Tag Archives: macklemore

Snubbed for his Skin: Kendrick Lamar’s Racially Charged GRAMMY Rejection

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When Kendrick Lamar took the stage at the 2014 GRAMMY Awards, he stared right at thousands of well dressed white people sitting in their seats, staring awkwardly at this rapper they might’ve heard of a handful of times.  They looked nervous, not knowing what to expect from this so called good kid from a M.A.A.d. city.  He was interrupting that Radioactive song that had heard on a couple commercials and they SO couldn’t wait to add to their running playlist now that they knew the artist’s name, so he’d better make it quick.

Four minutes later, the tuxedos stood and the flashy dresses swayed. This Kendrick guy had just spit two verses about gang violence and young poverty with a hungry motivation that would make you believe he had just escaped the madness of Compton.  All of a sudden he was jumping up and down pounding a bass drum with his hands, and they had to clap along.  If you haven’t seen the performance, I suggest you check it out.

So this was the guy who just lost in all seven categories in which he was nominated? Listen to the last verse of the song, which didn’t appear in the original version of M.A.A.d. city, written specifically for the GRAMMYs performance.  The last few lines sound as if Kendrick expected the snubs.  As if he was screaming out to primetime television that he doesn’t give two fucks about a GRAMMY award:

Fuck, look in my eyes, tell me I died, tell me I tried, to compromise

Tell me you love me, tell me that I, don’t give a fuck and can barely decide

Wishin’ good luck on my enemies, all of my energy go to the almighty God

I could drown in a bottle of Hennessy, fuck your amenities, I’m gettin’ better with time

And why should he care?  Good Kid M.A.A.d. city will stand as one of the best albums of Kendrick’s career.  The work earned him well-deserved commercial success and acclaim, and the credibility to claim his spot as one of the best rap artists in the field.  Can he really beat himself up for losing an award because of the color of his skin?

That’s right.  The reason why Kendrick Lamar lost in all seven of his categories was because there were white artists—generally Macklemore and Ryan Lewis–in contention.  The general response to Macklemore’s GRAMMY sweep wrote off the awards show as a popularity contest.  Like every other awards show, they recognize artists because of their likeability.  Or because they’ve attained commercial success by making pop hits.  Or because they look good in the spotlight.  But most of all, because they’re white.  Skim the list of GRAMMY winners  this year, or last year, or the last ten years.  Count how many times a black person won an award over a white contender. For years, the GRAMMYs not-so-subtly awarded black artists by crowning them within the rap and r&b genre categories, rarely awarding them  with album or song or performance of the year.  Kanye West might have won best rap album or rap performance competing against other black rappers—he is  ranked sixth all time with 21 GRAMMY awards–but has never won album or song or performance of the year.

As much as I’d like to toss away the GRAMMY Awards  and every other show into a black hole  of irrelevance, the racial discrepancies here are far to pertinent to the current  state  of  American race  relations, and more specifically, how the music industry perpetuates and demonizes black stereotypes, mutes any form of socially conscious black counterculture, and rewards white artists who make us think  that everything is hunky dory. Excuse the pun.

Friends of mine can confirm that I was one of many music heads who had Macklemore’s “Thrift Shop” video on a tab, preloaded, ready to press play to anyone and everyone with a few minutes to share.  The four-minute secondary shopping spree was one of  my favorite music videos of the year.  Hell, the duo’s  album turned out to be a decent compilation.  So  when GRAMMY nominations were announced, I wasn’t surprised to see The Heist listed in several categories, although rumors have spread that the rap nomination committee stirred controversy over Macklemore’s eligibility as a rapper in the first place.

Macklemore is a rapper.  His music belongs in the hip-hop genre, and his album deserved nominations for Best Rap Album, Song, and Performance.  His race shouldn’t be a factor in his eligibility any more than Kendrick’s.  But history has spoken, and Macklemore four more awards to add on the wall, and Kendrick chose to celebrate his seven snubs with a TDE fan appreciation concert at the House of Blues, even bringing a fan on stage to freestyle to a Section 80 classic.

Macklemore texted Kendrick to apologize, saying “You got robbed” and “I wanted you to win.”  A nice sentiment, perhaps, but Macklemore shouldn’t have to apologize for his white privilege.  The issue is so much bigger than Kendrick being snubbed.  Rather, his main stage elimination is part of a long lineage of racial discrimination in the music industry.  For that, apologies have long been due, and will most likely never come to pass.  Kendrick’s electric performance was a slight slap in the face to an audience that was hesitant to clap along at first, but when the smoke finally cleared, all we seem to talk about is Beyonce’s over-sexualized twerking.

