Professional Documents
Culture Documents
What beat it: "When We All Fall Asleep, Where Do We Go?" by Billie
Eilish
Just a couple months after releasing the best album of her career,
:
"Sweetener," Ariana Grande found herself in the midst of multiple
personal crises. Her longtime love and ex-boyfriend, Mac Miller,
unexpectedly died of an accidental overdose. Shortly after, she broke off
her whirlwind engagement to Pete Davidson.
This is not to say that Billie Eilish's debut album isn't itself a stunning
piece of art, or isn't deserving of praise. But it is to say that Grande has
proved herself as a once-in-a-generation artist who has brought a
remarkable brightness and resilience to pop music. "Thank U, Next"
marked her arrival as a living icon, while 18-year-old Eilish has plenty of
growth ahead of her — and even Eilish herself would agree with this
assessment.
"Can I just say that I think Ariana deserves this?" she said during her
acceptance speech.
"I can't possibly accept this award. My artist of my life is Beyoncé. And
this album for me, the 'Lemonade' album, was just so monumental," she
said onstage. "So well thought-out and so beautiful and soul-bearing and
we all got to see another side to you that you don't always let us see, and
we appreciate that. And all us artists here, we f---ing adore you. You are
our light."
While Taylor Swift's "1989" is a pop gem, it simply isn't on the same
historic and artistic plane as "To Pimp a Butterfly." Kendrick Lamar's third
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studio album — besides boasting his characteristically impeccable
lyricism and prodigious production value — holds an extraordinary
amount of cultural significance. As Mark Braboy wrote for Insider, it
"became the unofficial soundtrack to the Black Lives Matter movement
amid a continuing wave of fatal police violence against unarmed black
Americans across the country."
"There's music made by black people and then there's black music: songs
that hit you in the chest and make their way into your bloodstream, that
become part of you," Kara Brown wrote for Pitchfork. "'TPAB' was
released in the spring of 2015, three years after Trayvon Martin was
gunned down, and over a year after Michael Brown and Eric Garner
were murdered; Lamar knew that pain and knew, too, that more was to
come."
"But with this album," Brown continued, "he steeled us against the future
and gave us not just anthems but prayers. He gave us the album he knew
we'd need to keep going, as we always have."
And "Morning Phase" is, well, fine. Beck's win for album of the year read
as an apology or course correction of sorts, since the Recording Academy
failed to reward his best work from previous decades, like 1996's
"Odelay" and 2008's "Modern Guilt." Obviously, it was too late. Giving
him the award in 2015, the year of "Beyoncé," was just laughably out of
touch.
In 2014, Taylor Swift was already the youngest album of the year winner
in history. Fans and critics alike were shocked when the bona fide
:
Grammys darling lost the award — to middling EDM duo Daft Punk, no
less — after creating the most mature, insightful, and timeless music of
her career.
This misstep has only proved to be more and more galling as years have
passed. In 2019, "Red" topped countless rankings of the decade's best
albums, from Stereogum (No. 10) and Billboard (No. 4) to Rolling Stone
(No. 4) and, yes, Insider (No. 1). Somewhat hilariously, "Random Access
Memories" fails to crack the top 10 on any of these, or it fails to be
included at all.
Frank Ocean didn't produce one of those debut albums that you later
recognized, only in retrospect, as the birth of an icon. "Channel Orange"
:
was an instant classic and nothing short of a massive success, if not a
tectonic shift in the modern musical landscape. Those young artists that
are being hailed these days for "genre-bending," like Billie Eilish and Lil
Nas X? Their music wouldn't exist without "Channel Orange."
"The Fame Monster" was so Important and Iconic that Pitchfork ranked it
as one of the best albums from the 2010s, despite being released in
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2009.
"For something that cast such a long shadow over this decade, we're
making an exception," Amy Phillips wrote. "'The Fame Monster's' release
kicked off an arms race of pop kookiness: Suddenly, it seemed like
everyone from Katy Perry to Nicki Minaj to Kesha was falling all over
themselves to out-weird each other. But nobody's freak flag ever flew
higher than Gaga's."
