Order Description
Topic: Linguistic appropriation, code-switching, and hip hop
Research Question: How are linguistic appropriation and code-switching evident in the analysis of two interviews given by Macklemore?

References
Cutler, C. (2010). Hip-Hop, White Immigrant Youth, and African American Vernacular English: Accommodation as an Identity Choice. Journal of English Linguistics, 38(3), 248–269. https://doi.org/10.1177/0075424210374551
Cutler, C. (2015a). White Hip-hoppers. Language and Linguistics Compass, 9(6), 229–242. https://doi.org/10.1111/lnc3.12139
Eberhardt, M., & Freeman, K. (2015). “First things first, I”m the realest’: Linguistic appropriation, white privilege, and the hip-hop persona of Iggy Azalea. Journal of Sociolinguistics, 19(3), 303–327. https://doi.org/10.1111/josl.12128
Koch, L. M., Gross, A. M., & Kolts, R. (2001). Attitudes Toward Black English and Code Switching. Journal of Black Psychology, 27(1), 29–42. https://doi.org/10.1177/0095798401027001002
Leonard, D., & Calderon, Jl. (2013, August 30). From Miley to Macklemore: The Privilege Spectrum. Retrieved from https://hiphopandpolitics.com/2013/08/30/from-miley-to-macklemore-the-privilege-spectrum/
Macklemore on Hip Hop & Cultural Appropriation: “I Need to Know My Place, and That Comes From Me Listening.” (n.d.). Retrieved January 28, 2016, from https://www.billboard.com/articles/news/6422361/macklemore-race-hip-hop-cultural-appropriation-hot-97
Rap Game Christopher Columbus. (n.d.). Retrieved January 28, 2016, from https://www.complex.com/music/2014/12/cultural-appropriation-in-music-hip-hop-and-pop
Rodriquez, J. (2006). Color-Blind Ideology and the Cultural Appropriation of Hip-Hop. Journal of Contemporary Ethnography, 35(6), 645–668. https://doi.org/10.1177/0891241606286997
White Hip Hoppers, Language and Identity in Post-Modern America. (n.d.). Retrieved from https://books-google-com.ezproxy1.lib.asu.edu/books/about/White_Hip_Hoppers_Language_and_Identity.html?id=hFPIAgAAQBAJ

Annotated Bibliography
Cutler, C. (2015a). White Hip-hoppers. Language and Linguistics Compass, 9(6), 229–242. https://doi.org/10.1111/lnc3.12139
Cutler’s article examines the phenomenon of white youth using elements of AAE and HHNL (Hip Hop Nation Language) in their speech. Cutler claims that most white youth don’t use AAE or HHNL because they want to assume a black identity but because they want to be a part of hip-hop culture (p. 235). Culter brings Macklemore into her discussion of white hip-hoppers by explaining that Macklemore and Ryan Lewis mock African American culture. She concludes that white people participate in hip-hop for two reasons: they “romanticize” ghetto and black culture or they want to be part of a culture that has a political voice. Although Culter acknowledges the cultural appropriation of hip-hop by white people and white artists, but her viewp01oint seems to indicate that she sees it in some ways as a harmless activity. Her article may serve as a counterargument to other theorists on the topic of whites and hip-hop.

Eberhardt, M., & Freeman, K. (2015). “First things first, I’m the realest’: Linguistic appropriation, white privilege, and the hip-hop persona of Iggy Azalea. Journal of Sociolinguistics, 19(3), 303–327. https://doi.org/10.1111/josl.12128
Eberhardt and Freeman examine the appropriation of hip-hop by white artists, particularly Iggy Azalea, and they argue that appropriate is always a form of “linguistic minstrelsy”. Additionally, they argue that appropriation helps to maintain racist structures (p. 2). Through quantitative analysis of copula absence in Iggy Azalea’s songs and interviews, they conclude that she “represents a particularly salient examples of a white hegemony that views black cultural resources as ripe for the strategic picking” (p. 3). Eberhardt and Freeman’s article provides a useful lens through which to read code-switching that may occur in the two different interviews to be analyzed. Their article also provides important background in the literature on language and hip-hop.