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The Same Love Conflict: Macklemore, Le1f, Angel Haze, and the Search for an Authentic Voice for Gay Rights

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I’ll admit it. I shed a tear or two when I first saw Macklemore’s “Same Love” music video.  The heartwarming story of two men sharing their lives together.  Walking along an aisle of scattered flowers to join hands in marriage. Embracing each other in a hospital room. The whole nine yards. Maybe it was because I had never seen gay marriage portrayed on the stage of mainstream media.  Perhaps I thought it represented a larger movement among straight allies to support LGBTQ rights. Possibly it’s because I had just began my journey as an openly gay male. Whatever the reason, the tears were there.

In retrospect, the video is somewhat of a token anthem; something for straight people to post on their facebook and say: “this song was a hit! Macklemore is such a great guy! It’s ok to be gay!”  Yet, we’re still at the point where queer hip-hop is forced underground, popular hip-hop groups still throw out “faggot” as an insult, and thousands of teens suffer from suicidal thoughts because they’re excommunicated by their families and churches, bullied by teens, and misrepresented in mainstream media.  Same-sex partners are forced out of hospital rooms, denied civil rights on a daily basis.

I’m not saying that Macklemore has done any wrong by making the video.  We need allies in the straight community to speak out in support. But there’s a part of me that’s nauseated at the fact that queer artists have been pushing the same message for years, and Macklemore comes along, makes one record in support of LGBTQ rights, and it goes platinum.

So when Le1f went on a twitter rant criticizing Macklemore’s video, I wasn’t surprised.  For those of you who don’t know Le1f, he’s a leading voice in queer hip-hop.  His most well-known song, “Wut,” features lyrics like “Ukrainian cutie –he really wanna cuddle/The fever in his eyes. He wanna suckle on my muscle.”  One of his songs is titled “Gayngsta.”  In “Fresh” he spits:

I made this song for my girls in Timbs, boys in gems posing real femme

It’s not pretend. No Barbie, no Ken. Hater step up and I poison them

I poison them with a 10 10 10. Homophobes, go watch ESPN

The point is, if anyone should be the authentic voice of queer America, it’s Le1f, not Macklemore.  Le1f is the man who unabashedly breaks the boundaries of mainstream hip-hop, pop music, and the narrow ideological views of the black community.  He slides seamlessly between what we’ve defined as masculine and feminine roles.  He boasts about his conquests of men, his fabulous fashion, and how “he’s the type of john closet dudes wanna go steady on.”

But as popular as Le1F has become in the queer rap scene, I haven’t heard one second of his voice on the radio.  In fact, the most recognition he ever received was when he spoke out against Macklemore, with many criticizing him for refusing the support of a perceived ally.  Well, can you blame him?  Le1f has devoted his entire career to giving a proud, authentic voice to the queer community, and a straight white man comes along, makes one song about gay rights, and he’s made a hero.  As Le1f said best in one of his many twitter-rants: “it saddens me out that a straight man is the voice pop music has chosen for gay rights.”

As with all things, there is a grey area here.  I’m not mad at Macklemore.  I appreciate his support for gay rights as much as I want to see Le1f’s music to go platinum.  I want the straight community to support gay rights without needing a straight white guy to lead the charge with a feel-good story.  A story that hides all the bullying and suicide and discrimination.  A story that makes everyone think that the world is fully accepting of any lifestyle.  Realistically, the fact that Macklemore’s video has become this anthem for gay rights speaks volumes to how far we stand from true equality, genuine acceptance, and a space for an authentic voice for the queer community like Le1f.

If you want to hear the real story about growing up in America as a queer individual, listen to Angel Haze’s remix of “Same Love.”    Here’s a glimpse of her message, which tears down the fairytale that is so happily portrayed in the original video:

So don’t badger and abuse the solemnly defenseless

See us as yourself

There’s no equality in difference

Until we all get it, we’ll be drowning in the same blood

Despite orientation, we all feel the same love

We’ll be drowning in the same blood

Despite orientation, we all feel the same love

Angel Haze has rested perfectly in the middle of this Le1f vs. Macklemore conflict.  She tells the real, bloody tale of facing childhood bullying and a narrow-minded family without bashing allies.  She provides a message of hope without ignoring the reality that we still have a long way to go.  And hopefully, her message will make us realize that how Macklemore’s video doesn’t begin to tell the real story of the present state of acceptance in America.  For now, it’s a feel-good pop anthem for straight America.

Queer rappers like Le1f, Angel Haze, and Mykki Blanco continue to devote their careers to providing an authentic voice to the gay community.  But until they gain recognition and popularity on the mainstream stage, I’ll remain unimpressed with the progress we’ve made in hip-hop, music, or the American social atmosphere as a whole.  If you’re going to be an ally, then at least be cognizant that a video of rainbows and flower petals isn’t exactly an accurate representation of acceptance in mainstream America.

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