Stonebwoy defends his Grammys comment, questions the inclusion of Blacko, Paluta
Dancehall artiste Stonebwoy has responded to criticism over his comments on a recent GRAMMY article discussing the history of hiplife music in Ghana.
The article explored the origins and evolution of hiplife from the late 90s to the present, highlighting pioneers like Reggie Rockstone, Mzbel, and Obrafour, as well as newer artists who are keeping the genre alive.
Who ever wrote this article is interestingly missing THE NAME @stonebwoy
.@RecordingAcad Do Due Diligence before you publish half dozed articles aiming to capture the true image of the State of the Ghanaian Sound. https://t.co/uWzvurB3uv pic.twitter.com/NDqZgRqaJs— 1GAD (@stonebwoy) August 23, 2024
However, the article also mentioned Black Sherif and King Paluta for their contributions to putting Ghanaian music on the global stage, a move that Stonebwoy criticised.
In an interview with MC Portfolio, Stonebwoy defended his statement, clarifying that he’s not opposed to the mentioned artistes but rather questions the relevance of Black Sherif and King Paluta to the 90s hiplife conversation, as they hadn’t yet entered the mainstream.
Stonebwoy response to criticism over Grammys comment. pic.twitter.com/OfvpFVCtMe
— Drogba_BHIM (@DagaduMawu92192) August 26, 2024
“I am a son of hiplife today, but it doesn’t change the fact that the article wants to capture the Ghanaian sound. The article is capturing the state of Ghanaian sound disguising under hiplife. We know better. We cannot sit here to have our sound captured whereby it takes it all way and comes back to Black Sherif and King Paluta. What are their roles in hiplife? Are they hiplife artistes?”
He asked, “What are the roles of Blacko and Paluta in hiplife? One may argue that they tap inspiration from hiplife, but so do I.”
He further expressed disappointment over the omission of his own name, which he viewed as part of a larger agenda to discredit his efforts in the industry.
“It’s not about my name being on the GRAMMY platform,” Stonebwoy remarked. “I’ve had more articles written about me there. But the story should capture the true essence of Ghanaian music, especially hiplife, which is our foundation. The article didn’t do due diligence.”
The debate raises questions about the representation and recognition of artists in the Ghanaian music industry.
Besides Stonebwoy, other legends, including Tic and Kwaw Kese, have also voiced their reservations.