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Ehrlich is partially right; the Grammys will necessarily involve black artists in every aspect of the award show, from the performances to the nominations, because without black music there would be no Grammys. But since the first rap category was introduced in 1989 and the popularity of rap music grew past the widely loved R&B and soul sounds of the '70s and '80s, the Grammys have largely adopted the "stay in your lane" mentality with a wider road. You can perform and win your rap awards, and maybe take home a music video award, but once it’s time for the main categories — Album of the Year, Record of the Year, Song of the Year, and Best New Artist — don’t expect a trophy.
This kind of prejudice tends to show up when a hip-hop artist does something that is considered stepping out of line, like building an entire album around the poor treatment of blacks in America and garnering unanimous critical acclaim for it. A savvy producer knows to give a platform to a performance whose politics he doesn’t support, at least, when it’s sure to bring in more viewers and in turn more money. He knows that excluding a genre of music made up largely of black people is a bad look, so he brings them into the fold, gives them a stage, offers them a set of rap-specific trophies to share among themselves, and watches the ratings rise. But when it comes time to reward their work as compared to the biggest pop and rock acts of the day, well, there’s always next time.
Lamar may have delivered the performance that kept the world talking long after Taylor took home her trophies, but the awards themselves were not a reflection of that. And that’s a familiar pattern by now: the Recording Academy is all too happy to engage in the most polite form of plunder against hip-hop to boost the ratings of its telecast, while it rarely bestows its top award upon the genre. No hip-hop song has ever won Song of the Year. No hip-hop song has ever won Record of the Year. The only hip-hop acts to win Best New Artist are Lauryn Hill and Macklemore... over Kendrick Lamar.
Only two hip-hop albums have won Album of the Year — the most prestigious award in the music industry — and the most popular and influential genre of music today has never won the Grammy without having a major crossover pop hit (Outkast) or being largely rooted in R&B and soul (Lauryn Hill). The Grammys hasn’t been able to bring itself to accept hip-hop without a caveat, and more specifically hip-hop that speaks directly to the black experience.
The Recording Academy just can’t seem to find it in themselves to hand an award to a rap artist when they’re up against white artists in genre-spanning categories. Black Music and popular music have been intertwined for the last 30 years, but when it comes to indisputable hip-hop classics like Nas’ Illmatic, Notorious B.I.G.’s Life After Death, Jay Z’s The Blueprint, and Kanye West’s My Beautiful Dark Twisted Fantasy, the nominations turn a blind eye. Since 1999, the Grammys have nominated 90 records for Album of the Year with only 11 going to black hip-hop artists. An organization that once recognized the achievements of black artists has taken a dramatic step back as black music evolved into something they weren’t comfortable with. (From 1975–1985, four Album of the Year awards were given to black artists; from 2005–2015, only one was.)