The fallout from the Grammy ineligibility decision over Moliy’s hit “Shake It to the Max” just got more complicated. According to reports, a former project-manager at the Recording Academy, Shawn Thwaites, claims he was dismissed shortly after ruling the track ineligible for major categories sparking outrage, questions about transparency, and renewed scrutiny on how music awards treat African music.

Thwaites who oversaw key categories including Best African Music Performance and Best Global Music Performance says he was fired on November 21, 2025, just 48 hours after a major trade publication detailed why “Shake It to the Max” was excluded from Grammy nominations. He shared a message via social media, arguing the dismissal was unexpected, especially given he had recently received a positive performance review and was entrusted with high-profile duties, including interviewing big international artistes.

According to Thwaites, the decision followed the Academy’s rules to the letter: “the song was submitted as a remix,” and as per longstanding Grammy guidelines, remixes are not eligible for certain performance categories regardless of their popularity or cultural impact. He insists the exclusion was procedural, not a question of taste or artistry.

In his statement, Thwaites also underscored his history working to uplift African music globally. He said he had drafted the proposal that led to the creation of the “Best African Music Performance” category a role he regarded as central to his identity and mission. Instead of acclaim or support, he says he was suddenly removed a move he suggests is part of a troubling pattern: in recent months, several Black staff members of the Academy’s Awards Department have reportedly been let go.

The entire “Shake It to the Max” ruling had already ignited major backlash. Despite the track’s global success charting high on multiple international platforms and dominating playlists the Academy maintained it was ineligible because it had been submitted under the “remix” label. Supporters argue that the remix featured new contributions, fresh vocals, and a distinct ISRC (international master identifier), and in any case had become the definitive version of the song during the eligibility period.

By firing the very official who enforced the rule, critics say the Academy has exposed a tension at the heart of music awards between rigid bureaucracy, cultural influence, and the evolving realities of global music. The move raises serious questions: Was the firing a punitive reaction to a decision that upset powerful stakeholders? Or a legitimate restructuring? And why does this matter far beyond one song or genre?

For many in African and global music communities, the dismissal feels like more than personnel change. It’s a signal: that established institutions may prioritize optics over procedure, that rules even when followed can be overshadowed by backlash, and that representation on the inside doesn’t guarantee fairness on the outside.

As of now, the Recording Academy has not issued a public explanation for Thwaites’ firing, nor clarified whether his dismissal was directly linked to the “Shake It to the Max” decision. Meanwhile, the conversation continues online between fans, artists, industry stakeholders around fairness, accountability, and the future of global music recognition.

This incident isn’t just about one song. It’s about whether music institutions can or should evolve to reflect global music culture’s changing power dynamics. And for now, many are watching closely.