My New Internet Crush...SZA - Top Dawg Entertainment 1st Lady (Kendrick Approved)
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https://www.youtube.com/results?search_query=SZA+Coachella
https://www.stereogum.com/1991460/w...drick-lamar-isaiah-rashad-trippie-redd/video/
https://consequenceofsound.net/2018...vincent-the-weeknd-kali-uchis-and-jamiroquai/
https://pitchfork.com/news/sza-brings-out-kendrick-at-coachella-2018-watch/
https://www.stereogum.com/1991460/w...drick-lamar-isaiah-rashad-trippie-redd/video/
https://consequenceofsound.net/2018...vincent-the-weeknd-kali-uchis-and-jamiroquai/
https://pitchfork.com/news/sza-brings-out-kendrick-at-coachella-2018-watch/
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I'll take one of this please
And a helping of this too
SZA Demos Mysteriously Released on Spotify Under Name ‘Sister Solana’
By Bethy Squires
Unreleased SZA demos from 2015 were mysteriously uploaded to Spotify under the name “Sister Solana” in an album titled Comethru. Solana is SZA’s first name, but it doesn’t seem like she released the tracks herself. In her Instagram story, SZA wrote over a screenshot of the album “BIG [billed cap emoji, signifying lies/bullshit]!!. These are random scratches from 2015. Def not new! But … creative ? And Scary ? [nervous teeth-baring emoji, sweating emoji].” Two tracks on Comethru feature Kendrick Lamar, only whoever uploaded the songs nicknamed him “King Kenny.” Problem is, Spotify already has an artist named King Kenny, and he most definitely ain’t Kendrick.
It seems likely these tracks will be taken down soon, especially since they seem to have been taken from SZA without her consent. You can stream them on Spotify (for now) or you can wait patiently for new legitimate SZA tracks, which she assured us on Instagram are coming soon.
By Bethy Squires
Unreleased SZA demos from 2015 were mysteriously uploaded to Spotify under the name “Sister Solana” in an album titled Comethru. Solana is SZA’s first name, but it doesn’t seem like she released the tracks herself. In her Instagram story, SZA wrote over a screenshot of the album “BIG [billed cap emoji, signifying lies/bullshit]!!. These are random scratches from 2015. Def not new! But … creative ? And Scary ? [nervous teeth-baring emoji, sweating emoji].” Two tracks on Comethru feature Kendrick Lamar, only whoever uploaded the songs nicknamed him “King Kenny.” Problem is, Spotify already has an artist named King Kenny, and he most definitely ain’t Kendrick.
It seems likely these tracks will be taken down soon, especially since they seem to have been taken from SZA without her consent. You can stream them on Spotify (for now) or you can wait patiently for new legitimate SZA tracks, which she assured us on Instagram are coming soon.
SZA Says New Music Is Coming … Just Might Not Be an Album
By Zoe Haylock@zoe_alliyah
At this rate, SZA x Goop seems more likely than an album. Photo: Evan Agostini/Invision/AP/Shutterstock
Remember the old days when yelling “Rihanna’s impact!” didn’t mean another queen is delaying their album? We’re old now. And so weary. And yet, SZA told Rolling Stone her highly anticipated sophomore album might not even be an album. “Music is coming out this year for sure,” she said. “An album? Strong words.” Okay, technically, they were her words. SZA has previously talked about her forthcoming album, even saying she might retire after its release (she denied retirement rumors to Rolling Stone). In January, SZA tweeted that she will drop new music in 2020, but doesn’t specify an album. As recently as August, she cited Justin Timberlake, Post Malone, Jack Antonoff, and Brockhampton as potential collaborators. At the same time, SZA knows fans miss that late-night-sad-girl sound. “I’ve dropped nothing but features,” she admitted. “People don’t know who the fuck I am, right? They think I’m on some stupid superstar shiny shit. I know people are tired of seeing that. They want to see me. I owe people that. So I’m going to do that.”
