Another day, another fallout between a singer and producer.
Just months after Danity Kane's Dawn Richard and her Goldenheart producer Drew Scott parted ways as musical partners and friends, another musical duo has chucked deuces to each other. Solange Knowles and her True EP producing partner Dev Hynes [aka Blood Orange] are on the outs, and they recently spilled their beef onto Twitter. This week, Dev hinted that there was trouble in paradise when he posted the subliminal tweets:
If you wanna take shots at me text me call me talk to me in person but don’t ever drop a subliminal, talk behind my back, or send a flunky. I’m doing myself. Ain’t nothing to do with anyone else, I’m about myself, like any self respecting human should be. We live & die alone. I have beef with no one. I won’t even mention your name ever again. Any of you. I’ve said my bit. I’ve reached out. I’ve praised you. But now it’s done. It’s over. We’re done. Bye.
To which Solange responded:
When you do Tumblr posts, speak about things in interviews, tweet, issues then belong to the public. I have been minding my biz. I have only ever praised you and spoken about you positively, even when our perspectives were totally different. I still support your artistry & am extremely happy for your success. I just wished you were honest about the making of my album. That’s all I’m going to say on this. You know more than anyone n---as love drama. Also u know very well I have reached out. Bless. Ps: Your phone been going straight to VM for long time.
The actual fallout seems to have happened earlier this year and stemmed from a few articles posted on Solange's music, which praised and credited Dev Hynes for her sound. According to a Fader article posted just last week:
In April, though, some public tension emerged concerning who wrote what on Hynes’ most successful collaborations. Solange, seemingly dissatisfied with the way Hynes’ role was being described in reviews, sent off a string of tweets about True to her one million followers: “Y’all got it all the way wrong. Ive been writing and producing my own voice since 02, nigga … I find it very disappointing when I am presented as the ‘face’ of my music, or a ‘vocal muse’ when I write or co-write every f-cking song … Sexism in the industry ain’t nothing new.” I ask Hynes if he believes her tweets were in response to something he had said. “I didn’t say anything,” Hynes says. “She reads reviews. I’ve never read a single Blood Orange review in my life.”
Though Solange declined to comment for this story, her use of “vocal muse” seemed to refer to a Pitchfork review of True that employed the phrase. The exact circumstances surrounding their falling out are unclear—and the two still share a manager. Hynes says they never resolved the issue. “We’ve spoken but I don’t know where it’s at,” he says. Hynes says he wrote a good portion of the album entirely himself, especially the songs “Losing You” and “Bad Girls,” which he wrote and recorded versions of before he even knew Solange, with Solange adding mostly structural and vocal changes throughout. But it’s difficult to quantify exactly who contributed what. Within a couple of months, though, Hynes had quit the tour before it was over and returned to New York, and he wasn’t asked to work with Solange on her next album.
At a show in a Chinatown boutique in September, an overpacked crowd turns up to see a rare Blood Orange performance with a full band. Hynes, in a long coat and leather kufi, takes off his jacket to perform “Bad Girls,” one of the songs he wrote that Solange re-recorded for True. Then, before launching into “Everything Is Embarrassing,” Hynes gives a brief monologue, oddly compelled to footnote a song he created: “I’ve got a lot of shots ready to be fired, and I guess this is the shot. This is a song I wrote for another singer. She said a couple weeks ago that she doesn’t like when I say I wrote it—this happens a lot to me, but I’m not an arrogant guy. That said, I’ve written some songs for people and they haven’t given me due credit and it pisses me off.
Beefing over credits definitely can get ugly in these streets. It's unfortunate because True is one of Solo's best projects.
Read more of the article that sparked the Twitter exchange over at Fader