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Vince Staples  Believes  He  Deserves All The Grammys  But  He  Isn't Holding  His  Breath
 Vince Staples  is impossible to categorize. A Southern Cali MC who prides himself on his Long Beach bona fides while eschewing the prototypical gangsta rap tag with which he's often mis-labled  he's a natural at bucking the status quo. Yet he also sees clear divisions between art and commerce that lead him to question how institutions choose to define â or fail to distinguish â the two.
So when  Staples  found himself the subject of a recent Grammy campaign â initiated by Uproxx hip-hop editor Aaron Williams  who likened the EDM sonics of  Staples ' 2017 LP Big Fish Theory to "a post-apocalyptic pinball machine" â he was less interested in discussing whether or not his album is Grammy-worthy than he was in questioning the very construct upon which the Recording Academy recognizes and rewards genre-bending artists of color.
But  Staples ' argument is bigger than hip-hop. It's a critique rooted in the racial dynamic that has kept black artists in the industry categorically separate and unequal since the inception of "race music."
In a sense   Staples  is the kind of artist the academy tends to clamor over â a major-label signee who subverts mainstream convention. While his peers chase after collaborations with bankable trap producers  his album credits are filled with left-field collaborators Kilo Kish and Zack Seckoff  a young unknown producer largely responsible for Big Fish Theory's industrial-driven electronics.
No doubt   Staples  prizes his creative idiosyncrasies: "Hitchcock in my modern day / Where the f*** is my VMA? / Where the f*** is my Grammy?" as he raps on Big Fish Theory's "Homage."
The message is the easiest part of this whole thing. The hard part of music is designing the product and marketing the product â figuring out what it looks like  what it sounds like  what it feels like    who to sell it to and how to get  them  to believe that it's more important than  themselves . When you've figured that out  that's when you become a star.
But  yeah  let's really talk about it. If we really want to have a Vince Staples Grammy campaign  someone tell me why I can't be in every genre that my music is kind of reminiscent of? Because the argument within hip-hop is that my music doesn't sound hip-hop enough.
My only request is that it be broadened  because it's no reason I shouldn't be nominated for everything we just spoke about. It's no reason I shouldn't be nominated for a packaging Grammy. It's no reason because the conceptual nature of my cover and the way that it looked is a great idea for a compact disc. Usually people go all out and put 50 pictures and give you a suitcase full of stuff to win a packaging Grammy. But it's not really about the design of it itself. It's no reason I shouldn't be nominated for that. It's no reason I shouldn't be nominated for electronic and alternative and Rap Album of the year  because if we're pushing creativity and we're doing it get to be creative and to create new things  I don't know what's newer than what Vince Staples is doing. And that's my only conversation.
Vince Staples

Less than three minutes separated  Randy Moss  and the New England Patriots from the first 19-0 season in NFL history  but the All-Pro wide receiver knew victory was far from certain.
It was Feb. 3  2008  and  Moss  had just hauled in a 6-yard touchdown pass from Tom Brady to give the Patriots a 14-10 fourth-quarter lead over the Giants in Super Bowl XLII.
âI was actually hesitant to kind of celebrate  because I knew there was a lot of time on the clock â  Moss  told the Daily News. âOur defense wasnât able to really slow down the Giants offense. With that much time on the clock  I just had to keep my fingers crossed and just hope that we could come up with a big play.â
Saturday marks the 10-year anniversary of that epic Super Bowl  and  Moss  remembers it well.
Itâs also the day that  Moss  finds out if  he  will be inducted into the NFL Hall of Fame.
Although Manning was crowned Super Bowl MVP for his late-game heroics  the Giantsâ swarming pass rush led by Michael Strahan  Justin Tuck and Osi Umenyiora deserves just as much credit for constantly pressuring Brady â fresh off an MVP regular season where he tossed a then-record 50 touchdown passes â and limiting his ability to throw downfield to  Moss .
 Randy Moss  caught a touchdown in Super Bowl XLII. (David Duprey/AP)
âThere was really nothing they did against me â  Moss   40  said. âThey single covered me  they played in zone  they played in man. But the Giantsâ game plan was if the Patriots are going to try to get the ball deep to  Moss   weâre going to make them pay for it. And if they do get it off  heâs going to get hit. They had a very solid defensive game plan for them to really cut out a lot of things that we did well.
 Moss   who caught a record 23 touchdown passes during that regular season  finished with 5 receptions and 62 yards on 12 targets in the Super Bowl.
Randy Moss

David Scotton  in I Lived on Parker Avenue (trailer image via YouTube)
A documentary about a young man who is grateful to  his  birth mother as well as to  his  adoptive parents.
Do you want to meet gratitude? Then  David Scotton âs your man. At a time when we are taking public-policy advice from traumatized  grieving young students  consider this eternally grateful one.
 David Scotton  is a 24-year-old law student with a little movie with a big message. Adopted at birth   he  allowed  with some hesitation and prayer  a filmmaker to follow along  his  journey from New Orleans to Indiana when  he  was 19 to meet  his  birth parents.
The other day at the Sheen Center in Lower Manhattan  I heard George Weigel  the John Paul II biographer  assert that people of heroic virtue are all around us. Saints  they are frequently known as â in this case  though  not canonized and in Heaven but living in our midst  often unaware that they are sources of great grace and inspiration.  David Scottonâs  birth mother is chief among them. And all those things about saints is true of  her   if the documentary I Lived on Parker Avenue is any indication.
One of the first things  she  wants to do is seek forgiveness from David. For so many years  this mother  suffered with worry that the boy  she  gave birth to would be hurt by the fact that  she  chose to âgive him up for adoption â as the expression goes. Our language for adoption seems to suggest abandonment when  in fact  it is just about the greatest and most loving sacrifice. I think of the story  from the State of the Union some weeks ago  of the young police officer and his wife and a woman named Crystal who is suffering in the grip of addiction. But  she  wants better for  her  baby. And there is a couple who can help  her  realize that aspiration. As there was in the case of  David .
Melissa had the added guilt that she and her boyfriend not only considered abortion when she was pregnant with  David  but that she went to the clinic. In I Lived on Parker Avenue she describes the dramatically painful scene she ran out from. In one of the most uplifting scenes Iâve ever watched on video  Melissa and  David  visit the spot where that clinic once stood. (Itâs a health clinic now  and abortions are no longer performed there.) For him  itâs like the opposite of a memorial dedicated to some grave event. It was there where he was given new life  even in the womb. She should feel no guilt. She gave life and love to  David  and to  his  adoptive mom and dad.
The beauty of I Lived on Parker Avenue is that  in some respects  it isnât primarily about abortion or even adoption  though promotion of âthe adoption optionâ is certainly this young manâs mission. Itâs about gratitude. One of the most compelling scenes of the 30-minute film occurs when  David  expresses in letters â personalized and everything  there are communications beyond text messages still! â what his adoptive family means to him. He wanted to assure his parents and extended family and friends that meeting his birth parents had nothing to do with finding his âtrueâ parents and everything with saying âThank you.â
âWith only two adoptions to every 100 abortions in the United States  and with the stigmas society still unfortunately shares about adoption  it is important to get this film out there â  David  tells me. âEven though I am adopted  I am no different than a biological child. Even though my parents are my âadoptiveâ parents  they are my mom and dad. My âbirthâ parents are exactly that: birth parents. Those distinctions are real and need to be shared.â

David Scotton