Earlier this month, it was revealed that six of Dr. Seuss’ books will cease publishing due to racist imagery. The decision was made by Dr. Seuss Enterprises in order to ensure it “represents and supports all communities and families.” But even still, the news caused outrage among some pearl-clutching conservatives who were also shocked at the success of Cardi B and Megan Thee Stallion’s song “WAP.” One conservative brought the song into a conversation about Dr. Seuss books, but Cardi wasn’t having it.
Comedian Tim Young offered his two cents about the Dr. Seuss book ban on Twitter. “The lyrics to ‘Wet Ass Pussy’ are more welcome in some schools than Dr. Seuss books… just let that sink in for a minute.” But Cardi, who infamously shields her daughter’s ears from the song’s lyrics, had the best response. “When has a school made kids read the lyrics to wap,” she wrote. “I get it wap might be a lil vulgar but stop comparing a sensual song to books that has RACIST content! How can ya not tell the difference?I see that common sense aint that common.”
When has a school made kids read the lyrics to wap? I get it wap might be a lil vulgar but stop comparing a sensual song to books that has RACIST content! How can ya not tell the difference?I see that common sense aint that common. https://t.co/xyzbzrPZri
Continuing to make her point, Cardi said that Dr. Seuss Enterprises decided to stop printing specific books on their own. “By the way Dr Seuss publishing company made the decisions to remove those books on their own,” she wrote. “Black people are not the one telling these companies to do things that they think Is ‘progressive’ black only ask for equal justice.”
By the way Dr Seuss publishing company made the decisions to remove those books on their own .Black people are not the one telling these companies to do things that they think Is “progressive” black only ask for equal justice . https://t.co/F34fphVBIb
Parents who are concerned about some of the vulgar language in “WAP” got a taste of the clean version at Sunday night’s Grammys. Cardi teamed up with Megan to perform their No. 1 single at the 63rd annual ceremony. The version was heavily censored, bleeping out words like “bucket,” but surprisingly electing to keep the word Kegel.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Megan Thee Stallion — who came away with a Best New Artist win at last night’s Grammys ceremony — doesn’t believe that the awards show is inherently rigged. While some stars, like The Weeknd and Lil Wayne, spent the last several weeks railing against the Recording Academy’s “unfair” selection practices, Megan had a far more philosophical outlook on the results of the voting. Stopped by TMZ at some point over the course of the evening, Megan gave a straightforward response to their question about whether she had advanced awareness of the results.
“I didn’t know sh*t,” she replied. “Hell no, the Grammys ain’t rigged. Bitch, you win some, you lose some.” Asked about the importance of the wins for women, she just threw out her standard response: “Real Hot Girl Sh*t!”
The Grammys’ “snub” of artists like The Weeknd in multiple categories — and the singer’s reactive boycott of last night’s ceremony — have only contributed to the feeling that the Grammys have become more of a “popularity contest” in recent years, despite efforts to become more inclusive. However, as Cardi B pointed out, plenty of artists were nominated despite lack of mainstream recognition.
While it’s easy for artists who miss out to chalk their losses up to conspiracies and agendas, the truth is, a voting body comprised of such a broad variety of music industry professionals can hardly be expected to agree on anything, even if more efforts are made to include atypical entries on ballots and shortlists — and artists, who by nature are “sensitive about our sh*t,” to paraphrase Erykah Badu, are exactly the type of folks to take their ommissions personally and resort so using social media to publicize their sour grapes.
You can watch the video of Megan responding to the question of whether the Grammys are rigged here.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
It’s been nearly a year since Snoop Dogg first unveiled his years-in-the-making partnership with Australian winemakers 19 Crimes. He released his Snoop Cali Red bottle last summer, a wildly successful blend that Uproxx named “impeccably smooth.” Now, Snoop returned to announce he has another wine in the works.
The rapper once again teamed up with 19 Crimes wine, this time to create a fruity rosé. Named Snoop Cali Rosé, the new wine has tasting notes of fresh raspberry, strawberry and red cherry, and blends together Zinfandel, Grenache and Pinot Noir.
Speaking about the new bottle, Snoop said:
“We did it big with 19 Crimes Cali Red, so you know we had to do it again – and this time, I was thinking pink. I can’t wait for everyone to sip on my Snoop Cali Rosé and bring those fresh feels from spring into summer and beyond. I hope when you open a bottle of this wine you take a little mind trip to my Cali home. This is how we Rosé the Snoop Dogg way!”
