***EDIT: the video below is the NEWER version of this piece (the one that appears in my new book), posted on 2/12/17. The older one can still be found here.***

I could write a whole thing here, but I will try to keep this commentary short. This poem has been through a lot of drafts– even this video is subtly different from the one on the album, and both are different from what I’ve been performing over the past couple of weeks. Just a couple of quick thoughts (all of which are in addition to the album commentary I already wrote):

Probably the biggest theme on “Post-Post-Race” is the importance of having a more critical, wider perspective on issues of race and racism. Racism isn’t just about “bad people being mean to other people because they look different;” it’s about history, it’s about systems and institutions, and it’s about power. This poem is maybe the most direct exploration of that idea on the album.

Especially today, in the context of Trump (and the movement that he represents) it’s important to see racism and xenophobia as bigger than one individual’s bigotry. We should work to defeat Trump, but we should not labor under the delusion that defeating Trump will be enough. It won’t. Electing a Democrat won’t be enough either. Even electing a progressive Democrat won’t be enough. Defeating racism (and sexism, homophobia, etc.) will take a multi-tiered approach, and I’d argue that step one is affirming that these problems are fundamentally bigger than individual attitudes or actions.

And “bigger” doesn’t mean “invincible.” It just means that our work is not just the work of changing people’s hearts and minds; it’s the work of changing our institutions, laws, policies, media, and systems too.

I get that this is a tough thing for some people to wrap their heads around. I also get that this particular poem might be a little tough to stomach as an intro to this concept, and might be better suited as a supplementary tool. So here are a few recommended links/readings:

I’d encourage everyone to read Michelle Alexander’s “The New Jim Crow,” which might be the most important book of the last decade. I’d also recommend Ta-Nehisi Coates’ “The Case for Reparations,” which describes the system that we call “racism” as clearly as you’re likely to read anywhere. For all the visual learners out there, here’s the NYT’s “The Faces of American Power,” which lets us just look at the literal faces of people in positions of power in this country; hard to argue with that. Also, be sure to watch “13th” on Netflix! Feel free to add other good resources in the comments.

Thanks again for listening and for sharing. The whole album is still available here:
Post-Post-Race by Guante & Katrah-Quey

Full text of the poem:
HOW TO EXPLAIN WHITE SUPREMACY TO A WHITE SUPREMACIST
(originally printed in my book)

Sometimes, you are a lit match dropped into a boiling ocean. Sometimes, you are a stray dog proud of the sunrise after a long night of barking at the moon. Sometimes, you scream at the television, shadowbox mushroom clouds; your hand-to-hand hatred outclassed, outdated. You: post-apocalyptic litterbug. You: venomous spider in the basement of a burning building. You: whose anger is so vast, and so empty—all teeth, and no mouth, just that white rattle.

Remember: white supremacy is not a shark; it is the water. It is how we talk about racism as white hoods and confederate flags, knowing that you own those things, and we don’t… as if we didn’t own this history too, this system—we tread water.

And you: chum in a bucket. How many skinheads do you think are in the room when they set immigration law? Or decide curriculum for public schools? Or push policies like redlining, mandatory minimum sentencing, benign neglect, gentrification, broken windows policing, voter, ID, stop and frisk, three strikes, the drug war? Remember: the eye of the hurricane is the least destructive part.

You: meanest glare in the chatroom, all poker-face and no cards. Was it your politically incorrect YouTube comment that made the median net worth of black families in this country nine percent the median net worth of white families?

Which individual Donald Trump bigot bogeyman are we supposed to be angry at about the millions of people impacted by discrimination in housing, and banking, and education, and employment, and the criminal justice system, each year? Remember: sharks kill about one person each year; thousands drown.

So, when there is a new name hashtagged each week, when police create more black stars than Hollywood; how long do we keep pointing out the bad apples, ignoring the fact that the orchard was planted on a mass grave? …and that we planted it there?

Because of course, this isn’t really a poem for white supremacists. I don’t know any white supremacists.

But I know a lot of people in this room. And I know myself. And I know how white supremacy is upheld, whether through our action, our inaction, or just through paying our tuition and taxes. How it isn’t just the broken treaty; it also the treaty. How a gavel can speak as loudly as a grenade. How a white fratboy in blackface on Halloween and his friend, who knows it’s wrong but doesn’t say anything, begin to blur together.

How the real racists, today, are so often not even racist. Those teeth, sharper when smiling, sharper still when smiling, and meaning it.

