1/10/2023 0 Comments Seren sensei![]() ![]() It was always a multiracial enterprise by nature of the lay of the land here, and I think that speaking of hip-hop as though it was historically an exclusively black art is not only a misunderstanding of how the culture worked from day one, it’s a disingenuous flattening of several conversations about racial identity and cultural exchange. If cultural appropriation is thought of as the theft of a minority culture by an oppressor, usually with malicious intent, how do we loosen the definition when people of color take from each other? And how do the rules apply to a multiracial person like Bruno Mars?Ĭraig Jenkins: I feel like the answer to this question sits at the dawn of hip-hop, which was set in motion by a Jamaican immigrant in a community of black and Latin Americans and patronized early on by artsy downtown white folk. The issue is we want our black culture from non-black bodies, and Bruno Mars is like, ‘I’ll give it to you.’”īut is the issue so black and white? What does appropriation look like when the accused appropriator and those being appropriated are both people of color, but do not share the same racial or ethnic background? Can there be a cultural exchange between two minority cultures that exists without offense? Does “appropriation” have any place in this debate? And is Bruno Mars, at best, his generation’s most talented tribute artist or, at worst, a thief? In a sequel to their conversation on appropriation, New York music critic Craig Jenkins and Vulture music columnist Frank Guan attempt to untangle the mess. Writer Seren Sensei argued in the video, “Bruno Mars got that Grammy because white people love him because he’s not black, period. (Mars’s background includes Filipino, Puerto Rican, Spanish, and Ashkenazi Jewish heritage.) The debate reignited following his six Grammy wins this year - including Album of the Year - when a clip from a YouTube roundtable challenging Mars’s claim to black music went viral on Twitter last week. Adding a new wrinkle to the conversation is Bruno Mars, whose unmistakable references to funk, R&B, and New Jack Swing in his art have long sparked whispers of appropriation - and lawsuits over alleged similarities - because he is not black, but owes his success to black music. He wrote a mea culpa about his white privilege, Iggy retreated from rap, and Miley went country. Four years ago, the offender was Miley Cyrus two years ago, it was Macklemore and Iggy Azalea. ![]() Toni Morrison Portland State University LectureĬOVID-19 Stimulus Bill: S.Photo-Illustration: Maya Robinson/Vulture and Photos by Getty ImagesĮvery so often, the cultural discourse resets itself, and accusations of appropriation are launched (or relaunched) at a different target. Seren’s Instagram: About That… A Year of Contemporary Essays on Race and Pop Culture Melina Matsoukas, Julia Roberts & Spike Lee In part 9 Seren Sensei discusses if the concept of reparations not being feasible due to financial and political restraints has been smashed due to coronavirus stimulus bill being passed and signed into law References/resources mentioned Seren In part 8 Seren Sensei discusses the “N Word” and should be able to use it Sensei Aishitemasu on Reparations In part 7 Seren Sensei discusses why it appears that many Africans/Black British are casted in American films to portray historically significant Black Americans Sensei Aishitemasu on the N Word In part 6 Seren Sensei explains who Daniel Kaluuya is along with some of his most popular roles Sensei Aishitemasu on casting in Hollywood In part 5 Seren Sensei discusses Neely Fuller Jr.’s concept of justice and is practical application as a replacement to the system of racism Sensei Aishitemasu on Daniel Kaluuya In part 4 Seren Sensei discusses what she would replace the system of racism with and explains what makes her suggestion(s) different Sensei Aishitemasu on Justice In part 3 Seren Sensei discusses a definition of racism and gives her perspective on its application Sensei Aishitemasu on replacing the system of racism In part 2 Seren Sensei defines Black American – Descendant of American Chattel Slavery (BA-DACS) and explains the importance of making an ethnic/cultural distinction when discussing Black people Sensei Aishitemasu on racism In part 1 Seren Sensei explains her motivation for writing and creating content about the system of racism Sensei Aishitemasu on the importance of black Americans
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