Echoing Snoops statement, Treasury Wine Estates marketing vice president John Wardley said: “Snoop has been a dream collaborator that has taken 19 Crimes Snoop Cali Red to the top of the charts as the no. 1 Wine Innovation of 2020. We can’t wait for this second release to hit our loyal 19 Crimes fan base and see how they Rosé with Snoop Cali Rosé. This is 19 Crimes’ first California rosé and we are already seeing high demand from our retail partners to get it in store as soon as we possibly can.”
Snoop Cali Rosé is available now in the US. Get it here.
Elton John warned that he would “hit someone” if Phoebe Bridgers didn’t win a Grammy, and now it appears that “someone” was the Holy See. The musician and biopic-haver very publicly called out the Catholic Church on Monday in a tweet that included some expertly-crafted screenshots that detailed the relationship the church has with his own life.
Namely, John is mad that the Catholic Church is staunchly against gay marriage but is more than willing to profit off of his story by investing in Rocketman, the 2019 film based on his life.
How can the Vatican refuse to bless gay marriages because they “are sin”, yet happily make a profit from investing millions in “Rocketman” – a film which celebrates my finding happiness from my marriage to David?? #hypocrisy@VaticanNews@Pontifexpic.twitter.com/sURtrWB6Nd
“How can the Vatican refuse to bless gay marriages because they ‘are sin’, yet happily make a profit from investing millions in ‘Rocketman’ – a film which celebrates my finding happiness from my marriage to David??” John wrote in the tweet, which included the #hypocrisy hashtag.
The screenshots in the tweet show headlines from representative stories on the topic, starting with a decree from Monday that reaffirmed the Church’s stance against gay marriage. That was apparently enough for John to remind the Vatican that its finances are, well, complicated. And as the Daily Beast reported, and John pointed out via screenshot, that includes funding the film Rocketman.
But the most curious item on the report to come out so far is a $4.5 million expenditure recorded in February of this year related to finance for the 2019 films Men in Black: International and Elton John’s rather steamy biopic Rocketman, which portrays the entertainer’s drug problems and is the first studio movie to portray gay sex between men in an authentic way.
While investing in mainstream entertainment is hardly sinful, the great contradiction is that the Catholic Church preaches to the devout that homosexuality is a sin.
You could argue, if you really wanted to stretch yourself here, that the church is also supporting extraterrestrial life. But unlike Men in Black, Rocketman was very much based on real life and a very real gay love story. And the connection John is making here is clear: gay marriage is more than okay for the church as long as it’s part of an investment that makes them a bunch of money to continue saying gay marriage is not morally okay.
The Daily Beast story is from 2019, so this has been public knowledge for a while now, but John is highlighting again today because of the re-affirmation of the stance against gay marriage. He has pretty clearly had it with the Church’s ongoing position on an issue that’s very important to him. John fittingly tagged @VaticanNews in the tweet, so hopefully, the Roman city will get the memo that he’s not happy.
Between the pandemic and the barrage of artists criticizing them, the past few months have presented challenges to the Recording Academy. Despite all the hurdles they faced, though, they managed to put on a Grammys broadcast this year that was imperfect but still quite entertaining and about as good as could be done given the circumstances.
As was probably expected, the broadcast had fewer viewers than usual, as has been typical with big events during the pandemic; This year’s Super Bowl had its lowest ratings in over a decade. The Grammys also experienced a drop-off and it was significant.
Variety reports that per Nielsen Live+Same Day fast-affiliate numbers, the show had an average of 7.88 million viewers, earning a 1.9 rating with adults 18 to 49. That makes this year’s show the lowest-rated in Grammy history. For reference, last year’s Grammys managed to draw 18.7 million viewers and achieve a 5.4 rating in the aforementioned demographic.
The publication also notes that these numbers are not final and that final figures that take into account live West Coast viewing will be available soon. With that in mind, the final figure is expected to rise by about 15 to 20 percent in the official national ratings. That said, even if the 7.88 million viewer count rises by 20 percent (the generous end of the estimate), that would elevate it to about 9.46 million viewers, which is still around half of the count of 2020 Grammy viewers.
