The Boundaries of Appreciation and Appropriation
Have you ever had something that was yours taken? It is not a pleasurable feeling and its negative impact is increasingly more severe when something that has belonged to you and your culture has been seized. At some point in every African American child’s life they are immersed in hip-hop culture. I was practically raised off Run-D.M.C., Missy Elliott, and DJ Jazzy Jeff and the Fresh Prince. When “Rock the House” by DJ Jazzy Jeff and the Fresh Prince would blast and me, my sister, mother, and father would ramble off the lines with ease. “Alright now, bust a move”, the next person would take over “And get the hell out if you 're tryin to bust the groove”, another person would speak “Cause we came …show more content…
Eberhardt and Freeman suggest that white Australian born rapper Iggy Azalea, who resided in the USA for numerous years, is a prime example. Azalea heavily relies on AAE to manufacture her hip-hop persona and increase her profitability (Eberhardt and Freeman 305). Her interest in something outside her culture is not the factor that characterizes her as a cultural appropriator, it is the fact that she only uses AAE to enhance her persona to increase her monetary gain and does not incorporate it into her everyday speech (Eberhardt and Freeman 303). Azalea’s appropriation enhances black stereotyped notions and utilizes black culture as a resource to strategically boost her career (Eberhardt and Freeman 305). As described by Amandla Stenberg, Azalea falls into the category of people who uses black culture to gain attention. This category also includes but is not limited to Miley Cyrus, who rapped, twerked, and incorporated black women as props in her 2013 music video “Can’t Stop”, and Katy Perry whose 2014 music video “This is How We Do” utilizes a phrase that was originally coined by black artist Montell Jordan, a picture of Aretha Franklin, and AAE while eating watermelon (Stenberg). Sterburg is arguing that these women have appropriated culture because they are taking previous standards set by African Americans and presenting them as something new or not giving …show more content…
Non-members of the culture can be identified as appreciators. Instead of solely acknowledging actions similar to Iggy Azalea and Miley Cyrus’ as cultural appropriation, some researchers have begun referring to it as a form of appreciation or freedom of expression. Eberhardt and Freeman suggest that not all cultural outsiders represent systematic racism and white privilege through their use of AAE (Eberhardt and Freeman 304). According to Michael Anderson, Eminem is acknowledged as an example of an accepted hip-hop artist, who appreciates hip-hop and black culture rather than appropriates it. Anderson argues that what Eminem does is not cultural appropriation because he grew up in a similar, economically struggling lower class, life style that mirrors the roots of black hip-hop culture. Unlike Iggy Azalea, Eminem is aware of his white privilege and constantly makes reference to it, which Anderson claims highlights his true and honest interest in black culture. Anderson considers the fact that Eminem does not “glamorizes or take [hip-hop] out of context and introduce it to a new audience who never knew it existed and are likely to never come in contact with it at all. Then blocks the originator of the style from ever receiving the recognition they deserve, whether they desire the recognition or not” (Anderson). These intellectuals propose that being consciously aware of the privilege you may or may not possess and having a
Have you ever had something that was yours taken? It is not a pleasurable feeling and its negative impact is increasingly more severe when something that has belonged to you and your culture has been seized. At some point in every African American child’s life they are immersed in hip-hop culture. I was practically raised off Run-D.M.C., Missy Elliott, and DJ Jazzy Jeff and the Fresh Prince. When “Rock the House” by DJ Jazzy Jeff and the Fresh Prince would blast and me, my sister, mother, and father would ramble off the lines with ease. “Alright now, bust a move”, the next person would take over “And get the hell out if you 're tryin to bust the groove”, another person would speak “Cause we came …show more content…
Eberhardt and Freeman suggest that white Australian born rapper Iggy Azalea, who resided in the USA for numerous years, is a prime example. Azalea heavily relies on AAE to manufacture her hip-hop persona and increase her profitability (Eberhardt and Freeman 305). Her interest in something outside her culture is not the factor that characterizes her as a cultural appropriator, it is the fact that she only uses AAE to enhance her persona to increase her monetary gain and does not incorporate it into her everyday speech (Eberhardt and Freeman 303). Azalea’s appropriation enhances black stereotyped notions and utilizes black culture as a resource to strategically boost her career (Eberhardt and Freeman 305). As described by Amandla Stenberg, Azalea falls into the category of people who uses black culture to gain attention. This category also includes but is not limited to Miley Cyrus, who rapped, twerked, and incorporated black women as props in her 2013 music video “Can’t Stop”, and Katy Perry whose 2014 music video “This is How We Do” utilizes a phrase that was originally coined by black artist Montell Jordan, a picture of Aretha Franklin, and AAE while eating watermelon (Stenberg). Sterburg is arguing that these women have appropriated culture because they are taking previous standards set by African Americans and presenting them as something new or not giving …show more content…
Non-members of the culture can be identified as appreciators. Instead of solely acknowledging actions similar to Iggy Azalea and Miley Cyrus’ as cultural appropriation, some researchers have begun referring to it as a form of appreciation or freedom of expression. Eberhardt and Freeman suggest that not all cultural outsiders represent systematic racism and white privilege through their use of AAE (Eberhardt and Freeman 304). According to Michael Anderson, Eminem is acknowledged as an example of an accepted hip-hop artist, who appreciates hip-hop and black culture rather than appropriates it. Anderson argues that what Eminem does is not cultural appropriation because he grew up in a similar, economically struggling lower class, life style that mirrors the roots of black hip-hop culture. Unlike Iggy Azalea, Eminem is aware of his white privilege and constantly makes reference to it, which Anderson claims highlights his true and honest interest in black culture. Anderson considers the fact that Eminem does not “glamorizes or take [hip-hop] out of context and introduce it to a new audience who never knew it existed and are likely to never come in contact with it at all. Then blocks the originator of the style from ever receiving the recognition they deserve, whether they desire the recognition or not” (Anderson). These intellectuals propose that being consciously aware of the privilege you may or may not possess and having a