A burning cross is so dramatic. Just say: I don’t see race. Just say: we all have an equal chance if we work hard. Just say: all lives matter. Just say nothing; surround yourself with others who say nothing, and convince yourself that silence is the only song: this muted, underwater melody, this pulsing quiet.

And when a chorus blooms in Baltimore, when trumpets sound in Ferguson, when every one of our cities breaks… into song, will we hear it? Will we choose to listen? Or will we just continue treading water, watching for that great, white, shark… not realizing that we’re drowning?

(plus an image for Facebook share previews):


Post-Post-Race by Guante & Katrah-Quey

The new album is here. Thanks so much to everyone who pre-ordered it, came to the release show, and had a hand in putting the project together. I will likely do a follow-up post with some more notes and thoughts on specific songs, but for now, just wanted to get this out there (although I will share a few more general reflections below).

As always, the only real way people will hear this is if you share it– on social media, in real life, however. All of those RTs, re-posts, and emails make a real difference– and me and Katrah-Quey really, truly appreciate it. I’m not really expecting this one to blow up on the rap blogs, haha. Word-of-mouth is everything.

Also, because you can’t release an album without some kind of video too these days, here’s a video of me performing the last two verses on the album (which work as a pretty good encapsulation of the whole primary theme of the album, as does this video I released last week) a capella:

Finally, I’d like to share a couple of thoughts and reflections, especially since this album is attempting to do some pretty specific things.

1. First of all, huge thanks to all of our guests: Tony the Scribe, Jayanthi Kyle, GP Jacob, Tish Jones, Lucien Parker, See More Perspective, and Laresa Avent. We knew going into this project that because of the subject matter, it had to be a collaborative album. We had to feature more than just my voice and perspective. And all of the guests we got are not only phenomenal artists, but also people who walk the walk too– as organizers, educators, and advocates in many different spheres. If I can give myself a compliment, it’s that I’ve always been very good at choosing people to work with, and this album might be the best example of that yet.

2. I’ll leave it up to you to decide whether or not we succeeded, but there were three kind of “guiding principles” for this project. One was collaboration, which I mentioned in the last point; one extension of that idea, though, might be that we wanted to have an intersectional lens. “Venom,” for example, is as much about class as it is about race. Throughout the album, we talk about oppression both along racial lines and more generally– the goal is to make POWER visible, to see how it flows and functions (which relates to the next point too).

Two was criticality— the idea that if we were going to do a hip hop album about race, it had to push further than saying stuff like “racism is bad” or “privilege is a thing that exists” or whatever. If the album has a theme beyond “songs about race and racism,” it’s pushing back against the narrative that race doesn’t matter, that we live in a “post-racial” society. But on an even deeper level, it’s exploring the idea of racism as something bigger than interpersonal dislike or even hate– it’s about history, it’s about trends and patterns, and it’s about systems of power. This might be the single biggest thing that a lot of people don’t *get* about race and racism, and a bunch of the tracks explicitly tackle that.

The third point here is communication— as mean as this album can be, and as radical as it might be to some listeners, it was important that the album “let people in,” so to speak. The very first track might piss some people off, but it’s also about immediately attempting to let people in on the “joke” (while affirming that the joke isn’t funny). Winning an argument isn’t about the other person immediately, explicitly saying “oh I get it now;” it’s about presenting a new frame of understanding that might impact how they think weeks, months, or years later. Almost every song on this album is attempting to present deeper, more critical frames of understanding– not to indoctrinate anyone or make them think exactly like I think, but to encourage questioning and critical thinking.

This will likely be a longer post later, but I also want to state that it was important to me to make the points I wanted to make. That might sound weird; I just think that sometimes in art, we sometimes over-value a kind of detached, above-it-all, hyper-metaphorical or imagistic subtlety. So yeah, this album is pretty damn direct, sometimes blunt; but neither “blunt” nor “subtle” are universally good or bad. They’re tools. Subtle art can be brilliant, but it can also be empty. Blunt art can be boring, but it can also be transformative.  It all depends on what work you want your art to do. Again, I’ll try to expand on this later, because I’ve been thinking about it a lot.

3. My half of the profit from this album goes to TruArtSpeaks; if you follow me here or on social media, you probably already know about them (full disclosure: I’m currently the managing director of the organization while Tish Jones is on a fellowship in Oakland), but if not, check them out. This video is a fantastic introduction to the work that we do.

I could keep writing. A lot went into this project. Thanks again for listening.