Скачать или смотреть Mr.2000's Rants: Is Bruno Mars misappropriation black culture?

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Before we begin any discussion of Bruno Mars and cultural appropriation, we must lay out a few ground rules:

This will not be a debate about the quality of Bruno Mars’ work. That discussion is too subjective, and no one will ever reach a consensus on any kind of art. Plus, some people have shit taste in music, and I’ll be damned if I’m about to argue music with anyone who believes 21 Savage is better than Nas.
For the sake of this argument, Bruno Mars is not black. He has a mixed racial background that includes Ashkenazi Jew, Puerto Rican and Filipino. One can debate where he fits in the African Diaspora, the meaning of “blackness” or whether race is an artificial construct. I can almost guarantee that if I called him right now and asked him to list his top five macaroni-makers, he’d have to think about it for a minute, and none of the names in his top five would begin with the word “aunt.”
Black people created every form of American music. But there is a specific, indefinable genre of music that begins with R&B and encompasses hip-hop that we will heretofore refer to as “black music.”
The furious debate about Bruno Mars and whether or not he is a cultural appropriator has bubbled beneath the surface of his career for a while. It existed before he remade Earth, Wind & Fire’s “Uptown Funk” or Bell Biv DeVoe’s “Finesse.” Even when—

Wait ... I’m being told that the previously mentioned songs are Bruno Mars originals. But I’m pretty sure the S.O.S. Band made “24 Karat Magic.” I think it was the B side to “Take Your Time,” so let’s use that as an example. What? That’s an original song, too? OK, I’m going to have to do a little more research on this and get back to you.

But before Bruno won a Grammy and Meshell Ndegeocello called him a karaoke singer, there were always people who thought that someone put Michael Jackson, Prince and James Brown into a blender with a quarter cup of lukewarm water, a dollop of mayonnaise and a smidge of racial ambiguity, and out came the next pop sensation.

The conversation was reignited when this clip from the Grapevine (not this one; the other one) began circling the internet:
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