The Official Hip Hop Grammys 2018 Thread

[Ziggiy]

grammy threads literally are the same

every year. yet the thread is always 1000+ posts...yall don't get tired of this?

- not watching
- cac awards
- hope this album wins
- fukk them that album i like should have won...because the grammy's do matter
- omg god how did that album win
- artist a stans vs. artist b vs. artist c
- hip hop vs the world...we don't need cac validation
- we need to support soul train/BET (goes on to clown BET awards in BET award thread)
- fukk them i'm not watching next year
- posts back up in the grammy thread next year

A never ending cycle

 

[Insensitive]

Crew should have won best rap/sung performance...


Quite easily, throw on Crew and compare the reception it gets at any function compared to the others.

Crew is a real life organic infectious banger, not a payola driven, industry pushed, label manufactured record like Loyalty and the whole DAMN album, and I actually think Loyalty is a good song. Them D.C. nikkas deserved that Grammy.

I would have went with 4:44 for rap album of the year.

Label Manufactured and Damn don't go together

Not to many cats are employing Dj's and beat change ups for most of their album.
If anything, I think DAMN was atypical and nowhere near the sorta cookie cutter bullshyt
that interscope would shyt out if they had total creative control.

If you need an idea of that, feel free to look no further than Eminem's album.

GoldLink is cool though, shoutout to D.C.

 

[No1]

Label Manufactured and Damn don't go together

Not to many cats are employing Dj's and beat change ups for most of their album.
If anything, I think DAMN was atypical and nowhere near the sorta cookie cutter bullshyt
that interscope would shyt out if they had total creative control.

If you need an idea of that, feel free to look no further than Eminem's album.

GoldLink is cool though, shoutout to D.C.

I hear you but Love, Humble and Loyalty and co. are typical.

 

[Calmye]

I've BEEN telling yall this shyt.

again... black people know the real winners.

EBRO and Charlamagne the God agree...4:44 > DAMN







@Poitier @xCivicx @bigbadbossup2012 @FruitOfTheVale @Cadillac @IVS @SirBiatch @UserNameless @ReturnOfJudah

Who gives a shyt what any of those fukking people think breh. Are you serious

 

[Rarely-Wrong Liggins]

The Booth All 2017- fukk CACs, fukk their publications, fukk their opinions, fukk their music, fukk their awards!

The Booth Grammy's 2018 - Why they don't want us man?

 

[Calmye]

Meanwhile Yeezy doing what real GOATS do
Check out @amyharvard_’s Tweet:

 

[SirBiatch]

lmao at the ratings for this years Grammys being at an all-time low Committees forcing these albums that most people really don't give a fukk about.

 

[tuckgod]

Crew should have won best rap/sung performance...


Quite easily, throw on Crew and compare the reception it gets at any function compared to the others.

Crew is a real life organic infectious banger, not a payola driven, industry pushed, label manufactured record like Loyalty and the whole DAMN album, and I actually think Loyalty is a good song. Them D.C. nikkas deserved that Grammy.

I would have went with 4:44 for rap album of the year.

All facts

 

[dora_da_destroyer]

I hear you but Love, Humble and Loyalty and co. are typical.

i give you loyallty - but for the fact kendrick doesn't do songs like that makes it different. and i completely disagree on love. the soundscape of that song and zacari's vocals are a big departure from what's on radio. reminded me of the 7 aurelius sound from 03/04

 

[No1]

i give you loyallty - but for the fact kendrick doesn't do songs like that makes it different. and i completely disagree on love. the soundscape of that song and zacari's vocals are a big departure from what's on radio. reminded me of the 7 aurelius sound from 03/04

Maybe, but I don't see that as a far departure from the goal of a song like poetic justice. My whole thing with DAMN isn't even that. I'm just trying to find this brilliant story everyone is talking about. I'm wondering if I just got bored and missed it. I remember people trying to force one on me with 4 Your Eyez Only.

