by Slava Kuperstein
posted February 21, 2011
hiphopdx.com
Steve
Stoute calls out the Grammys for their treatment of Hip Hop, and some of the
award show "s most shocking losses.
The Grammys have often been questioned and criticized, particularly with regard
to its treatment of Hip Hop.
Whether often electing not to televise awards for Hip Hop artists, or recognizing
when some of the culture "s legends have passed, there is no doubt that there
has been a fair share of friction.
Steve Stoute, advertising and record executive, recently took out a full page
ad in the New York Times to assert his thoughts on the matter, including the
more global concern that the Grammy Awards are out of touch.
"Over the course of my 20-year history as an executive in the music business
and as the owner of a firm that specializes in in-culture advertising, I have
come to the conclusion that the Grammy Awards have clearly lost touch with contemporary
popular culture," reads the introduction. "My being a music fan has
left me with an even greater and deeper sense of dismay — so much so that
I feel compelled to write this letter. Where I think that the Grammys fail stems
from two key sources: (1) over-zealousness to produce a popular show that is
at odds with its own system of voting and (2) fundamental disrespect of cultural
shifts as being viable and artistic."
Stoute pointed to some of the more shocking losses in Hip Hop Grammy history
- Eminem "s Marshall Mathers LP failing to garner "Album of the Year"
honors in 2001, and Kanye West "s Graduation failing to do the same in 2008 -
as examples of his stance.
"As an institution that celebrates artistic works of musicians, singers,
songwriters, producers and technical specialists, we have come to expect that
the Grammys upholds all of the values that reflect the very best in music that
is born from our culture. Unfortunately, the awards show has become a series
of hypocrisies and contradictions, leaving me to question why any contemporary
popular artist would even participate. How is it possible that in 2001 The Marshall
Mathers LP — an album by Eminem that ushered in the Bob Dylan of our time
— was beaten out by Steely Dan (no disrespect) for Album Of The Year?
While we cannot solely utilize album sales as the barometer, this was certainly
not the case. Not only is Eminem the best-selling artist of the last decade,
but The Marshall Mathers LP was a critical and commercial success that sold
over 10 million albums in the United States (19 million worldwide), while Steely
Dan sold less than 10% of that amount and came and went as quietly as a church
mouse. Or consider even that in 2008 at the 50th Annual Grammy Awards, after
going into the night as the most-nominated artist, Kanye West’s Graduation
was beaten out for Album Of The Year by Herbie Hancock’s River: The Joni
Letters. (This was the first time in 43 years that a jazz album won this category.)
While there is no doubt in my mind of the artistic talents of Steely Dan or
Herbie Hancock, we must acknowledge the massive cultural impact of Eminem and
Kanye West and how their music is shaping, influencing and defining the voice
of a generation. It is this same cultural impact that acknowledged the commercial
and critical success of Michael Jackson’s Thriller in 1984.
"Just so that I’m not showing partiality to hip-hop artists (although
it would be an entirely different letter as to how hip-hop music has been totally
diminished as an art form by this organization), how is it that Justin Bieber,
an artist that defines what it means to be a modern artist, did not win Best
New Artist? Again, his cultural impact and success are even more quantifiable
if you factor in his YouTube and Vevo viewership — the fact that he was
a talent born entirely of the digital age whose story was crafted in the most
humble method of being “discovered” purely for his singing ability
(and it should be noted that Justin Bieber plays piano and guitar, as evidenced
on his early viral videos).
"So while these very artists that the public acknowledges as being worthy
of their money and fandom are snubbed year after year at the Grammys, the awards
show has absolutely no qualms in inviting these same artists to perform. At
first I thought that you were not paying attention to the fact that the mental
complexion of the world is becoming tanned, that multiculturalism and poly-ethnicity
are driving new meaning as to what is culturally relevant. Interesting that
the Grammys understands cultural relevance when it comes to using Eminem’s,
Kanye West’s or Justin Bieber’s name in the billing to ensure viewership
and to deliver the all-too-important ratings for its advertisers.
"What truly inspired the writing of this letter was that this most recent
show fed my suspicions. As the show was coming to a close and just prior to
presenting the award for Album Of The Year, the band Arcade Fire performed "Month
of May " — only to… surprise… win the category and, in a moment
of sheer coincidence, happened to be prepared to perform "Ready to Start. "
"Does the Grammys intentionally use artists for their celebrity, popularity
and cultural appeal when they already know the winners and then program a show
against this expectation? Meanwhile the National Academy of Recording Arts and
Sciences hides behind the “peer” voting system to escape culpability
for not even rethinking its approach.
"And I imagine that next year there will be another televised super-close-up
of an astonished front-runner as they come to the realization before a national
audience… that he or she was used.
"You are being called to task at this very moment, NARAS.
"And to all of the artists that attend the Grammys: Stop accepting the
invitation to be the upset of the year and demand that this body upholds its
mission for advocacy and support of artistry as culture evolves.
"Demand that they change this system and truly reflect and truly acknowledge
your art.
Steve Stoute"
"