Recently, Stonebwoy has been in the headlines for his criticism of an article on hiplife published on Grammy.com.
At first, I brushed off the idea of delving into this topic, thinking a simple social media post would suffice.
However, upon watching Stonebwoy’s interview with MC Portfolio, I felt compelled to share my thoughts on the matter.
In his tweet, Stonebwoy expressed disappointment with the article for not mentioning him, stating, “Whoever 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.”
While the article had some factual inaccuracies, including mistakenly placing Shatta Wale and Samini in the early 90s before correcting it to the “late 2000s,” it also raised questions about the inclusion of certain artists like Beeztrap who have not yet made a significant impact on the hiplife scene.
Stonebwoy’s argument stems from his belief that he deserves a place in the hiplife narrative, especially in comparison to artists like Black Sherif and King Paluta.
However, it is essential to recognize that historical writings often overlook certain individuals and that the scope of an article may vary based on the writer’s perspective.
While Stonebwoy is undeniably a talented musician, his influence on hiplife is not as significant as other reggae/ragga/dancehall artists who emerged during the genre’s formative years.
Artists like Root Eye, General Marcus, Samini, and Shatta Wale played pivotal roles in shaping the hiplife movement and deserve recognition for their contributions.
Furthermore, Stonebwoy’s claims of being snubbed due to his Grammy appearances seem unfounded, as the article was not solely about Ghanaian music but rather focused on hiplife and its influences.
Criticizing the writer for not mentioning him in a specific context reflects a lack of understanding of the article’s intended scope.
In conclusion, while Stonebwoy’s frustration is understandable, it is essential to approach such matters with perspective and understanding.
Artists like Black Sherif and King Paluta have made significant strides in the hiplife genre and deserve recognition for their contributions.
Ultimately, a nuanced understanding of the music industry’s history and evolution is crucial in acknowledging the diverse talents that have shaped Ghanaian music.