Releasing music on her own terms is part of SZA’s journey out of a “dark-ass depression.” After losing her grandmother, great aunt, and friend Mac Miller, the singer got really into health and wellness. Slowly but surely, the Pilates, the meditation, the crystals, and the sound bowls (which SZA is planning to incorporate in her new music) started to help. “You really have to choose to feel better,” she emphasized. “You have to. Have to. Because if you don’t, you just die. I decided I’m going to choose that shit for my fucking self, for real. I feel like I’m only trying to make music that I care about, and I’m trying to work with people that will fuck with me for real. That’s it.”
By Zoe Haylock@zoe_alliyah
At this rate, SZA x Goop seems more likely than an album. Photo: Evan Agostini/Invision/AP/Shutterstock
Remember the old days when yelling “Rihanna’s impact!” didn’t mean another queen is delaying their album? We’re old now. And so weary. And yet, SZA told Rolling Stone her highly anticipated sophomore album might not even be an album. “Music is coming out this year for sure,” she said. “An album? Strong words.” Okay, technically, they were her words. SZA has previously talked about her forthcoming album, even saying she might retire after its release (she denied retirement rumors to Rolling Stone). In January, SZA tweeted that she will drop new music in 2020, but doesn’t specify an album. As recently as August, she cited Justin Timberlake, Post Malone, Jack Antonoff, and Brockhampton as potential collaborators. At the same time, SZA knows fans miss that late-night-sad-girl sound. “I’ve dropped nothing but features,” she admitted. “People don’t know who the fuck I am, right? They think I’m on some stupid superstar shiny shit. I know people are tired of seeing that. They want to see me. I owe people that. So I’m going to do that.”
Releasing music on her own terms is part of SZA’s journey out of a “dark-ass depression.” After losing her grandmother, great aunt, and friend Mac Miller, the singer got really into health and wellness. Slowly but surely, the Pilates, the meditation, the crystals, and the sound bowls (which SZA is planning to incorporate in her new music) started to help. “You really have to choose to feel better,” she emphasized. “You have to. Have to. Because if you don’t, you just die. I decided I’m going to choose that shit for my fucking self, for real. I feel like I’m only trying to make music that I care about, and I’m trying to work with people that will fuck with me for real. That’s it.”
The Rebirth of SZA
She transformed R and B with her honesty and warmth. Fans are desperate for new music — but first, she’s working on herself.
www.rollingstone.com
The Rebirth of SZA
She transformed R&B with her honesty and warmth. Fans are desperate for new music — but first, she’s working on herself
By
EMMA CARMICHAEL
SZA photographed in Los Angeles on January 28th, 2020 by Campbell Addy.
Produced by Rachael Lieberman. Set design by Ali Gallagher at Jones Mgmt. Fashion direction by Rachel Johnson. Tailoring by Kimberly Mackin. Hair by Randy Stodghill at Opus Beauty. Nails by Teana Nails. Makeup by Ernesto Casillas for The Only Agency. Styling by Dianne Garcia for The Only Agency. Vest and pants by Karl Kani. Chain vest by Comme Des Garçon archived from Artifact NYC.
It’s past midnight at SZA’s home in Los Angeles when she disappears to retrieve her set of sound bowls. There’s a car arriving in just under three hours to take her to the airport, where she’ll be catching a 6 a.m. flight to Hawaii, but she’s not concerned about her suitcase. “I’m not packing shit but T-shirts,” she says giddily. Kauai, where she will go on to write at Rick Rubin’s house for the next six days, “is a very healing place. It fits my brain.”
SZA, 29, returns and arranges seven bowls, ranging in size from cereal to oversize salad, on the wood floor of her living room, carefully resting each one on a small circular base. She’s been using them in the studio, recording low frequencies for some of her new tracks — you can barely hear them, she says, but the bowls create “an internal hum that feels right.” One of them broke recently, and it made her cry like she had lost a person. She couldn’t bring herself to throw it away, so she wrapped it in a T-shirt and left it at the base of a tree in her backyard.