Leonard, D., & Calderon, Jl. (2013, August 30). From Miley to Macklemore: The Privilege Spectrum. Retrieved from https://hiphopandpolitics.com/2013/08/30/from-miley-to-macklemore-the-privilege-spectrum/
This online article written by a professor and author generally discusses the white appropriation of black culture via hip-hop culture. The authors believe that white hip-hop artists should use their privilege as a platform for achieving greater racial justice and express respect for the culture that first developed the music. They argue that in the world of hip-hop there are double-standards: white performers who appropriate black culture are often celebrated while black performers are blamed for cultural dysfunction. This article, although it does not contain any research or theory, it does present an argument against artists like Macklemore and Justin Timberlake who have gained more musical and financial success than their black hip-hop counterparts for a musical genre that was born out of the African American experience.

Rodriquez, J. (2006). Color-Blind Ideology and the Cultural Appropriation of Hip-Hop. Journal of Contemporary Ethnography, 35(6), 645–668. https://doi.org/10.1177/0891241606286997
Rodriguez’s article explores the appropriation of hip-hop by white youth and contends that colorblind ideology allows white youth to “justify their presence” within the hip-hop scene and to appropriate hip-hop (p. 645). He argues that colorblind ideology allows white youth to believe that equality has been extended to racial minorities. Participating in hip-hop culture allows whites to feel a part of black communities and acquire some of the “cool” characteristics attributed to it. The author conducted qualitative research through participant observation at concerts and through interviews with white members of the audience. He argues that white hip-hoppers “use their racial power…to appropriate the culture of hip-hop, taking racially coded meanings out of the music and replacing them with color-blindness” (p. 663). Rodriguez’s article takes a different approach to white hip-hop in that he attributes its appropriation to the misguided idea of color blindness. His article is unique within the literature because it attempts to explain white reasoning behind the appropriation, which is not seen as appropriation by many white people.

Order Description
Topic: Linguistic appropriation, code-switching, and hip hop
Research Question: How are linguistic appropriation and code-switching evident in the analysis of two interviews given by Macklemore?

References
Cutler, C. (2010). Hip-Hop, White Immigrant Youth, and African American Vernacular English: Accommodation as an Identity Choice. Journal of English Linguistics, 38(3), 248–269. https://doi.org/10.1177/0075424210374551
Cutler, C. (2015a). White Hip-hoppers. Language and Linguistics Compass, 9(6), 229–242. https://doi.org/10.1111/lnc3.12139
Eberhardt, M., & Freeman, K. (2015). “First things first, I”m the realest’: Linguistic appropriation, white privilege, and the hip-hop persona of Iggy Azalea. Journal of Sociolinguistics, 19(3), 303–327. https://doi.org/10.1111/josl.12128
Koch, L. M., Gross, A. M., & Kolts, R. (2001). Attitudes Toward Black English and Code Switching. Journal of Black Psychology, 27(1), 29–42. https://doi.org/10.1177/0095798401027001002
Leonard, D., & Calderon, Jl. (2013, August 30). From Miley to Macklemore: The Privilege Spectrum. Retrieved from https://hiphopandpolitics.com/2013/08/30/from-miley-to-macklemore-the-privilege-spectrum/
Macklemore on Hip Hop & Cultural Appropriation: “I Need to Know My Place, and That Comes From Me Listening.” (n.d.). Retrieved January 28, 2016, from https://www.billboard.com/articles/news/6422361/macklemore-race-hip-hop-cultural-appropriation-hot-97
Rap Game Christopher Columbus. (n.d.). Retrieved January 28, 2016, from https://www.complex.com/music/2014/12/cultural-appropriation-in-music-hip-hop-and-pop
Rodriquez, J. (2006). Color-Blind Ideology and the Cultural Appropriation of Hip-Hop. Journal of Contemporary Ethnography, 35(6), 645–668. https://doi.org/10.1177/0891241606286997
White Hip Hoppers, Language and Identity in Post-Modern America. (n.d.). Retrieved from https://books-google-com.ezproxy1.lib.asu.edu/books/about/White_Hip_Hoppers_Language_and_Identity.html?id=hFPIAgAAQBAJ

