The Grammys have never gotten it right.
It comes as no surprise that the Grammys have once again snubbed some of the year's most prominent talents.
The rap categories are completely lacking in women nominees, despite Megan Thee Stallion, Young M.A., Tierra Whack and Missy Elliot achieving some of 2019's biggest successes in the genre. Meanwhile, Taylor Swift, Lady Gaga, Solange, Bruce Springsteen, and Tyler, The Creator were all overlooked for Artist of the Year consideration (though the latter is nominated for Best Rap Album), and Ari Lennox, Summer Walker, DaBaby (who allegedly wasn't considered because he has previously released "mixtapes"), and Lauv were among a of the few rising talents disregarded for "Best New Artist." Goldlink—who has been nominated for Grammy's in the past but whose brilliantly amalgamative Diaspora album wasn't considered for any award this year—sounded off on Instagram. "The lack of relevance you have just solidifed [sic] today is unbelievable," he wrote. "I've just gotten to a point after three years of being silent on this topic, that my value is much beyond what closed door establishments have been giving us."
While The Academy's disrespect this year feels particularly brash, we can take comfort in the fact that award shows are increasingly meaningless, white-washed, and more out of touch with culture as time has gone on. Let's dive back into (some of) the Grammy's biggest f*ck ups from over the years and find some cynical comfort in the the Grammy's mediocrity, since they shouldn't be regarded as any determinant of popular culture.
2014: Daft Punk Over Kendrick Lamar
The 2014 Grammys were some of the most agonizing in recent memory. Kendrick Lamar's debut Good Kid, M.A.A.D City had captivated a nation and served as an evolutionary pillar in music history. As Kendrick ruminated on his personal struggles with identity, violence, life and death, Daft Punk reunited and cranked out an album of easy-listening pop. Random Access Memories is a fine album, but it would go on to be known as "that album with 'Get Lucky' on it," while every track on Good Kid would be thrust into the upper echelon of Hip-Hop fame and redefine the genre.
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