BTS, Peppa Pig & All The Snubs That Prove The Grammys Are Outta Touch

The Grammy's need to calm down.

The Grammy nominations are always contentious. From nominating artists in categories they have no place in, to nominating artists who don’t necessarily deserve it, The Grammy’s picks for music’s highest honour often rub some fans the wrong way. But, where it hits us the hardest are the artists that they snub. And so, to catch you up to speed, here are the biggest snubs from the 2020 Grammy nominations.

Peppa Pig

The 7-foot-tall, 4-year-old has been nothing short of iconic in 2019. With her first album, aptly titled My First Album, being released in April this year, she’s given her hardcore stans all the timeless bops they needed whilst simultaneously impacting the Irish, Scottish and UK charts. Reasons why she was snubbed are unclear – it could be her infamous beef with Iggy Azalea or the London Fire Brigade, but hopefully, The Grammy’s will listen to her plea to be taken seriously. 

Taylor Swift

Yes, she was nominated for Song of the Year for ‘Lover,’ Best Pop Solo Performance for ‘You Need to Calm Down,’ and Best Pop Vocal Album for Lover. But when we’re talking about Taylor, this is considered a snub. Notably, T-Swizzle is absent from the Album of the Year category, one that she has won on two separate occasions, leading Swities around-the-world to lose it. Given all the drama that’s unfolded this year, it’s not hard to see why Swifties are mad that TayTay losing the chance to win AOTY for an LP that she actually owns. 


With the drop of their album Map of the Soul: Persona, the seven-piece K-pop machine rose to critical and commercial acclaim. The LP also earned them their third chart-topping album within an 11-month period. So, why the hell are the biggest boy-band in the world being snubbed from music’s highest honour? Who friggen knows. All we do know is, the constant snubbing of K-pop artists leads to an even bigger divide between the Academy and the actual interests of everyone. Mic drop.

Megan Thee Stallion & City Girls

The Grammy’s have never been good when it comes to acknowledging rap music. With this set of nominations, we see rap music being largely shut out of the major four categories (yet again) and only men dominating the other rap categories. As such, the biggest issue here is the lack of acknowledgement to Megan Thee Stallion & City Girls who have arguably shaped the rap-music scene much more than their male counterparts in 2019. 

“thank u, next” – Ariana Grande

The title-track of Ariana’s latest LP will go down as one of the greatest pop songs of this decade. It’s unclear why the wildly contentious, quasi-problematic 7 Rings has snagged a Record of the Year shoutout and thank u, next hasn’t. I would like to speak to the manager, please.

No, Charli XCX Doesn't Want To Hold Your Nan’s Ashes, Or Your Douche

And you wonder why these celebs cancel their meet & greets…

Charli XCX is a gay icon. She embodies this through her music (eight of her last album’s 13 featured artists identify as queer) but also in her meet-and-greets. The 1999 singer is known to go above and beyond when meeting her Angels, often obliging to their irregular requests. 

She’s notorious for taking time out of her hectic schedule to organise meet-and-greets in every city she visits, posing with fans and signing whatever pieces of paper they happen to have with them. She’s even helped out a couple with a proposal and held up a bottle of poppers whilst yelling “gay rights”.

We have no choice but to stan. 

But lately, some of the requests have been getting a little outrageous and, to be completely honest, it needs to stop. Most recently, a fan at her Birmingham show took things a little too far when they posted this. 

Yes, you saw correctly – that’s literally a douche. How on Earth could you think that handing Charli XCX a tool that you use to clean out your literal behind is appropriate? Especially at the start of her tour? Was the douche used or unused? We don’t want to know. But what we do want, is for this behaviour to straight-up stop. 

We’re not the only ones that are mad – to no one’s surprise, the Angels on Twitter are furious. Charli’s fanbase has come flooding in with support for the popstar, with many Tweets calling this act “disgusting” and “crossing the line”. 

Sadly, this isn’t the first time a fan’s selfish request has landed in the hands of Ms. XCX. Just over a week ago, Charli XCX was asked by a fan to hold and pose with his mother’s ashes. No, we’re not joking. See for yourself.

What the actual hell? What’s wrong with the regular selfie? Please stop doing things for clout and remember that these celebrities are people, not props for your Instagram.

Serious Question: Why Aren't There More Sequels For Songs?

Lady Gaga and Beyoncé's 'Telephone' was "to be continued." The sequel never came.

The day was March 11, 2010. Lady GaGa and Beyoncé had just broken the internet by dropping the nine-minute music video for ‘Telephone’; a video filled with iconic choreography, beautiful cinematography and most importantly, a “to be continued” tile card at the end. This card sent myself and the rest of the Internet gays into a frenzy as we waited for the sequel. That sequel never came.

But who are we to blame them? Sequels for songs simply aren’t a thing in the music industry. But, they could be. 

Ever since the GFC in 2008, we’ve seen movie production companies play it safe, with the majority of their cinematic output being that of a sequel, a prequel or a spin-off. It’s completely changed the way we view cinema, and it makes me wonder – if it’s so successful for films, why can’t there be sequels for songs?

It’s not like song sequels have never been done before. Kelly Clarkson dropped a happy-ending sequel to her heart-wrenching ballad, ‘Because of You‘, when she released Piece by Piece in 2015. And Rebecca Black took us to her hangover place, aka the day after ‘Friday‘, when she dropped her underrated bop, ‘Saturday‘. But, to be honest, there aren’t many other examples in pop music.

You could argue that remix culture is music’s way evolving stories that we thought had ended. With the Part II of ‘Empire State of Mind‘ and ‘Love the Way You Lie,’ Alicia Keys and Rihanna both provide the listener with the female perspective to male-dominated rap songs. To a lesser extent, remixes can also showcase other narratives within the settings we’ve heard before, such as the other people at Lorde’s house party in the ‘Homemade Dynamite‘ remix. 

Or is the phenomenon of sampling music the way of tackling sequels? What does Kanye West’s ‘Stronger,’ mean to the ‘Harder, Better, Faster’ vibe that Daft Punk established in 2001? Would Julie Andrews’ ‘Favourite Things‘ really be what Ariana dubs as “lashes, diamonds and ATM machines”? I suppose these two examples expose the music industry’s way of updating old concepts, but none that demonstrate a narrative of what happened sequentially after.

Just imagine, what sequels could look like if the music industry indulged in this concept. 

Does a dancing ‘King’ appear in ABBA’s world? Does Billie Eilish find a guy badder than her? Is Ed Sheeran’s ‘Castle on the Hill’ now an AirBnb? Does Camila return back to Havana (ooh na na)? Surely, Cardi B can afford the Balenciagas (that look like socks) by now! So many questions and yet, there’s not an answer in sight!

However, I think by the time the music industry catches up, the 18th Fast & The Furious film will have just entered theatres. So, I wouldn’t hold your breath. 

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