Annotated Bibliography
Cutler, C. (2015a). White Hip-hoppers. Language and Linguistics Compass, 9(6), 229–242. https://doi.org/10.1111/lnc3.12139
Cutler’s article examines the phenomenon of white youth using elements of AAE and HHNL (Hip Hop Nation Language) in their speech. Cutler claims that most white youth don’t use AAE or HHNL because they want to assume a black identity but because they want to be a part of hip-hop culture (p. 235). Culter brings Macklemore into her discussion of white hip-hoppers by explaining that Macklemore and Ryan Lewis mock African American culture. She concludes that white people participate in hip-hop for two reasons: they “romanticize” ghetto and black culture or they want to be part of a culture that has a political voice. Although Culter acknowledges the cultural appropriation of hip-hop by white people and white artists, but her viewpoint seems to indicate that she sees it in some ways as a harmless activity. Her article may serve as a counterargument to other theorists on the topic of whites and hip-hop.

Eberhardt, M., & Freeman, K. (2015). “First things first, I’m the realest’: Linguistic appropriation, white privilege, and the hip-hop persona of Iggy Azalea. Journal of Sociolinguistics, 19(3), 303–327. https://doi.org/10.1111/josl.12128
Eberhardt and Freeman examine the appropriation of hip-hop by white artists, particularly Iggy Azalea, and they argue that appropriate is always a form of “linguistic minstrelsy”. Additionally, they argue that appropriation helps to maintain racist structures (p. 2). Through quantitative analysis of copula absence in Iggy Azalea’s songs and interviews, they conclude that she “represents a particularly salient examples of a white hegemony that views black cultural resources as ripe for the strategic picking” (p. 3). Eberhardt and Freeman’s article provides a useful lens through which to read code-switching that may occur in the two different interviews to be analyzed. Their article also provides important background in the literature on language and hip-hop.

Leonard, D., & Calderon, Jl. (2013, August 30). From Miley to Macklemore: The Privilege Spectrum. Retrieved from https://hiphopandpolitics.com/2013/08/30/from-miley-to-macklemore-the-privilege-spectrum/
This online article written by a professor and author generally discusses the white appropriation of black culture via hip-hop culture. The authors believe that white hip-hop artists should use their privilege as a platform for achieving greater racial justice and express respect for the culture that first developed the music. They argue that in the world of hip-hop there are double-standards: white performers who appropriate black culture are often celebrated while black performers are blamed for cultural dysfunction. This article, although it does not contain any research or theory, it does present an argument against artists like Macklemore and Justin Timberlake who have gained more musical and financial success than their black hip-hop counterparts for a musical genre that was born out of the African American experience.

Rodriquez, J. (2006). Color-Blind Ideology and the Cultural Appropriation of Hip-Hop. Journal of Contemporary Ethnography, 35(6), 645–668. https://doi.org/10.1177/0891241606286997
Rodriguez’s article explores the appropriation of hip-hop by white youth and contends that colorblind ideology allows white youth to “justify their presence” within the hip-hop scene and to appropriate hip-hop (p. 645). He argues that colorblind ideology allows white youth to believe that equality has been extended to racial minorities. Participating in hip-hop culture allows whites to feel a part of black communities and acquire some of the “cool” characteristics attributed to it. The author conducted qualitative research through participant observation at concerts and through interviews with white members of the audience. He argues that white hip-hoppers “use their racial power…to appropriate the culture of hip-hop, taking racially coded meanings out of the music and replacing them with color-blindness” (p. 663). Rodriguez’s article takes a different approach to white hip-hop in that he attributes its appropriation to the misguided idea of color blindness. His article is unique within the literature because it attempts to explain white reasoning behind the appropriation, which is not seen as appropriation by many white people.