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Our Back Pages

Today's Back Pages first take us to Attic Records circa 1983 with members of Teenage Head flanked left to right by Attic principals' Al Mair and Tom Williams.

Our Back Pages

By David Farrell

Today's Back Pages first take us to Attic Records circa 1983 with members of Teenage Head flanked left to right by Attic principals' Al Mair and Tom Williams. Unsurprisingly, front and centre is the band's manager of the time, the late Jack Morrow. The occasion is a platinum presentation to the boys for successfully selling 100,000 LPs of Frantic City in the market. The classic album included such notables as Somethin' On My Mind, Let's Shake, Infected, and Disgusteen.

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The second pic today was taken in 1991, featuring CHUM GM Jim Waters with CARAS President Peter Steinmetz on the occasion of the broadcaster donating $10K as the first of a five-year patronship of the CARAS Academic Support Fund.

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SZA with the Grammys for Record of the Year and Best Melodic Rap Performance for “luther" at the 68th GRAMMY Awards held at the Crypto.com Arena on February 01, 2026 in Los Angeles, California.
Michael Buckner/Billboard

SZA with the Grammys for Record of the Year and Best Melodic Rap Performance for “luther" at the 68th GRAMMY Awards held at the Crypto.com Arena on February 01, 2026 in Los Angeles, California.

Rb Hip Hop

SZA Feels Like She’s ‘At War Because of AI,’ Slams ‘Weird, Stereotypical Struggle Music’ Being Generated By Artificial Intelligence

The singer tackled the topic on "Ghost in the Machine" from her 2022 chart-topping "SOS" album.

SZA has been raging against what she dubbed the “Ghost in the Machine” on her Billboard 200 No. 1 album SOS for years. In her case the “ghost” she was referring to on that song from her 2022 breakthrough LP was artificial intelligence, which she took on by singing, “Let’s talk about AI, robot got more heart than I/ Robot got future, I don’t/ Robot got sleep but I don’t power down.”

Now, in an interview with i.d., the Grammy-winning singer is sharpening her knives to a high sheen in what she tagged as a potentially existential crisis for Black artists in the face of the rapidly expanding use of artificial intelligence in music.

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