{"id":430,"date":"2024-02-12T14:15:48","date_gmt":"2024-02-12T14:15:48","guid":{"rendered":"https:\/\/atlas.media.uoa.gr\/2023\/news31\/?p=430"},"modified":"2024-02-19T20:38:28","modified_gmt":"2024-02-19T20:38:28","slug":"sza-wins-best-rb-song-for-snooze-at-the-2024-grammys","status":"publish","type":"post","link":"https:\/\/atlas.media.uoa.gr\/2023\/news31\/?p=430","title":{"rendered":"SZA Wins Best R&B Song for “Snooze at the 2024 Grammys"},"content":{"rendered":"\n

She beats Victoria Mon\u00e9t, Robert Glasper, Halle, and Coco Jones to the prize.<\/p>\n\n\n\n

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SZA<\/a> has won Best R&B Song, for \u201cSnooze<\/a>,\u201d at the 2024 Grammys<\/a>. The SOS<\/em><\/a> artist won the category ahead of Victoria Mon\u00e9t (\u201cOn My Mama\u201d), Halle (\u201cAngel\u201d), Coco Jones (\u201cICU\u201d), and Robert Glasper (\u201cBack to Love\u201d). After accepting the trophy from her longtime friend Lizzo, SZA recalled their early days performing together in a tearful speech, thanked her team, and waved hello to Taylor Swift.<\/p>\n\n\n\n

SZA\u2019s Best R&B Song win marks her third victory of the evening; she also took home awards for Best Progressive R&B Album<\/a>, for SOS<\/em>, and Best Pop Duo\/Group Performance<\/a>, for \u201cGhost in the Machine\u201d with Phoebe Bridgers. In addition, she performed<\/a> \u201cSnooze\u201d and \u201cKill Bill\u201d earlier tonight, complete with sword-wielding dancers and a literal dumpster fire.<\/p>\n\n\n\n

After failing to convert any of her first five Grammy nominations, all in the Ctrl<\/em><\/a> era, SZA won her first Grammy in 2022<\/a>. She shared the Best Pop Duo\/Group Performance award<\/a> with Doja Cat for \u201cKiss Me More.\u201d<\/p>\n\n\n\n