“Each of these are toned to different chakras in your body,” she says, pointing to them one by one. “So this is a low D. This is your high B, which is your astral plane of your crown chakra.” She continues down the line. Each bowl’s material dictates its healing properties, she explains: Selenite and pink salt are for cleansing, morganite is for love and kindness. Sitting cross-legged on the floor, she begins to play them by drawing her mallet around the bowls’ rims. “You pick whatever note comes to your mind naturally, and you imagine it squeezing out of your body. You compress it, like this,” she says, pressing her hands to her chest. “Push it out.” A note emerges from SZA’s lips, clear and full.
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As the sparsely furnished room starts to vibrate, she joins her bowls in a duet, singing out brilliant, single-note tones as the mood strikes her. All of the sounds start to meld together, surging and falling. Five minutes pass like this, just SZA sitting cross-legged on the floor in sweats, contentedly playing a one-woman sound-bowl show in the middle of the night. When she is feeling dark, SZA says as she plays, she will pick a word and sing it with intention. “I’m blessed, I’m well, I’m well,” she sings out suddenly, in tune with one of the instruments. She pauses for a moment and sighs. “It works. I feel, like, 10 times better already.”
Growing up in suburban Maplewood, New Jersey, Solána Imani Rowe felt she had a chip on her shoulder. In high school, she recalls, “I wanted to be liked and have a good time, but it just wasn’t in the books for me.” She skipped her prom to go to South Beach with her mom and a few close friends, and one night found herself partying in the VIP section of a club, not far from Lil Wayne and Diddy. The trip, she says, “kind of cracked the door open. I was like, ‘Fuck this, I don’t have any friends anyway. There’s nothing to stick around for. I might as well go chase more.’ ”
She went to college to study marine biology, then worked retail and service jobs while making music on the side. Around 2012, back when artists could still develop a following off of self-released SoundCloud tracks, she started generating buzz online with songs like “Aftermath,” whose heady lyrics (“I am not human/I am made of bacon, fairy tales, pixie dust, I don’t feel”) helped draw in fans.
One of them was the author Ta-Nehisi Coates, who copied another line from “Aftermath” (“You don’t have to kidnap/I’d like to be kidnapped”) into a notebook while writing his 2019 novel The Water Dancer. “When I hear SZA’s lyrics, it feels like it’s definitively her — this really human, young, black woman who is sometimes insecure about her body, other times feels really sexy, sometimes falls really hard,” Coates says. “That’s what an artist is supposed to do. Once they get into that specificity of who they are, that’s when they’re touching the most human aspect of it.”
Top Dawg Entertainment co-president Terrence “Punch” Henderson took notice, too, signing SZA as the label’s first woman artist in 2013. Ctrl, the debut album that followed in 2017, made her a star. She stood out by writing the way a woman’s internal monologue might actually sound, oscillating between public-facing bite and what are usually privately-held insecurities. (“Let me tell you a secret/I’ve been secretly banging your homeboy,” she sang 43 seconds into her hit “Supermodel,” before allowing, “Wish I was comfortable just with myself.”) As millennial coming-of-age texts go, Ctrl is on a level all its own: It sounds like a vulnerable twentysomething’s stream of consciousness, brimming with anxieties, discontented love stories, and a range of pop-culture references one can only absorb from growing up on the internet.
SZA photographed in Los Angeles on January 28th, 2020 by Campbell Addy.
Since being signed, SZA has garnered nine Grammy nominations, performed on Coachella’s main stage, and written and sung on tracks by superstars from Beyoncé to Post Malone. “All the Stars,” her 2018 collaboration with labelmate Kendrick Lamar for the Black Panther soundtrack, has been streamed nearly 700 million times on Spotify. Still, she says she feels dogged by a sense of guilt, like she needs to do more. She considers herself to be shy and awkward, and to this day says she still doesn’t feel worthy when she steps onstage: “I’m always shocked that people are there.”
