city’ and likening another entity to a ‘Rottweiler’ suggests a narrative of control, dominance, and the will to conquer. Banks positions herself as an indomitable force within the urban landscape – not just a part of it, but the defining essence.
The mention of international cities like Tel Aviv, Istanbul, Seoul, London, and Toyko points towards her global influence and the idea that her reach knows no geographic bounds. Through this, Banks claims her place in a wide-reaching cultural dialogue, asserting that she is both impacted by and an active participant in global trends and movements.
Sensual Symbology and the Celebration of Female Sexuality
Beyond the bravado, ‘Wallace’ is an ode to the potency of female sexuality. Banks employs sensual imagery, intimate physical references, and the playful use of language to assert her sexual autonomy. ‘I got hair for ya nigga, keep it deep in the fuzz!’ she raps, embracing her femininity as both a source of pleasure and power.
The explicitness of lines such as ‘The Black-Cherry on her tickle when her breast undo’ is not simply shock value, but a reclaiming of the narrative around female pleasure, placing it firmly in the hands of the woman it belongs to – a bold statement in a genre where women’s bodies are often objectified and controlled by male perspectives.
Bow-Wow yippee-yo: Dance of Dominance or Playful Parade?
Incorporating a nuanced throwback with the line ‘Bow-Wow yippee-yo yippee-yay,’ Banks playfully nods to the dog-eat-dog nature of the music industry, as well as the childhood rhymes that contrast with the song’s mature content. This juxtaposition complicates the song, invoking a sense of playfulness amidst its exploration of more adult themes and power struggles.
By likening herself to a ‘Kitty in many cities,’ Banks reinforces her assertive mobility, while the ‘Rottweiler’ – a metaphor for male dominance – is invited to ‘barter’ with the understanding that she is an equal participant in the negotiation of power, not a submissive party.
The Pulse of ‘Wallace’: A Rallying Drumbeat for the Underrepresented
Banks doesn’t just embody various personas; she uses her platform to shed light on those who relate to her experience. When she declares, ‘Dawn is Dusk to me believe it,’ she alludes to the fluid nature of time and reality for those living on the fringes of the mainstream, whether due to race, gender, or artistic eccentricity.
‘When I beat that drum boy, go,’ constitutes a call to arms, an implicit invitation for listeners to join her in both the physical act of dance and the metaphorical march towards reclaiming identity and power. Here, the song transcends personal narrative and becomes an anthem for those seeking to redefine themselves on their own terms.
