That night when Macklemore won 4 Grammy’s and Kendrick came out empty-handed. This is why I stopped taking awards shows seriously. It stopped being about talent a long time ago, and last night it reached new lows when they straight dissed “good kid, m.A.A.d city.” Hip Hop just got gentrified.
Once in a decade–and I mean that–an artist will come along and transform an entire art form. Today, that artist is Kendrick Lamar. He embodies all the things we look for in a hip hop artists: flow, consciousness, genius conceptions, and a gangster complex. Even before “good kid, m.A.A.d city” dropped, I was pushing the K. Dot bandwagon hard. So hard, in fact, by the time the legendary album did come out, most of my friends didn’t want to hear what I had to say, because they already knew the extent to which my man crush could carry in a conversation.
A lot of people want to compare him to the second coming of Nas, and “good kid” to the “Illmatic.” It’s not a bad comparison, and I think it fits. There is a lot weight behind that album, and so many layers that speak to me when I listen to it. The themes of being black, living in a cesspool of violence, and the unpredictable violence that follows is a heavy pill to swallow when you actually listen to it. So often we hear artists acknowledging where they come from, but how they conquered it. Kendrick doesn’t take that route. Rather, he shows that he is, in fact, a good kid in a mad city.
The fact that we would witness a rapper like K. Dot, who represents everything you could ask for in an artist, get dissed that badly proves there is always an agenda behind awards shows like the Grammy’s. And this year it was validating white hip hop–if that’s even a safe word to call it.