It’s been nearly three years since Ctrl was released, and SZA’s very committed fan base has grown impatient. When she tweets these days, no matter the subject, the replies invariably turn into a chorus of inquiries about her next project (“Honey, i want some new music pls not facts about dinosaurs’ farts,” to cite a recent example), and the few snippets she’s shared have been carefully cataloged online. Even SZA, when we first sit down together in late January, asks me warily, “Is this supposed to be about the album?”
When I arrive at her spacious two-story Tudor house around 10 p.m. on a Tuesday night, SZA has just finished cooking dinner for herself and a couple of friends. She looks ready for bed, in gray sweatpants and a cropped green Champion sweatshirt. Instead, she sprawls on her plush white carpet with the comfort of a former gymnast, which she is, and slowly rolls herself a joint.
The free-associative, playful way of thinking that SZA’s known for in her songwriting comes across in conversation as well — an aside about how much she admires a certain musician, for example, turns into extended musing about men in the industry who possess “Johnny Bravo energy” (a work-in-progress list: King Krule, Frank Ocean, Future). She flashes her eyes conspiratorially when she’s amused or intrigued, and shows a true stoner’s dualism: external curiosity and inward-facing thoughtfulness in equal measure.
She says she’s nervous about her first proper interview in a year, but speaks so openly that it almost seems like she’s been waiting for an opportunity to explain herself. It has been, in SZA’s words, “a wild-ass fucking year,” full of grief and introspection. She’s just beginning to process it all, through wellness practices and, in stages, through her music.
About that: “Music is coming out this year for sure,” she says. “An album? Strong words.” The much-reported rumor that she was planning on releasing a trilogy of albums and then retiring, she says, is nonsense.
“I can always make music. It’s who I am,” she says. “So if I started making fucking sculptures and decide to take up entomology, I’m still probably going to drop something. I am also getting to know myself. Because if I keep trying to regurgitate the same girl, y’all are going to hate that shit. And I don’t want that either.”
She’s aware of the pressure, though. “I’ve dropped nothing but features,” she says. “People don’t know who the fuck I am, right? They think I’m on some stupid superstar shiny shit. I know people are tired of seeing that. They want to see me. I owe people that. So I’m going to do that.”
She’s been drawing inspiration from jazz (Miles Davis, John Coltrane) and a truly eclectic playlist she made “from my childhood,” which jumps around from the Beach Boys to Ella Fitzgerald to Australian neo-soul group Hiatus Kaiyote. “I don’t even give a fuck about cohesion,” she adds. “If you sound like you, your shit’s going to be cohesive. Period.”
“She has so much range,” TDE’s Henderson tells me later. “She can do alternative rock, traditional R&B, hip-hop, country. Weaving all of those in together, kind of how we did on Ctrl — that’s the fun part for me. It’s a new chapter. She’s not scared to try certain things now.”
SZA recently spent time in the studio with Timbaland (“He played fucking Brazilian jazz-type beats, and I popped off to that”), and she had a revelatory session with Sia (they wrote three songs together, and SZA says the “Chandelier” singer “manifested the best of me”). And back in October, she took a phone call one morning from a man with a thick, put-on accent, asking her to perform at some international festival. After a while, he dropped the ruse and told her, “This is Stevie.” “I was like, ‘Stevie who?’ He’s like, ‘Stevie Wonder.’ ”
SZA performing in London, 2018. Photo credit: Scott Garfitt/Shutterstock
He asked her to join him onstage at his annual Taste of Soul festival in L.A. the next day, and she flew her dad out to see it. She jokes that it was the first time she’d ever gotten up for a 9 a.m. soundcheck. Before they performed, she and Wonder spent two hours together in his trailer, freestyling at the piano. She plays me a bit from the recording — just her and Wonder exchanging vocal riffs over his keys — and mentions that she’s excerpted it for five different potential beats. “I have nowhere else to go from here,” she says, laughing. “That was scary for me, because that’s the top of my bucket list.”