Kanye West had already been nominated for album of the year twice: for
"The College Dropout" in 2005 and "Late Registration" in 2006. But
:
"Graduation" felt like his watershed moment, his career-defining
masterpiece (of course, we hadn't yet heard "My Beautiful Dark Twisted
Fantasy").
It also seemed like a much easier choice for the Recording Academy to
make, even for a body of voters that historically disrespects rap and hip-
hop. "Graduation" was more commercialized than his previous works. It
was the work of a perfectionist, a sharp student of pop music who craved
acclaim, an artist desperate to be recognized as an icon in his own time.
And what did this genius piece of work lose to? A... tribute album... of
cover songs. OK!
"The Grammys voting panel could not have known that Herbie would
ultimately outlive her and that 'Back to Black' would become her final
album," Dee Lockett noted for Vulture. "But they should've known then
that while both albums were an homage to the past (Hancock was a Joni
Mitchell covers album; Amy's a doo-wop and soul tribute though
technically original work), they had different purposes.
What beat it: "Taking the Long Way" by the Dixie Chicks
Listen, in this house we stan the Dixie Chicks. We stan country music
icons, legends whose careers suffered for rightly criticizing President
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George Bush and his 2003 invasion of Iraq. Plus, "Easy Silence" really
slaps.
This wasn't even really a case of two near-equal albums going head to
head: "How to Dismantle an Atomic Bomb" was less deserving than
multiple nominees, including Kanye West's "Late Registration."
As Zach Schonfeld wrote for Newsweek, "Grammy voters love U2, but
this one's a stretch. Though commercially successful thanks to 'Vertigo,'
'Atomic Bomb' was the first U2 album that sounded like just another U2
album."
What beat it: The soundtrack from "O Brother, Where Art Thou?"
"It's a piece that blurs the boundaries of the genre and as a result found a
diverse audience base from hip-hop to folk fans," O'Donnell wrote. "It's
an album of simple beauty from a singer with a sublime vocal talent."
"Kid A" is one of the most innovative alt-rock albums and profound
musical statements in recent memory. Both Rolling Stone and Pitchfork
:
named "Kid A" the No. 1 best album of the 2000s. The Guardian ranked
it at No. 2, describing it as "the sound of today, a decade early." (That
was in 2009, but it's still an apt description if it were "two decades
early.")
"Time Out of Mind" may have been Bob Dylan's best album to date, but it
feels downright forgettable compared to "OK Computer" — an album
that is literally preserved in the Library of Congress for having significant
cultural, historical, or aesthetic impact on society.
Was "Odelay's" egregious snub the reason why Beck has gone on to win
Grammy Awards for inferior projects? We can only speculate.
"The Joshua Tree" is arguably the best album from one of our most
enduring rock bands, but I think we can all agree that Prince's best
:
album trumps pretty much any other musician's best album almost every
time, including U2.
What beat it: "Blood, Sweat & Tears" by Blood, Sweat & Tears
The Grammys have obviously seen some major upsets, but the 12th
ceremony was responsible for one of the most confusing underdog wins
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in history. "Blood, Sweat & Tears" is a wonderful jazz-rock album, but
that hardly matters when "Abbey Road" is in the running — and, mind-
bogglingly, the award wasn't even given to the next-best choice.
As Craig Jenkins wrote for Vulture, "The Recording Academy had one job
in 1970, and that was to slide the album of the year trophy to one of the
three masterworks of the late '60s."
"'Blood, Sweat & Tears' is great, but 'At San Quentin'? 'Crosby, Stills &
Nash'? 'Abbey Road'!? These are epochal records within their respective
forms. 'Blood, Sweat & Tears' isn't even the tightest mainstream jazz-
fusion album from the same eligibility period. (What's up, 'Chicago
Transit Authority'?) Swing and a miss."
What beat it: "A Man and His Music" by Frank Sinatra
Thankfully, "Sgt. Pepper's Lonely Hearts Club Band" did win album of the
year in 1968. But the band's second-greatest work failed to get the same
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recognition the previous year.