The Grammys were just last night, so that’s still fresh on the minds of music fans today. That said, Drake just pulled off a feat that’s arguably more impressive than anything anybody did at the Grammys yesterday (except perhaps for Beyonce’s big record): Drake had three songs debut on the new Billboard Hot 100 chart dated March 20, which are the entirety of his recent After Hours 2 EP: “What’s Next,” “Wants And Needs” featuring Lil Baby, and “Lemon Pepper Freestyle” with Rick Ross. That’s nice, but the impressive part is the fact that those songs debuted at Nos. 1, 2, and 3, meaning that Drake currently has the top three songs in the country.
This is the first time an artist has ever had three songs debut in the top three spots of the Hot 100 chart in the same week. Drake is also just the third artist to have three songs simultaneously in the top 3 spots debut or otherwise, following Ariana Grande and The Beatles.
This ends the eight-week reign that Olivia Rodrigo’s “Drivers License” spent atop the chart. That hit has fallen down to No. 5, as Silk Sonic (aka Bruno Mars and Anderson .Paak) debuts at No. 4 with “Leave The Door Open.” This is .Paak’s first song to ever chart on the Hot 100. It’s also Mars’ first top-5 hit since his Cardi B collaboration “Please Me” peaked at No. 3 in 2019.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Sometimes the best new R&B can be hard to find, but there are plenty of great rhythm and blues tunes to get into if you have the time to sift through the hundreds of newly released songs every week. So that R&B heads can focus on listening to what they really love in its true form, we’ll be offering a digest of the best new R&B jams that fans of the genre should hear every Friday.
Brent Faiyaz — “Show U Off”
Brent Faiyaz has taken a step back from his usual toxic R&B slow jams this week to celebrate women with his newly released cut “Show U Off.” Its the latest in a string of singles the singer has unleashed this year, so hopefully that means a follow-up to 2019’s F*ck The World is coming soon.
Giveon — “All To Me”
Giveon delivered Take Time in 2020 and When It’s All Said And Done in 2021. This week, he combined the two into one and offered an extra song to go with it titled “All To Me.” The song is so good its a wonder why it wasn’t included on either projects originally, or perhaps Giveon just never misses.
Jacquees — “Freaky As Me” Feat. Mulatto
Jacquees and Mulatto connect for the R&B singer’s sensual slow jam “Freaky As Me.” The song is set to appear on his upcoming project P.T.O.F: Vol. 1 and is the follow-up to his previously released cut “Put In Work,” from last year.
Fousheé — “Sing About Love”
Following the release of “Single Af,” rising R&B star Fousheé offers another lively cut in the form of “Sing About Love.” Fousheé is on a streak, proving she’s more than her popular TikTok song “Deep End” and absolutely here to stay.
SZA — “Good Days”
The video for SZA‘s “Good Days” is here. She teased the number at the end of her song “Hit Different” with Ty Dolla Sign and now she offers a music video for the magical song which takes place in a psychedelic rain forest filled with mushrooms as well as a library that sees SZA showing off her pole dancing skills. At the end of “Good Days” is a special treat for all the fans who are waiting for the TDE princess to release her yet-to-be-officially-named song “Shirt,” which has essentially blown up on TikTok. Now we can hear what she’s saying in 4K.
Jhene Aiko — Sailing Soul(s)
When Jhene Aiko released her debut mixtape Sailing Soul(s), fans had to download a zip file to hear it or head to DatPiff. 10 years later, the singer has it officially placed on streaming services. Listen to good vibes such as the famed “stranger,” “hoe” featuring Miguel and Future (which was repurposed for her 2020 album Chilomobo), as well as a few SoundCloud loosies like “2 Seconds.”
Feather — “Juke”
Shortly after sharing her new single “Juke,” Feather has dropped off its accompanying video directed by Noyze. A clear ode to Chicago style of music, the visual features the ultimate footwork battle in an underground basement as Feather croons “let’s juke” in between a smooth sample of DJ Rashad’s “Juke.”
Trevor Jackson — “Get To You”
As Trevor Jackson gets ready for the release of his debut album, The Love Language, he shares “Get To You.” The rising singer’s raw voice sings of missing his ex and things he’d do to get to her. “Love is the universal language of all things and I hope this album gives people more confidence to understand their own love languages and how to communicate them,” he said in a statement. “The power of this music will not only bring people together but it’ll also bring people closer to themselves.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
From the fraught first year that the Grammys acknowledged hip-hop, it was clear that the then-emerging genre and the old-Hollywood music business establishment that puts the show on each year would never see eye-to-eye. Hip-hop is a youth movement; the average age of the Recording Academy was well into middle age until very, very (seriously, like 2018) recently. Hip-hop comes from the experiences of mainly underserved Black, Latin, and Asian creators; the Grammys — again, until recently — have always been very, very white.