SZA lights up when she recounts that morning with Wonder, and the more she talks, the clearer it is why: It was a bright spot amid a sequence of intense personal losses that have made her fans’ insatiable hunger for new music feel even more overwhelming. First, her close friend and collaborator Mac Miller died from an accidental overdose in the fall of 2018. Then, in early 2019, her maternal grandmother Norma’s health took a turn for the worse.
SZA spent much of last year traveling frequently between L.A. and New Jersey, where Norma was in hospice care, making it difficult to get in a creative groove in the studio. Everything felt up in the air. “I’ve been in the airport on the way to see my grandmother on life support,” she says, “and [fans] are like, ‘Aw, girl, what are you doing here? Can I get this picture now?’ ”
At home, she helped change her grandmother’s diapers and colostomy bags, and tried to be there for her own grieving mother. “My grandma was like my best friend,” she says. “It was the longest five months of my life.” In May, when Norma was really struggling, SZA performed on Saturday Night Live with DJ Khaled, which made her feel immense guilt.
Recounting all this from the floor in her living room, she starts to cry — first silently, and then in steady, quiet sobs. “I didn’t want to make music,” she says. “I didn’t. I was just trying to not kill myself, and not quit, period. Because it was really fucking hard, and lonely as fuck.”
Norma died in June, at age 90. Five months later, in November, SZA’s maternal aunt died unexpectedly. “I’ve buried so many people in my life, you would think that I would be used to it, or just have a threshold. But my grandma broke the threshold for me. It was so weird to not have any . . .” — her voice breaks — “I don’t know, any control over anything.”
To begin what she calls “my own journey out of this dark-ass depression,” SZA leaned into exercise and wellness. She committed herself to going to the gym every day and practicing Pilates; she got into crystals and meditation and sound bowls. (In December, she performed with the latter publicly for the first time at a chapel in Rancho Palos Verdes, California.) She says all of these things, bit by bit, started to help.
“You really have to choose to feel better. You have to. Have to,” she says through tears, pounding her floor for emphasis. “Because if you don’t, you just die. I decided I’m going to choose that shit for my fucking self, for real. I feel like I’m only trying to make music that I care about, and I’m trying to work with people that will fuck with me for real. That’s it. I’m just trying to do everything that is meaningful, and do shit that’s passionate, and remind myself that I’m worth something and talented and a nice girl. Just basic shit.” She pauses and collects herself. “So that’s what the fuck I’ve been doing.”
SZA, Megan Thee Stallion, and Normani (from left) photographed in Los Angeles on January 28th, 2020, by Campbell Addy.
SZA: Pants by Karl Kani. Boots by Heliot Emil. Belt chain by Martine Ali. MEGAN THEE STALLION: Hair by Kellon Deryck. Nails by Coca Michelle. Styling by EJ King. Bodysuit by Bao Tranchi. Top and bottom by Zana Bayne. Boots by Jennifer Le. NORMANI: Hair by Yusef at Factory Downtown. Nails by Yvett Garcia. Makeup by Rokael for Rokael Beauty. Styling by Vincent Smith for Mastermind Management Group. Shoes by Stuart Weitzman. Skirt by Marina Hoermanseder. Belt and bra by Zana Bayne. Anklet by Laruicci. Necklaces by Laruicci and Adore Adorn. Bracelets by Laruicci, Alexis Bittar, and IZA by Silvia D’Avila Jewelry.
