The Grammy Rap committee unanimously chose not to include Macklemore in the rap category. They were overrode by the older, whiter, and less rap savvy inclined super committee of the Grammys.
The Heist is not a rap category album. It is pure pop with flashes of rap/hip-hop. Macklemore is a decent rapper, but does not have the flash of genius we’ve seen in Kendrick Lamar. Good Kid Mad City far outshines The Heist. It is the best rap album to premiere in at least half a decade.
At least one (if not more) of the Grammys Macklemore received is undeserved, but you will not see him gifting a statue to Kendrick.
What I dislike most about Macklemore is his ham-fisted, disingenuous attempts at societal change for commercial gain. He denounces the societal ills of homophobia in hip hop, but cannot denounce the white privilege (which he’s acknowledged) that allowed him to win a Grammy over a stronger artist.
Worst, he has the audacity post a photo to instagram displaying a private confession of his inferiority to another artist. This isn’t honest. It’s a ploy to reposition and distract annoyance of his undeserved attention, glamorization, and adulation.
Macklemore is contradictory and hypocritical. He’s the representation of white privilege seeping into the rap culture. He’s winning awards by simultaneously denouncing a swath of culture while profiting from its success.
Macklemore isn’t the first artist to address homophobia in hip hop. Lorde isn’t the first artist to critique hip hop flash consumerism (and/or possibly rock’s state of flash debauchery). Still, they’ll receive credit for innovation because societal change is only relevant when a hip, safe, white musician unfurls the situation.