And while the Grammys have made a concerted effort to address its shortcomings regarding its treatment of rap and hip-hop, the genre itself has undergone massive changes since The Fresh Prince first led a hip-hop boycott of the 1989 ceremony to protest the Grammys not televising the new Best Rap Performance award. For one thing, The Fresh Prince is now better known for his extensive filmography and the extreme dad energy of his Instagram and TikTok posts than he is for his mic skills.
Meanwhile, the very attributes a rap performer must display to be taken seriously have changed from night to day. Rather than reeling off rapid-fire punchlines about how “Fresh” you are, you’re more likely to switch breezily from chattering double-time cadences to cool crooning. The synthesizers and programmed drums of the early years have given way to cavernous 808s thundering away over warped samples from classical music and drumless soul loops spinning away behind intricate, ultra-violent drug tales.
So, it’d be difficult for the Grammys to “get it right” even under the best circumstances. Yet somehow, incredibly, that’s exactly what the show managed to do this year — even if no one will ever be truly satisfied with the results. The field, which included projects from California newcomer D Smoke, Midwestern coke rap kingpin Freddie Gibbs, New Orleans mystic Jay Electronica, New York veteran Nas, and Motor City rhyme mechanic Royce Da 5’9, represented one of the most balanced group’s in recent memory, pulling from multiple regions, generations, and sounds, with one thing in common: A commitment to the original tenets of “dope rhymes over dope beats.”
And while any rap fan could find plenty to complain about — once again, there was a dearth of women nominated, despite the sharp uptick in overall representation over the past several years, and no artist nominated was under 30 — there’s going to be a breaking point between having legitimate concerns and just plain moving the goalposts. In prior years, the complaint went, “The Grammys are too commercial,” only selecting projects from artists with sales numbers and widespread press, letting the importance streams overtake the value of artistic vision.
While this is a position that’s already hard enough to defend, considering the subjective nature of artistic vision in the first place, the fact remains that the Academy took long strides in addressing those concerns this year. Acknowledging longtime underground favorites like Freddie and Royce, paramount musicianship from D Smoke, and the bulletproof legacy of someone like Nas, the Grammys sent a clear message: That they heard those prior years’ complaints and took them seriously.
So, of course, it’s only natural that rap fans find something else to take issue with — namely, Nas’ win over Freddie. While both albums were collaborative efforts between two of rap’s top technicians and a pair of well-established producers in Alchemist and Hit-Boy, the fact remains that Nas is the more recognizable artist between the two among Grammy voters. He’s been a perennial contender for Best Rap Album, and while playing “what if” is always dicey, it’s almost certain that a win for Freddie over Nas would have drawn just as many vocal protests after the Queensbridge icon was once again “snubbed,” adding to his double-digit list of losses.
The fact someone like Freddie Gibbs could even receive a nod is a victory in itself — especially when you consider how many other artists were considered snubs this year. Lil Baby had one of the most-streamed albums of 2020, a No. 1 single in “The Bigger Picture,” and many rap fans’ hopes riding on him to legitimize the trap rap movement in the mainstream purview. Despite multiple female artists releasing worthy projects in 2020 or late 2019, none were nominated. No year’s field could ever be perfect, but the Gibbs nomination proves the Grammys are trying.
It also shows that maybe just adding more Black, female, or “young” voters isn’t quite enough. There’s no guarantee that these measures will ensure significant variance between voters’ tastes — after all, Grammy voters also tend to run more “intellectual” and “refined,” which helps explain why rough-edged rappers like Lil Baby might fly under their radars. That said, the show’s producers picked up the slack elsewhere; newcomers like DaBaby, Lil Baby, Megan Thee Stallion, and Roddy Ricch not only appeared on the show — one of the biggest platforms to help them launch their future bids for mainstream recognition — but Megan also won for other categories, while Chika and Doja Cat were mentioned among the Best New Artists of 2021.
Those moments count too. After all, Nas’ win was as much a result of his stature among Academy voters as it was a consolation for all the other golden gramophones he never got to display on his mantel. Cardi B pointed out as much before the show; just giving these under-the-radar artists the look helps them further their careers, which is the real goal. The Grammys aren’t the be-all, end-all. Like Nipsey Hussle — another Best Rap Album “snub” who won a different award posthumously the next year — said, “It’s a marathon, not a sprint.”