A week later, SZA is back in L.A., fresh off a productive trip to Kauai. She extended her stay for an extra day, building a “crystal grid” around her microphone, working from 3 p.m. to 4 a.m. each night, and writing four new songs, including one that she describes as “a trap song from the perspective of Joni Mitchell.” She swam in the ocean under the stars and saw a sea turtle swimming next to her. “I broke into tears on the second night,” she says. “There were so many stars it made me feel like, ‘Oh, God, where am I, for real? What is this planet?’ ”
After a single night at home, she’ll get on another plane, to Miami, to work with Pharrell, whom she’s idolized for years: “I’ve stalked him my whole life.” Their paths first crossed when she was a teenage intern at his clothing company, Billionaire Boys Club. One day, she was tasked with bringing clothes to a N.E.R.D. music-video set, and they had her pose for the cameras. (Sure enough, 37 seconds into the “Everyone Nose” video, there’s high school SZA showing off a two-finger ring.) A decade later, she’s writing music with him.
Lately, she’s been working toward gradual growth, instead of seeing everything happening all at once. “It’s about recording every single day, with the idea and intention that you’re chipping away at this invisible thing that will eventually reveal itself,” SZA says.
In Hawaii, she adds, “every day became its own nucleus of ideas and experimentations, which led to making some shit I haven’t heard before. Usually when I hear something that I haven’t heard before, I hear it from somebody else. It’s exciting when I’m hearing shit I haven’t heard before, and it’s coming from me.”
SZA Blesses 20-Somethings With a Song for ‘Jersey 4 Jersey’ Benefit
By Chris Murphy
If you’re a 20-something quarantining in New Jersey, SZA’s got a song for you. On Wednesday evening, the singer-songwriter performed in Bruce Springsteen and Bon Jovi’s “Jersey 4 Jersey” benefit for the New Jersey Pandemic Relief Fund. Introduced by Whoopi Goldberg, SZA made sure to shout out her Jersey roots before launching into a rendition of her song “20 Something” from her Grammy-nominated album, CTRL. “Hi. My name is Solana and I’m from Maplewood, New Jersey,” she said, repping Essex County. “We’re praying for everybody at home.” Sitting on a couch while singing into a large microphone, SZA, accompanied by producer Carter Lang, added some new lyrics to the end of her beautiful ballad specifically addressing life under quarantine. “Everybody safe at home / Everybody scared outside / Everybody all alone / God bless you.” God bless us, indeed.
SZA Crowdsources A New Project: All of Her Previously Unreleased Songs
By Halle Kiefer@hallekiefer
Photo: Phillip Faraone/Getty Images for REVOLT
On June 9, it will be exactly three years since SZA released her critically-acclaimed, Grammy-nominated Ctrl. Fans are dying for a sophomore studio album from the singer, who tweeted on January 3 that the album will probably arrive at some point this calendar year. While the exact drop date is uncertain, and the actual content of the EP even more unclear, SZA is already ruminating on a new project. Or, to be more accurate, an old project, since it would consist of all of her previously unreleased tracks from the past.
The singer, who says she was “locked outta Twitter all quarantine,” from March 20 to May 24, immediately returned to social media and started brainstorming a “music dump” with fans. “So like a music dump .. similar to a photo dump but not an album,” SZA tweeted Monday. “This concept make sense to anyone? Has anyone ever done it ? Asking for me.” When a fan suggested she make a compilation called Perfectionism featuring all of her unreleased work, SZA seemed to be onboard. “Oooooouuuuuuuuu,” the singer mused. “It’s like even the shit that leaked ain’t the throw aways. That’s the throw aways leftovers.”
Continued the singer, “Okay dead ass THIS IS NOW A COLLECTIVE EFFORT EVERYONE IF U HAVE A SNIPPET IN MIND PLACE IT IN THIS THREAD. I DONT REMEMBER ALL OF THEM SO GATHER WHAT U WANT AND ILL SEARCH THE HARD DRIVE TODAY.” So, if you remember an amazing SZA song floating around the Internet that never found a home on Ctrl, let her know. Your obsessive knowledge of forgotten tracks might just pay off in real time.
