Macklemore is corny. People have been saying that for years. His corniness worked when “Thrift Shop,” his megahit with Ryan Lewis, put them on the global map in 2012. It was less acceptable when the duo strutted off with Grammys for best new artist, best rap song and best rap performance for “Thrift Shop,” along with beating Drake, Jay-Z, the artist formerly known as Kanye West and Kendrick Lamar to take home best rap album for “The Heist.” Even Macklemore knew better, while also suspecting that letting the world know he agreed with most hip-hop fans that Lamar should have won might be worth something. He was right. It earned a headline-generating diss from Drake in Rolling Stone and made him the modern poster child for Black music appropriation. That image was not ameliorated in 2016 with the release of the nearly nine-minute “White Privilege II,” an unlistenable corn-cob stab in the auditory canal doubling as a rumination on the Movement for Black Lives. The thing about corniness, though, is that it is in some respects …