As a wave of sighs, boos, hisses, and expletives flooded various homes and social media platforms in the wake of Beyoncé losing every major category at this year’s Grammy Awards, a familiar sentiment surfaced just as swiftly: “What did you expect?”
The rhetorical question is rooted in the history of the most celebrated music awards show we have. It is a history that has long highlighted the fact that the Recording Academy has little interest in amplifying black art outside a few designated genre categories.
Stevie Wonder: Innervisions (1974), Fulfillingness’ First Finale (1975) Songs in the Key of Life (1977)
Michael Jackson: Thriller (1984)
Lionel Richie: Can’t Slow Down (1985)
Quincy Jones: Back on the Block (1991)
Natalie Cole: Unforgettable With Love (1992)
Whitney Houston: The Bodyguard: Original Soundtrack (1994)
Lauryn Hill: The Miseducation of Lauryn Hill (1999)
Outkast: Speakerboxx/The Love Below (2004)
Ray Charles: Genius Loves Company (2005)
Herbie Hancock: River: The Joni Letters (2008)
It is a shockingly paltry sum, especially since many were basically handed the award long past their prime and for works that arguably catered more to the taste of the Grammys’ suspected older white male voting body. In more recent years, innovative works from the likes of Kanye West, Frank Ocean, Kendrick Lamar, and, of course, Beyoncé, have lost in this category to artists such as Daft Punk, Taylor Swift, Beck, and Mumford and Sons. It therefore was not surprising to me that in a world in which Taylor Swift has two Album of the Year Grammy Awards and Prince has none, Lemonade lost to 25, a far more palatable album (to white people, anyway).
2013 – mumford over frank
2014 – daft punk over kendrick
2015 – beck over beyonce
2016 – taylor over kendrick
2017 – adele over beyonce
— very festive tweets (@adam_lewis) February 13, 2017
What’s even more frustrating about the Grammy Awards is that it purports to be more evolved on race than the Oscars. Last year, Neil Portnow, CEO and president of the Recording Academy, was asked about inclusion in the wake of the #OscarsSoWhite social media campaign. In his comments to Variety, Portnow projected a certain moral superiority:
The music community really is much more inclusive because of the nature of the collaborations. Also because of the nature of the proliferation of influences of one genre into another over time. It’s the history of how music has evolved from the very beginning.
Portnow sounds like a member of the Democratic National Committee touting the inclusion of the party while promoting the DNC. Sure, they present splotches of color in primetime, but the reality is that even though black women keep the Grammys alive, they don’t have enough of them in real positions of power. Because the organization don’t value them as much as claim to. Because they celebrate diversity only in superficial terms. That’s just how it’s always been.
That said, something did feel slightly different last night—largely because someone white at least alluded to the blatant biases that consume Grammy voters. Adele, who basically runs the British wing of the BeyHive, used her acceptance speech time (twice!) to profess appreciation for Beyoncé and Lemonade. “I can’t possibly accept this award, and I’m very humble and very grateful, but my artist of my life is Beyoncé,” she explained. “This album for me, the Lemonade album, was so monumental.”
Some took issue with this comment of hers: “The way you make me and my friends feel, the way you make my black friends feel is empowering. And they stand up for themselves. And I love you. I always have.”
Those folks need to be quiet.
Read the rest at Fusion.