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Scholarly articles on the effects of cultural appropriation on African American culture
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Cultural Appropriation: The Influence of Music’s Image on Race Relations
Chart-topping artists have long been able to capture America with music videos that feature catchy lyrics, buoyant beats, and a vivacity of visual elements. The appeal of these videos lies in the glorification of celebrity lives, playing on the desire for pleasure amongst viewers. In the quest to address this desire, a pattern of White artists adopting clothing, hairstyles, and language that are attributed to Black culture has manifested. The appropriation that is present in these videos make them a source of capitalism in which a dominant race or class of people are able to simplify cultural rudiments of another for the sake of commercial appeal. These elements are
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“A people with no connection to history, divorced from place and context, engines of pure abstraction -- which is what Capitalism is all about; the conversion of the complex, beautiful world into quantifiable units that can be speculated upon" (Frank). Thus, a history of oppression in which Whites exploit the tribulations of Blacks is maintained within the modern music industry. The identification of stereotypes and further categorizations of Black individuals has been established and recognized. In a discussion regarding his inspiration for the series ‘Whiteness Goggles’, Peet explains, "Discussing [cultural appropriation] opens fault lines within groups of people, and reveals some fundamental differences in the ways different people see the world as a result of their contexts of race, class, gender and power. Appropriation is something I think about a lot, because I think it 's a singular way to understand some of the more insidious and destructive ways that capitalism works" …show more content…
These artists, who possess the power to reach millions of viewers, are often criticized for their lack of attention to the real issues facing Black America. Resounding efforts are made on their parts to exploit a culture but when it comes to anything beyond that, the artists remain quiet. Actress Amandla Stenberg insists on the consideration of this dynamic by posing the question “What if America loved Black People as much as they love Black culture?” in her critical video “Don’t Cash Crop my Cornrows” (Stenberg). During a historical period in which numerous Black Americans face injustices and many others have lost their lives, an evocative response from some of the most influential individuals in the music industry is
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
In Stuart Hall’s “What is This “Black” in Black Popular Culture?” the historical implication of popular culture in the U.S is examined and the influence that blackness has in it is deconstructed. According to the text, the departure of European concepts of culture after WWII sparked a hegemonic shift as the United States emerged as a world power. Due to this, the U.S. became the epicenter of global culture production. However, since America has always had a large ethnic population due to slavery, the true face of American popular culture was black American vernacular traditions. Even today, slang that emerge from black ghettos and communities become highly popular with people of other races. In fact, much of black culture is not just our culture,
Race, as defined by the Merriam-Webster dictionary, is a category of humankind that shares certain distinctive physical traits (“Merriam-Webster” 2016). “The concept of race, as a construct distinguishing one group of humans from another on the basis of shared biological appearances, emerges from a legacy of human-different making that traces across humanity” (Radano and Bohlman 2000: 10). In my opinion, it is inevitable for musicians to subconsciously incorporate their ideas of racial differences in music making. With the influence of the mass media, racial differences are communicated through music, which then modifies the pre-existing perceptions of racial identities of the audiences. First, I will
In this paper I’m going to show how African Americans have used hip hop and black hair are two ways in which African Americans embrace their culture and fight oppression. However, as we have reviewed in many classes, oppression is not easily escaped. So in this paper, I’m going to show how cultural appropriation is used as a way of oppressing black culture. So this paper is an expansion of what we have learned in the class.
The purpose of this study is determine why and how African American music that’s is so deeply rooted into the community is being culturally appropriated. This is a topic that has been the on the foreground of race for years. Activists and celebrities like Adrienne Keene, DeRay McKesson, Azealia Banks, and Jesse Williams helped bring the issue into the national attention. Most of the world or better yet the appropriators have very little knowledge of what the word actually means. In order to understand the problem we must first understand the word Culture and Appropriation. Culture being defined as the beliefs, ideas, traditions, speech, and material objects associated with a particular group of people. Appropriation the action of taking something
The second article, “Commercialization of the Rap Music Youth Subculture” by M. Elizabeth Blair, expresses the point of the use of rap music to sell a product even though advertisers know nothing of the subculture....
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans.