Perhaps that’s the view rap fans should take with the Grammys’ halting progress toward a more perfect relationship with hip-hop. While rap is too broad and diverse a genre to ever be able to honor every artist in every nook and cranny of rap’s various versions, there’s nothing wrong with giving them credit where it’s due, even as we ask them to consider angles they haven’t yet. That’s what they’re trying to do — heck, it’s what we should all aspire to do — and when even getting “snubbed” helps artists so much, that’s an effort that should be appreciated.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
At every Grammy Awards ceremony, there are winners and losers.
Here, though, “loser” is a relative term. If you’re an artist who is doing so well that you’re at the Grammys at all, it’s hard to imagine that you’re anything but a winner. That said, if you’re particularly confrontational, “loser” might be what you call somebody who was nominated for an award and did not win that award. On the flip side, you could say that some artists didn’t lose: they won the right to keep their title of nominee (at the cost of not getting promoted to winner).
Then there are cases where you don’t need to glass-half-full the truth to declare somebody was a winner, whether they went home with a trophy or two or otherwise excelled during music’s biggest night. Last night’s Grammys ceremony was full of people who had different levels of success, so let’s get into who thrived and who didn’t quite do that, as well as who offered some of the evening’s biggest surprises.
Winner: Megan Thee Stallion
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Meg had one of the best winning percentages of the night, taking home three of the four Grammys for which she was nominated — she won Best Rap Performance, Best Rap Song (both for “Savage”), and Best New Artist, but didn’t claim Record Of The Year.
Outside of the awards themselves, Meg was notary-like with how she put her stamp on the evening. She and Cardi B made more modest-minded music admirers mad with a performance of “WAP” (more on that in a second). Even the Grammy Meg didn’t win, she kind of did win it. While Billie Eilish accepted the Record Of The Year trophy, she got behind the podium and mostly spoke about how Meg should have won it instead of her.
Loser: The structural integrity of “WAP”
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It’s true that “WAP” was probably the biggest song of 2020. It’s also true that it wasn’t made for TV (or for any audible medium at all, according to Ben Shapiro). So, when it was revealed that Cardi B and Megan Thee Stallion would be performing the hit during the Grammys broadcast, fans were ready to see a non-insignificant portion of the song left on the cutting room floor. That was true to the extreme. The lyric sheet for this version of the track looked like a brand new Madlibs book. I’m sure Cardi and Meg did all they could to bring “WAP” to the Grammys and they still delivered an entertaining few minutes of television, but the performance came across like they didn’t secure the rights to the song, so they got as close to actually performing it as they could without getting into legal trouble.
Loser: Jhené Aiko
As is tradition, the Grammys took a very long time. Even before the actual ceremony, there was the also-lengthy Grammy premiere ceremony, which the Recording Academy roped Aiko into hosting. Between that and the actual show, it was a long, grueling day for Aiko and she didn’t even end up winning any of the three Grammys for which she was nominated.
Thankfully, Aiko is an optimist. The hosting gig was a personal triumph for Aiko, as she wrote on Twitter, “i conquered a major fear of public speaking today by hosting the freaking Grammy Premiere Ceremony!!” She was even cool with not taking home a trophy, as she tweeted, “i know what its like to lose… do u? do u?! lol,” later adding, “what a crazy day! but its all good. love you all so much.”
i conquered a major fear of public speaking today by hosting the freaking Grammy Premiere Ceremony!! thank you @RecordingAcad for having me!! see u at the show after i take this lil cat nap
In some ways, the Grammys are a popularity contest: If some no-name (not Noname) from the middle of nowhere made one of the year’s best songs, they’re probably not going to win a Grammy for it. The Recording Academy further proved that with their pick for Song Of The Year, as HER took home the prize over people like Beyonce, Roddy Ricch, Taylor Swift, Post Malone, Dua Lipa, and Billie Eilish. While HER is certainly a successful artist and “I Can’t Breathe” is an impactful song built on meaningful social justice themes, she’s not exactly a household name and her victory certainly left many viewers feeling like Michael Bluth:
Winners: Fans of normalcy
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Over the past year-plus, pretty much every aspect has been entirely different than it was pre-pandemic. That includes The Grammys, but the fact that the ceremony even happened at all is a grounding force. Yes, the show wasn’t really like previous broadcasts in any way, but it was also as close to normal as any sort of live music event has been since early 2020. Considering the circumstances, the Recording Academy excelled with their broadcast. Delayed ceremony aside, one thing music fans have been able to count on towards the start of the year is finding out what music and artists the Recording Academy “secret commitees” deserve to be honored, for better or worse.