 

[dora_da_destroyer]

Maybe, but I don't see that as a far departure from the goal of a song like poetic justice. My whole thing with DAMN isn't even that. I'm just trying to find this brilliant story everyone is talking about. I'm wondering if I just got bored and missed it. I remember people trying to force one on me with 4 Your Eyez Only.

oh, shyt, i'm certainly not on the brilliant story train - people tend to overdo the analysis of kendrick albums based on GKMC. as a huge fan of the breh, that's something that even annoys me.

 

[MVike28]

How did I miss this??

 

[MikeyC]

How did I miss this??

Highkey the photo with french looks more fake than the the one without.

 

[Sonic Boom of the South]

Same Old Rap: The Grammys' Race Toward Irrelevance
Same Old Rap: The Grammys' Race Toward Irrelevance
January 29, 201812:55 PM ET
RODNEY CARMICHAEL

Jay-Z (center), who was nominated for eight Grammys but won no awards Sunday, with his wife, Beyoncé (left) and daughter, Blue Ivy Carter, during the ceremony on Sunday.

Christopher Polk/Getty Images for NARAS
It's time to acknowledge that the Grammy Awards has a real race problem on its hands: It's racing toward total irrelevance.

Well before the night reached its disappointing apex, viewers were already feeling let down. "till mad as hell that I kept watching the Grammys after Best New Artist," Nadeska Alexis, the moderator of Complex's Everyday Struggle hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album Ctrl in 2017. The loss by Kendrick Lamar's Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.

This happened despite the Academy's attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November's nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre's impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the most-consumed genre in 2017.

Article continues after sponsorship

BEST MUSIC OF 2017
The Prophetic Struggle Of Kendrick Lamar's 'DAMN.'
Two of 2017's most resonant albums, Kendrick Lamar's DAMN. and Jay-Z's 4:44, competed against rapper Childish Gambino's funk-inspired departure "Awaken, My Love!" in a category rounded out by Lorde (Melodrama) and ultimate upsetter Bruno Mars (24K Magic), who also took home respective trophies for Song and Record of the Year ("That's What I Like," "24K Magic").

Even with the deck stacked in hip-hop's favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop's takeover, the Grammys, by failing to reflect rap's urgency, have settled deeper into an age-old narrative.

Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother's personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.

The snub makes it explicit that the Grammys is not here for hip-hop. And that's no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night's Grammy Awards. The lack of women nominees, in a year when the industry's complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there's no excusing how the Spanish-language "Despacito," which tied for longest-running Billboard 100 No. 1, failed to pick up a single award.

These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there's a bigger takeaway regarding the Academy's record on hip-hop that's easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (The Miseducation of Lauryn Hill, 1999) and OutKast (Speakerboxxx/The Love Below, 2004), a pure rap album has never won the Grammy's most esteemed category. Without the R&B-heavy stylings Lauryn offered on Miseducation or Andre 3000's pop-inflected melodies, a la "Hey Ya," on The Love Below, neither of those projects would've been primed for the award. Not even Eminem, the genre's great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for The Marshall Mathers LP in 2001, he lost to Steely Dan.

So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America's inbred racism?

That, in no way, erases the impact of Bruno Mars' album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he's also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it's two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as The New York Times Magazine's Jody Rosen argued today, but it's the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.

Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop's relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November's list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.

An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy's invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z's career he'd only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over Lemonade, even she admittedly struggled to accept the award.

But I don't know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys' continued ghettoization of hip-hop is a distillation of America's longstanding record on race. It's a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout DAMN. or the ones Jay exorcises on such 4:44 songs as "Story of O.J." — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy's will mute its own self-importance.

In the end, a show of some sort will go on — whether onstage or off. Because "the only thing more frightening than watching a black man be honest in America," as comedian Dave Chappelle interjected last night during Kendrick Lamar's opening performance, is being black in America.

 

[Vaulkner]

Seriously wtf. Since bodak yellow dropped ive felt that song every where, it was on every car radio all summer, every bytch at work knows every word to the song, as of right now it is on every hip hop dj's playlist, even my girlfriends elderly white parents were talking about it and on the other hand ive heard damn a grand total of once at a club the week after it came out. HOW the fukk did damn beat bodak yellow for song of the year. Just off of this pick we know whoevers' choosing the winners doesnt fkn go outside.