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Macklemore makes the important (and often overlooked) distinction between white supremacists and institutional white supremacy.

The phrase “white supremacy” often evokes connotations of white supremacists – extremists who practice and promote the belief that whites are superior to other races, and that whites should therefore rule over non-whites. Organisations like the Ku Klux Klan remain active today, though their membership is a fraction of a percent of what it was at its peak in the 1920s. The much more recent Aryan Nations was based in Idaho and it was only in the year 2000 the group went bankrupted and their headquarters destroyed.

Institutional white supremacy, on the other hand, refers to the ongoing maintenance of social, economic, and political privilege to whites. Its origins stem from European colonisation and the slave trade, and it is still deeply woven in present day Western societies. In America, mass incarceration and the militarisation of police are examples of issues that disproportionately and negatively affect blacks more than whites.

Unconscious racial biases act to perpetuate white privilege because they facilitate a culture of indifference toward social change. For example, studies on labour market discrimination have repeatedly shown that resumes with white-sounding names receive more call-backs than those with non-white-sounding names. The problem is that the people exhibiting such unconscious biases are, by definition, unaware.

Macklemore understands and acknowledges the relationship between his privilege, which is born out of white supremacy in America, and his success. This song is a call to action for all whites to educate themselves about these issues and then actively work to dismantle white supremacy in pursuit of a more just society.

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  • Torae cosigned this annotation

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Torae quotes Lauryn Hill from her verse on the Fugee’s song “Zealots” while making reference to her critically acclaimed solo album The Miseducation Of Lauryn Hill:

And even after all my logic and my theory
I add a “Motherfucker” so you ignant niggas hear me

Note Torae’s replacement of the word “niggas” with “people” – this was most certainly intentional. In fact, the word “nigga” is hardly used – if at all – on the entire album. He explains his motivations for this in “The eNd,” one of the final tracks on Entitled.

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Like a lotta people, I’d never heard of Anderson .Paak until Dre dropped Compton last year and he was featured on like every other song. The guy is incredibly soulful and a lot of his music has a solid hip hop foundation.

Favourite tracks are both produced by 9th Wonder (no surprise there) – “Without You” (ft. Rapsody) and “The Season / Carry Me.”

Fun fact: the main sample 9th used on “Without You” is from Hiatus Kaiyote’s “Molasses”, and they also fuck with this track:

https://www.instagram.com/p/BAn4HyxtvAr/?taken-by=9thwonder

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Murs & 9th Wonder dropped this gem just in time for New Years and all I gotta say is thank god 2012’s “The Final Adventure” didn’t turn out to be their last collab. 9th is easily one of my favourite producers so I’m clearly biased, but beat-wise there isn’t a track on here that I don’t like.

Favourite song is the spiritual “Walk Like A God” ft. Rapsody & Propaganda. The whole song is dope but Rapsody’s verse is especially golden (and thanks to that last line I now know who Oscar Wilde is ;))

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Quoting playwright Oscar Wilde from his 1893 play A Woman Of No Importance (Act III, Lord Illingworth):

The only difference between the saint and the sinner is that every saint has a past, and every sinner has a future.

Someone who has performed some good deed may have erred in the past; likewise someone who has sinned may seek redemption in the future. One should therefore not judge a person’s character on the basis of individual actions alone.

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“Grand Ave” is GQ’s second teaser (after “Bushrod”) in anticipation of his upcoming album One Day Soon.

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Treflip’s verified account page.

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So you starting at the end, that’s the part where you begin
I skip the bullshit so we can start it where we win

There is a theory amongst fans that Lupe intentionally arranged the songs on T&Y so that, when listened to in reverse order, they tell the story of a character who is born, dies, is reincarnated and ultimately achieves enlightenment – only to be born again when the album repeats.

Many people believe that Lupe himself hinted at this during his interview with DJ Skee the day T&Y was released when he pointed to the album’s tracklist upside-down while explaining that “there’s a lot to [T&Y].”

http://i.imgur.com/GtTDgs3.gifv

The most thorough breakdown of this “Reverse Order Theory” was documented by Lupe’s vast fan base on KanyeToThe.com – here’s a summary:

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Don’t get it confused – just because Lu raps about Mandelbrot sets, video games and fiscal responsibility doesn’t mean he can’t make songs that are hood as fuck. He’s even got his own collection of AK-47s.

In all seriousness though, there’s an excellent, must-see interview that Lupe did with MTV in 2012 where he paints a very real, very emotional picture of what it was like for him growing up in Chicago’s Westside (Genius’ own Rob Markman was a producer for MTV at the time). Lupe’s verse on “Chopper” tells a similar story, even making specific reference to that interview:

It’s why I look at God kinda odd
Cause these are the cards that he deal us
Ramen can’t fill us, Medicare can’t heal us
And the mamas can’t stop us and these choppers might kill us
Look these niggas wild in they eyes
In the video it’s some niggas that done died
Looked the ghosts in the face and I cried
No Wu-Tang, just Lu gang when I ride
With an L up sayin’ “Free the guys” like I’m Durk
With a clean record but I’m cursed
To make a half a million off a verse
Nigga, chop

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Lupe described the seasonal interludes as “sonic palate cleansers” in an interview with DJ Skee shortly after the album was released – listen to him elaborate on this concept below:

https://youtu.be/JJR2M1YJVNk?t=12m44s

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