Take a look :<\/em><\/strong><\/code><\/pre>\n\n\n\n
https:\/\/youtu.be\/lLRjys8kLJ8<\/a><\/p>\n\n\n\n
SZA<\/h1>\n\n\n\n
SZA is an American singer-songwriter best known for her critically acclaimed debut studio album \u2018Ctrl\u2019 which featured hit singles like “Love Galore” and “The Weekend”.  With her most recent release of “SOS” has propelled her to new heights by breaking numerous records, earning her #1 on Billboard 200 for 10 weeks.
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SPOTIFY : https:\/\/open.spotify.com\/artist\/7tYKF4w9nC0nq9CsPZTHyP<\/a><\/p>\n\n\n\n
APPLE MYSIC : https:\/\/music.apple.com\/us\/artist\/sza\/605800394<\/a><\/p>\n\n\n\n
YOUTUBE : https:\/\/www.youtube.com\/channel\/UCO5IQ70V7l-XpHW40HwaGsw<\/a><\/p>\n\n\n
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“SOS” REVIEW<\/strong><\/p>\n\n\n\n
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The cover of SOS<\/em> depicts SZA, a former marine biology major, perched on a diving board surrounded by the deep blue ocean, her face pointed contemplatively at the sky. She was inspired<\/a> by a 1997 photograph<\/a> of Princess Diana on Mohamed Al Fayed\u2019s yacht taken one week before her death and said she wanted to pay homage to the \u201cisolation\u201d it conveyed. On SOS<\/em>, she feels like a superwoman who deserves the world one minute, and a depressive second-stringer sacrificing her well-being for garbage men the next. She counteracts the millennial Bad Bitch\/Sad Girl dichotomy (tale as old as time) by filling in the vast emotional space between. The album opens with the Morse code distress call and a sample of the Gabriel Hardeman Delegation\u2019s 1976 gospel exhortation \u201cUntil I Found the Lord (My Soul Couldn\u2019t Rest)<\/a>,\u201d which lead her into a muscular opus of self-determination, singing in a rap cadence\/breath-control flex about how she\u2019s simply over the \u201cfuckshit.\u201d This opening title track sets up a kind of thesis for most of the album: that even amid self-doubt, she\u2019s gloved up, in the ring, a heavyweight champ looking for the belt.<\/sup><\/p>\n<\/blockquote>\n\n\n\n
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We already know SZA\u2019s dedication to her work is indefatigable\u2014amid public woes with her longtime record label TDE and her major-label partner RCA, she wrote hundreds of songs for what became SOS<\/em>, so culling it to just 23 is, in context, an exercise in restraint. At the same time, SOS<\/em> is a clear document of how extensively SZA has sharpened her songwriting since the exquisite CTRL<\/em>, how she\u2019s become an even more exacting lyricist and imaginative musician. While placing herself firmly in the tradition of R&B, she\u2019s forcefully blas\u00e9 about genre tropes. On SOS<\/em>, she belts her face off on an instant classic \u201cfuck you\u201d number (\u201cI Hate U\u201d) alongside a savage rap track that recalls the glory days of physical mixtapes (\u201cSmokin on my Ex Pack\u201d) and, perhaps improbably, a country song with a pop-punk chorus about revenge sex (\u201cF2F\u201d). This can sometimes land in the mushy middle\u2014\u201cGhost in the Machine,\u201d her breathlessly anticipated collab with Phoebe Bridgers<\/a>, finds them mirroring each others\u2019 vocal timbres over glitch electronica complete with synthetic harps courtesy of frequent collaborators Rob Bisel and Carter Lang. And \u201cSpecial,\u201d a track about body dysmorphia, sounds like she was writing from a Swiftian persona, \u00e0 la her loosie \u201cJoni<\/a>,\u201d yet comes off a bit pat sandwiched between a compendium of songs where she richly depicts the same sentiment. <\/sub><\/p>\n\n\n\n
But, wow, woe to her trifling exes. On the bait-and-switch stalker lullaby \u201cKill Bill,\u201d she lodges the chorus, \u201cI might kill my ex\/Not the best idea,\u201d getting all her darkest thoughts on the page with a strolling electric bass holding her hand. \u201cBlind\u201d delivers \u201cmy pussy precedes me,\u201d and, \u201cYou still talking \u2019bout babies\/I\u2019m still takin\u2019 a Plan B,\u201d on a soothing, string-laden ballad befitting a water sign. \u201cNobody Gets Me,\u201d another tumultuous acoustic ballad that conjures \u201cFade Into You<\/a>\u201d transmitted through an AM radio in Nashville, proffers a carnal scenario: \u201cYou were balls deep\/Now we beefin\u2019\/And we butt-naked at the MGM, so wasted, screamin\u2019 \u2018fuck that.\u2019\u201d She is a seriously funny songwriter, who also dignifies her specific visual place-setting (Vegas is particularly cursed<\/a>) and raw expression of feelings by giving them space and melody. <\/sub><\/p>\n\n\n\n
While delivering these insights, SZA is at her most intimate, with a suite of mid-tempo songs that elevate the loping pace with her vocal and emotional dynamics. She places herself in the lineage of classic R&B, as on the open-heart ballad \u201cGone Girl,\u201d a moving break-up song over a warm Rhodes piano that showcases the purity of her vocal range. \u201cToo Late\u201d draws sonically from mid-\u201980s Janet Jackson<\/a> and wonders if the breakup was the wrong move, while \u201cFar\u201d negates that thought while surveying the aftermath: \u201cI\u2019m far cause I can\u2019t trust nobody,\u201d she practically weeps, compelling you right alongside her, rooting for her to pick herself up from the mess. And on \u201cSnooze,\u201d a Babyface<\/a>-produced track so rooted in the classics that the outro fades out rather than ends, she memorializes the woozy feeling of being in love before sneaking in a pitch-shifted addendum: \u201cHow you threatening to leave and I\u2019m the main one crying?<\/sub>\u201d<\/p>\n\n\n
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