Over the past weekend, rapper and pot-stirrer Azealia Banks took to Twitter to celebrate the fact that she had managed to get RuPaul’s American album (temporarily) pulled from Spotify due to a lawsuit she was filing against the Drag Race host over allegedly ripping off one of her songs. Though there are slight differences, the similarities between RuPaul’s “Call Me Mother” and Banks’ own “The Big Big Beat” are pretty blatant — all the way down to their almost identical opening lines (“guess who up in this bitch” evolves into “guess who back in the house”) — and have been called out as such for months. “Call Me Mother” also happens to be one of RuPaul’s more well-known (and well-liked) songs, which couldn’t have helped the situation.

Though even as queer people have rushed to defend RuPaul, they seem to have forgotten that Banks is bisexual herself. Of course, this, in part, has to do with what Banks has come to represent in the seven years since that first single. Rather than continually growing her fanbase with a steady stream of new music, Banks has often found herself at the center of drama and self-perpetuated industry feuds. Some have garnered her even more fans, like her much-publicized feud with the similarly-named Australian rapper Iggy Azalea, who Banks accused of performing musical blackface with her affected Black Southern rap twang that quickly disappeared when she wasn’t rapping. But most others have earned her a “canceled” stamp, mostly because of the language she used to make her point (calling Zayn a “sand nigger,” for instance, which she has since apologized for).

In her latest escapade (pun definitely intended), Banks has once again been “canceled.” But this time, it doesn’t seem to stem from how she said anything. Rather, it appears that she has simply come for the wrong person. In the since-deleted string of tweets, Banks said that she would not allow for RuPaul to “step on my little black girl toes.” After he allegedly reached out to her following the impending suit, Banks scoffed, adding, “Where was that energy when you were stealing my work and using me as inspiration for your campy ass television show? I’m disappointed in him first and foremost as a black person. He was supposed to have my back. But he went with popular white gay sentiment and felt like I was disposable enough to steal from and discard. Fuck him.”

More than any other Azealia Banks feud, the issues she raised against RuPaul seemed to be relatively grounded. Last year, Ed Sheeran was called to task in much the same way for the noted similarities between “Shape of You” and TLC’s “No Scrubs.” Ditto for Bruno Mars and Mark Ronson’s “Uptown Funk,” as well as Robin Thicke and Pharrell’s problematic “Blurred Lines.” Though the similarities between those songs and the songs that allegedly inspired them are far more tenuous than what can easily be heard in Banks and RuPaul’s respective tracks, the people suing the former were never thought to be in the wrong. After all, it makes complete and perfect sense that someone would want credit (and compensation) for work they originated.

But for some Drag Race queens, coming after Mama Ru was a huge no-no. On Monday, Monét X Change vowed to “no longer perform my Azealia Mix...EVER.” She added that Banks is “rotted TRASH.” Given that Monét tagged Banks in the tweet insulting her, naturally, Banks replied, telling the Harlem drag queen that her “crotch is rotting and fermenting under that sour mildew ass girdle.” She also noted that she does “not give a goddamn” whether or not Monét (or any other queen, for that matter) performs her music. Monét eventually got the last word, however, first referring to Banks’ reads as “preschool” and then telling the rapper that the LGBTQ+ community is the “ONLY reason” she has a career right now. Before signing off, Monét finished her tweet with a decree: “Obscurity is where you shall exist.”