Rapper Macklemore released a nine-minute sequel to his 2005 rap “White Privilege” for free on iTunes this past week, and it’s already igniting conversations.

“White Privilege II” breaks down the importance of white allies in the movement against systemic racism and his involvement in the ongoing discussion about #BlackLivesMatter. The rap has received mixed reviews from its audience. Some are praising Macklemore’s use of his platform and privilege to speak out on the problem many white people ignore; however, others believe that although there are good intentions behind it, its response still exercises Macklemore’s white privilege.

Macklemore has always been open about many of his privileges as a white, cisgender, heterosexual man. His 2012 hit “Thrift Shop” has been analyzed to discuss class issues as it focuses on shopping for non-designer commodities at places such as Goodwill. “Same Love,” according to The New York Times, was the first song about marriage equality to hit the Top 40. Each of these songs have the opportunity to reach an audience sharing the same privileges, however it poses the threat of silencing those who have spoken about these issues long before.

Many people--both white and POC--shared their praise Macklemore’s message.

Civil rights activist DeRay McKesson even tweeted in support of the rap. McKesson emphasized the importance of white people speaking out in support of POC.

But others were not as positive.

Professor Arlene Avakian of the University of Massachusetts-Amherst defined the concept of “white privilege” in 2003 as “a set of advantages and/or immunities that white people benefit from on a daily basis beyond those common to all others.” The idea behind this privilege is that white people more or less wear a cloak of invisibility to the layers of discrimination outside our own race. Rather than experiencing actual “racism”--which implies a taking away of rights and privileges solely based on your race, which white people do not experience--we reap the benefits of this hierarchy and therefore are raised to look at whiteness as “default” and consider ourselves “colorblind.”

White privilege is Joseph Fiennes playing the role of Michael Jackson solely because of Jackson’s changed pigmentation, even though he was a black American with vitiligo. White privilege is six white students spelling out the n-word with smiles plastered on their faces, only receiving a five-day suspension, and one defending herself with, “Oh, I’m not racist. I have a black boyfriend!” White privilege is Kristen Stewart’s only suggestion for #OscarsSoWhite is “do something.” White privilege comes in many shapes and sizes and if you’re white like I am, you have it.

As someone who has had white privilege my entire life, but has only recognized it within the last two years, I find the rap important yet problematic. In order to effectively combat our white supremacist power structure, it’s vital to uplift the voices of those suffering the consequences and assume the role of an ally. I credit Macklemore for being an ally. He protested at a Black Lives Matter organization in Seattle. He’s frequently collaborated with POC, LGBTQ+ persons, and women. Despite all these efforts, his name is still tacked to the work, and therefore he will receive the most recognition.

Macklemore has an audience many other rappers don’t; he could use that platform to promote more black/POC musicians. He mentions how the system is the cause, but that does not decrease our benefit. Artists such as Kendrick Lamar have spoken out about the same issues for years, yet their work is compromised and seen as “just another thing to be offended by.”

To ultimately make my argument more plausible, I will link to some works from black and POC activists, writers, and educators about what white privilege truly means in our transitioning society.

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