...abuse towards women, the sexual objectification of women and the effect these lyrics have on our youth?s opinion of women make hip-hop the absolute embodiment of exploitation of women. The extreme abuse that women must endure as a result of hip-hop, in conjunction with the constant objectification and marginalization that women continue to experience in society today has had a very negative influence on an average adolescent?s perception of women. In a fashion that is metaphorically parallel to the exploitation of women in rap, the great French writer Francois-Marie Arouet, whose pseudonym is Voltaire, once stated, ?No snowflake in an avalanche ever feels responsible? (Arouet). Hip-hop icons are instilled with the incomparable power to change lives for the better or the worse?for the sake of women everywhere, black or white, one can only pray that it is the former.
These six words in many ways defined the late 1980s and 1990s, encapsulating the rise of hip-hop, NIKE, Michael Jordan, and the racial-class narratives embedded in each of them. The problem of such ethos are highlighted in a music video from Seattle’s very own Macklemore and Ryan Lewis.
The cultural theory helps expand the knowledge of “hip hop” as an idea and influence on society. Mark Anthony Neal discusses the development of the understanding of hip hop by dissecting the layers and complexities of the culture, “Hip-hop music and culture emerged as a narrative and stylistic distillation of African-American youth sensibilities in the late 1970s,” within What the Music Said (Woldu 18). Urban history is a large, yet vital characteristic throughout the study of hip hop and its progression; Russell Potter shows how critical the representation of black musical expression and the “history of vernacular speech” is for the hip hop community in his book, Spectacular Vernaculars (Woldu 19). As decades pass and the hip hop scene expands, the history of this culture becomes influenced by more historical movements and creations. However, that is not the only historical significance that runs deep within the hip hop culture. The history and influence of the black feminist movement within the hip hop scene became a demanding characteristic in the development of the hip hop culture. As the gender divide became an evident aspect through the hip hop generation, women, especially female rappers,
Hip hop has permeated popular culture in an unprecedented fashion. Because of its crossover appeal, it is a great unifier of diverse populations. Although created by black youth on the streets, hip hop's influence has become well received by a number of different races in this country. A large number of the rap and hip hop audience is non-black. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Because it has become the fastest growing music genre in the U.S., companies and corporate giants have used its appeal to capitalize on it. Although critics of rap music and hip hop seem to be fixated on the messages of sex, violence, and harsh language, this genre offers a new paradigm of what can be (Lewis, 1998.) The potential of this art form to mend ethnic relations is substantial. Hip hop has challenged the system in ways that have unified individuals across a rich ethnic spectrum. This art form was once considered a fad has kept going strong for more than three decades. Generations consisting of Blacks, Whites, Latinos, and Asians have grown up immersed in hip-hop. Hip hop represents a realignment of America?s cultural aesthetics. Rap songs deliver a message, again and again, to keep it real. It has influenced young people of all races to search for excitement, artistic fulfillment, and a sense of identity by exploring the black underclass (Foreman, 2002). Though it is music, many people do not realize that it is much more than that. Hip hop is a form of art and culture, style, and language, and extension of commerce, and for many, a natural means of living. The purpose of this paper is to examine hip hop and its effect on American culture. Different aspects of hip hop will also be examined to shed some light that helps readers to what hip hop actually is. In order to see hip hop as a cultural influence we need to take a look at its history.
Cultural Appropriation and Its Effects On Other Cultures This past Halloween I dressed up as a China Doll; in my black traditional Asian dress, white painted face, rosy pink cheeks, black eyeliner, and my hair held up in a bun with chopsticks. I originally thought that this costume would be rather attractive and fun. However, I began to question myself after a young lady approached me and asked, "Are you suppose to be an Asian person? " I immediately replied, "No, I am a beautiful China Doll".
Music has long been an expression of people from different cultures around the world. Music has been present since the dawn of man. Archaeologists in recent years have uncovered age old music instruments made by early modern humans. Music can influence the way we act, dress, talk, dance, or socialize. Music can be inspiring and uplifting if we are going through a difficult time in our life. The same can be argued with musical styles that reflect use of drugs or promote violence. With this being said, have you ever wondered in what ways music and radio has shaped the American culture and its values?
By carefully analyzing the synapses between the existential Negro and the Hipster, we can deduce the reflections on the wider umbrella of American popular culture. The elements of music, politics, language and general human characteristics resulting from American popular culture all worked together to create the “white negro”- a person who can be simply referred to as a white person with black or “negro”