Losers: Fans of normalcy
That said, the whole thing was a bit weird, right? During performances, there were probably too many cuts to Trevor Noah and other artists in the room to forcefully drive home the point that everybody was actually there IRL. Those shots just hit different when it’s just one or two people side-stage instead of a big seated audience. Then, when the performances were done, the golf-level applause didn’t make the Grammys seem as epic as they usually do. Going the NBA route and piping in artificial fan noise wouldn’t have been a bad move.
The Recording Academy faced an impossible problem, but they still managed to put on a functional and entertaining show that offered plenty of highlights and made you forget this is an atypical Grammy year. Ultimately, though, it often felt less than grand, which, again, is really nobody’s fault.
Winner: Performance aesthetics
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Sure, let’s flip this topic of Grammy normalcy around one more time. Usually, artists and their crews only have a few minutes to get an elaborate performance set-up onto the singular Grammy stage at the Staples Center. This year, though, the set-up made things different, arguably better. The multiple stages on-site allowed for performers to get their own look going in their own space, all with minimal time between performances. In an aesthetic highlight, Taylor Swift, Jack Antonoff, and Aaron Dessner were all able to take to a mini cabin in a mystical-looking forest, for example, it feels like that something that gorgeous may not have been possible in a traditional Grammy year. Lil Baby’s cinematic performance that addressed police brutality definitely wouldn’t have been an eighth as impactful on a traditional stage.
Surprise: Jojo Rabbit
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Taika Waititi himself would agree with this pick, as it seemed like he didn’t really expect the Jojo Rabbit soundtrack to win Best Compilation Soundtrack For Visual Media over films like Frozen 2 and Eurovision Song Contest: The Story Of Fire Saga. Waititi offered a simple “Lol wtfffff” on Twitter in reaction to the news, and during his acceptance speech, he noted, “I guess they’re just giving Grammys to anyone now! I’ll take it, thank you.” He went on, “It was so long ago, I can barely remember anything about making that movie — but it seems like it’s never going to go away, and I’m happy about that.”
So, if you don’t remember the Jojo Rabbit soundtrack, it’s OK because Waititi probably doesn’t either.
Winner/Loser: Masks
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Whether this is a winner or loser is a matter of perspective. Audience shots at awards shows are usually the most fruitful vine from which to pluck plump, dank memes of celebrities who didn’t expect the camera to be on them at a share-worthy moment. In that regard, music fans and internet jokesters lose. Masks could be seen as a major victory for artists who didn’t pick up a trophy, though, considering a wearable specifically made to cover the lower half of your face makes it a heck of a lot easier to hide your disappointment when you come away from a category empty-handed. Frustrated cursing no longer has to be under your breath!
Winner: The entire Carter family
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The Beyhive would never let me hear the end of it if I declared Beyonce a loser, so thankfully, she had an amazing night. For years, she has been climbing up the all-time Grammy wins list, and she made history this year by picking up more trophies to become the woman and singer with the most Grammy victories.
That would have been enough to get her on this list, but that was just one aspect of a multi-pronged night for Bey. She and Megan Thee Stallion became the first women to win Best Rap Performance with “Savage,” and on top of that, her daughter Blue Ivy managed to become one of the youngest Grammy winners ever. Jay-Z was the only member of his immediate family to not directly win a Grammy this year, except even that’s not quite true since he has a writing credit on the “Savage” remix.
So, in what was perhaps the least surprising takeaway from the evening (or from any day, really), the Carter family is doing quite well.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Considering the “Savage” remix already picked up a win tonight for Best Rap Performance, making Beyonce and Megan the first two women to ever win in that category, and the Houston rapper also won Best New Artist, another victory would’ve been huge for Meg. But after HER won Song Of The Year earlier in the night for her protest song collaboration with Tiara Thomas “I Can’t Breathe,” it seemed like anyone’s game. But, Grammy favorite Billie Eilish came through in the end, picking up her second win of the night. She spent the vast majority of her speech dedicating the award to Megan Thee Stallion. But don’t worry, Billie, Megan had a great night too. Check out the full winners list here and check out Billie’s speech below.
love you all so much 
