Stonebwoy Questions Inclusion of Black Sherif, King Paluta in GRAMMY Hiplife History – Full Details HERE!
Stonebwoy Criticizes GRAMMY Article for Misrepresentation of Hiplife's History
Ghanaian dancehall icon Stonebwoy has stirred conversation following his critique of a recent GRAMMY article that delves into the history of hiplife music in Ghana.
The article, which aimed to trace the genre’s roots from the late 90s to the present, featured notable pioneers like Reggie Rockstone, Mzbel, and Obrafour, while also highlighting newer artists like Black Sherif and King Paluta for their global impact.
Stonebwoy, however, took issue with the inclusion of Black Sherif and King Paluta in a conversation centered on 90s hiplife, questioning their relevance to the genre’s early days.
While he acknowledged the talents of these artists, he expressed concern that their contributions were being overstated in a historical context where they were not yet active.
In a public statement, Stonebwoy clarified his stance, emphasizing that his criticism was not about diminishing the achievements of Black Sherif and King Paluta. Instead, he argued that the article failed to accurately capture the essence and timeline of hiplife music.
“What are the roles of Blacko and Paluta in hiplife? One may argue that they tap inspiration from hiplife, but so do I,” Stonebwoy noted, questioning the rationale behind their inclusion in a discussion about the genre’s origins.
Stonebwoy also voiced frustration over the omission of his own contributions to Ghanaian music, suggesting that it reflects a broader issue of misrepresentation within the industry.
“It’s not about my name being on the Grammy platform,” he explained. “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 sparked by Stonebwoy’s comments has reignited discussions about the accurate representation of Ghanaian artists and their contributions to the music industry.
Other prominent figures, including Tic and Kwaw Kesse, have also expressed their concerns, highlighting the need for greater attention to the historical and cultural context of Ghana’s music genres.
As the conversation continues, Stonebwoy’s remarks underscore the importance of preserving the integrity of Ghana’s musical heritage while ensuring that all artists are fairly and accurately represented in global narratives.
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