The Grammys’ blind spot when it comes to hip-hop has been a prevailing blemish on the institution.
Due to the often self-celebratory and micro-managed nature of award ceremonies, The Grammys regularly fall short of their audience’s expectations. Though the show should be a night where music’s best and brightest are commended for propelling culture forward, the reality is often a sterile affair, which is surely part of what’s led to a consistent plummet in ratings over the past few years. Save for occasional stage invasions or a timely political statement, the status quo is not just regularly adhered to, it’s consciously reinforced by the nominees and winners alike.
Even so, The Grammys’ position as the most esteemed prize in music means that it retains a seldom-enlisted capacity to ruffle the industry feathers, and even denote shifts in pop culture. For instance, at the 2004 ceremony, the unmistakable chimes of revolution seemed to resound off the walls of the Staples Center as Outkast made their way onstage to the sound of “Hey Ya” to collect their Album Of The Year prize. In their victory, there was a sense that pop music’s brashest step-sibling had finally been demarginalized and hip-hop was crowned king. There was no false modesty from Big Boi when he remarked “I can’t believe it,” and that same surprise was expressed in looks of exhilaration and heartfelt embraces shared by everyone who had helped make Speakerboxx/The Love Below into a genre-altering hip-hop project, Although they could’ve accepted this token of acceptance from the industry at face value, it’s telling that the ever-enigmatic Andre 3000 used his speech to eschew the misconception that Stankonia was their first album, imploring those in attendance and the millions watching at home to “ do the history! ”
Even at the predisposed highest height that an artist can reach, the ATLiens still seemed defensive, fighting for level pegging alongside rock and pop acts.