By Halle Kiefer@hallekiefer
Photo: Phillip Faraone/Getty Images for REVOLT
On June 9, it will be exactly three years since SZA released her critically-acclaimed, Grammy-nominated Ctrl. Fans are dying for a sophomore studio album from the singer, who tweeted on January 3 that the album will probably arrive at some point this calendar year. While the exact drop date is uncertain, and the actual content of the EP even more unclear, SZA is already ruminating on a new project. Or, to be more accurate, an old project, since it would consist of all of her previously unreleased tracks from the past.
The singer, who says she was “locked outta Twitter all quarantine,” from March 20 to May 24, immediately returned to social media and started brainstorming a “music dump” with fans. “So like a music dump .. similar to a photo dump but not an album,” SZA tweeted Monday. “This concept make sense to anyone? Has anyone ever done it ? Asking for me.” When a fan suggested she make a compilation called Perfectionism featuring all of her unreleased work, SZA seemed to be onboard. “Oooooouuuuuuuuu,” the singer mused. “It’s like even the shit that leaked ain’t the throw aways. That’s the throw aways leftovers.”
Continued the singer, “Okay dead ass THIS IS NOW A COLLECTIVE EFFORT EVERYONE IF U HAVE A SNIPPET IN MIND PLACE IT IN THIS THREAD. I DONT REMEMBER ALL OF THEM SO GATHER WHAT U WANT AND ILL SEARCH THE HARD DRIVE TODAY.” So, if you remember an amazing SZA song floating around the Internet that never found a home on Ctrl, let her know. Your obsessive knowledge of forgotten tracks might just pay off in real time.
@ViCiouS
SZA Calls Out ‘Hostile’ Record Label for Holding Up New Music
By Justin Curto@justinmcurto
Photo: RMV/Shutterstock
More than three years after SZA released her debut album, Ctrl, which was plagued by delays since 2015, she’s addressing the delay behind follow-up music. “At this point y’all gotta ask punch,” she wrote in a tweet on August 19 (the tweet has since been deleted). “I’ve done all I can do.” Punch is the rapper who serves as president of Top Dawg Entertainment, SZA’s label (which is also known for working with Kendrick Lamar, ScHoolboy Q, and Jay Rock). One fan, @SKYENEXTDOOR, had asked Punch about releasing new SZA music, according screengrabbed Instagram comments they tweeted. He replied to their comment, “soon.” “This is all he says to me as well,” SZA tweeted in reply. “Welcome to my fucking life.” Another fan, @devanteb, replied to her initial tweet asking, “Would you saaay this is an adverse or hostile relationship orrr just out of your hands = you don’t know.” SZA answered, “BEEN hostile.”
Indirectly responding to SZA’s comments, Punch tweeted last night, “I am a person and you guys are hurting my feelings.” He added in a second tweet, “I’m gonna remember you n- - -as once the meet and greets pop off again.” SZA tweeted at the beginning of 2020 that she and Punch had discussed releasing new music this year. In a February Rolling Stone profile, she doubled down that new music would come out in 2020, but said an album was “strong words.” She tweeted in May that she wanted to release a “music dump” of previously unreleased songs, and asked fans for help sourcing the music. Speaking to Vulture around the 2017 release of Ctrl, SZA said her perfectionism contributed to the wait for her debut. “I think the delays were, like, coming in and out of me being lost in the album,” she said, “so I didn’t notice them as much.” Since Ctrl, SZA released “All the Stars” with Kendrick Lamar for Black Panther in 2018, “Just Us” with DJ Khaled in 2019, and “The Other Side” with Justin Timberlake for Trolls World Tour earlier this year.
