Yes, now even classical music is racist. You can learn all about it in It’s Time to Let Classical Music Die. I cannot do this post justice. You really have to click over and read it all.

But here’s a little preview. (Trust me. It gets more and more ridiculous.)

There comes a point in some abusive relationships where the victim wakes up out of their Stockholm syndrome and learns that they need to plan an escape. As you communicate with others and you get a taste of freedom, you learn that the force you thought was protecting you is in truth keeping you in danger.

For those who haven’t encountered abusive relationships, you may support the abuser, or wonder why the victim doesn’t just leave. But you don’t know what it’s like to live in a world where you can’t tell truth from myth.

For the victims who aren’t ready, you may have an urge to push away those of us seeking to help you and stay with your abuser, believing them to be a source of protection.

Unfortunately, not everyone can escape. But having the knowledge that your abuser is an abuser itself can be freeing. It can help you find the next step in your journey towards liberation. But you need a community to fall back on. You need people to talk to so that they can keep you safe, so that they can help you understand the truth, and so that they can teach you the abuser’s techniques and how to fight them.

My fellow musicians of color: it is time to accept that we are in an abusive relationship with classical music.

But wait. Here’s a little bit more.

Western classical music is not about culture. It’s about whiteness. It’s a combination of European traditions which serve the specious belief that whiteness has a culture—one that is superior to all others. Its main purpose is to be a cultural anchor for the myth of white supremacy. In that regard, people of color can never truly be pioneers of Western classical music. The best we can be are exotic guests: entertainment for the white audiences and an example of how Western classical music is more elite than the cultures of people of color.

It’s not uncommon to love your abuser. I know the experience, and can understand how hard it is to leave. Despite all that classical music has done to me, I still can’t help but marvel at the religious splendor of Bach’s works for organ. Nor can I help but weep at Tchaikovsky’s raw expressive power.

I will forever love my favorite composers. It is possible to be critical about the way classical music is treated and to adore the individual works which inspire you at the same time. I am not making a judgment call on specific works in the canon, but instead their function in modern classical music institutions.