SZA Calls Out ‘Hostile’ Record Label for Holding Up New Music
By Justin Curto@justinmcurto
Photo: RMV/Shutterstock
More than three years after SZA released her debut album, Ctrl, which was plagued by delays since 2015, she’s addressing the delay behind follow-up music. “At this point y’all gotta ask punch,” she wrote in a tweet on August 19 (the tweet has since been deleted). “I’ve done all I can do.” Punch is the rapper who serves as president of Top Dawg Entertainment, SZA’s label (which is also known for working with Kendrick Lamar, ScHoolboy Q, and Jay Rock). One fan, @SKYENEXTDOOR, had asked Punch about releasing new SZA music, according screengrabbed Instagram comments they tweeted. He replied to their comment, “soon.” “This is all he says to me as well,” SZA tweeted in reply. “Welcome to my fucking life.” Another fan, @devanteb, replied to her initial tweet asking, “Would you saaay this is an adverse or hostile relationship orrr just out of your hands = you don’t know.” SZA answered, “BEEN hostile.”
Indirectly responding to SZA’s comments, Punch tweeted last night, “I am a person and you guys are hurting my feelings.” He added in a second tweet, “I’m gonna remember you n- - -as once the meet and greets pop off again.” SZA tweeted at the beginning of 2020 that she and Punch had discussed releasing new music this year. In a February Rolling Stone profile, she doubled down that new music would come out in 2020, but said an album was “strong words.” She tweeted in May that she wanted to release a “music dump” of previously unreleased songs, and asked fans for help sourcing the music. Speaking to Vulture around the 2017 release of Ctrl, SZA said her perfectionism contributed to the wait for her debut. “I think the delays were, like, coming in and out of me being lost in the album,” she said, “so I didn’t notice them as much.” Since Ctrl, SZA released “All the Stars” with Kendrick Lamar for Black Panther in 2018, “Just Us” with DJ Khaled in 2019, and “The Other Side” with Justin Timberlake for Trolls World Tour earlier this year.
SZA Issues an Important Correction to Drake’s Claim He Dated Her in 2008
By Halle Kiefer@hallekiefer
Photo: Taylor Hill/FilmMagic
“Yeah, said she wanna fuck to some SZA, wait/‘Cause I used to date SZA back in ’08/If you cool with it, baby, she can still play,” Drake raps on “Mr. Right Now,” a new track off 21 Savage and Metro Boomin’s recently-released EP Savage Mode 2. After fans’ collective gasp hit her ears this weekend, however, “The Weekend” singer tweeted both a confirmation of, and a correction to, Drake’s claim, clarifying that they actually dated a year later in 2009 and chalking up the discrepancy to “poetic rap license.”
“So It was actually 2009 lol. ..in this case a year of poetic rap license mattered,” SZA explained on Twitter Sunday. “lol I think he just innocently rhymed 08 w wait. Anybody who really knows me and was around during this time can confirm.. it’s all love all peace.”
As for why the specific year makes that much of a difference, well, SZA didn’t turn 18 until November 8, 2008, another fact fans desperately needed clarification on. “I just didn’t want anybody thinking anything underage or creepy was happening. Completely innocent,” tweeted the singer. “Lifetimes ago.”
By Halle Kiefer@hallekiefer
Photo: Taylor Hill/FilmMagic
“Yeah, said she wanna fuck to some SZA, wait/‘Cause I used to date SZA back in ’08/If you cool with it, baby, she can still play,” Drake raps on “Mr. Right Now,” a new track off 21 Savage and Metro Boomin’s recently-released EP Savage Mode 2. After fans’ collective gasp hit her ears this weekend, however, “The Weekend” singer tweeted both a confirmation of, and a correction to, Drake’s claim, clarifying that they actually dated a year later in 2009 and chalking up the discrepancy to “poetic rap license.”
“So It was actually 2009 lol. ..in this case a year of poetic rap license mattered,” SZA explained on Twitter Sunday. “lol I think he just innocently rhymed 08 w wait. Anybody who really knows me and was around during this time can confirm.. it’s all love all peace.”
As for why the specific year makes that much of a difference, well, SZA didn’t turn 18 until November 8, 2008, another fact fans desperately needed clarification on. “I just didn’t want anybody thinking anything underage or creepy was happening. Completely innocent,” tweeted the singer. “Lifetimes ago.”
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