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status, and influence, it is possible <strong>the</strong>y might not ever be “canceled.”<br />
Although on an uneven plane <strong>of</strong> power, we are all capable <strong>of</strong> doing<br />
something we should not. As Ibram Kendi notes in his award-winning book<br />
Stamped from <strong>the</strong> Beginning: The Definitive <strong>History</strong> <strong>of</strong> Racist Ideas in<br />
America (2016), “Racist ideas are ideas. <strong>An</strong>yone can produce <strong>the</strong>m or<br />
consume <strong>the</strong>m.” 2 It is a simple but pr<strong>of</strong>ound statement. I would add to this<br />
that anyone can reproduce a settler-colonial idea as well. Fur<strong>the</strong>r, <strong>the</strong><br />
reproduction <strong>of</strong> racism and settler colonialism is about power, that is, who<br />
can create some negative outcome for those most vulnerable. We can all<br />
perpetuate stereotypes about <strong>Indigenous</strong> peoples, and, <strong>of</strong> course, <strong>Indigenous</strong><br />
peoples can engage in stereotypes about <strong>the</strong>mselves. I recall hearing older<br />
members <strong>of</strong> my family, Black and <strong>Indigenous</strong>, recount that when <strong>the</strong>y went<br />
to see those racist John Wayne cowboy movies, <strong>the</strong>y rooted for his ass! If I<br />
take anything from this lesson, we can all uncritically accept narratives<br />
rooted in popular culture. It should not be surprising, <strong>the</strong>n, within a settlercolonial<br />
society, that even Black folks can slip up and reproduce harmful<br />
imagery <strong>of</strong> distorted <strong>Indigenous</strong> cultures or straight-up culturally<br />
appropriate <strong>the</strong>m.<br />
Still, <strong>the</strong>re seems to be some basic disagreements over what cultural<br />
appropriation is, who can do it, and what <strong>the</strong> impacts are. Again, anyone<br />
can reproduce racist or colonial ideas. However, <strong>the</strong>re is also a thin line<br />
between cultural appropriation and appreciation. In this chapter, I will<br />
analyze cultural appropriation, <strong>the</strong> discourses <strong>of</strong> solidarity, and how this all<br />
plays out within <strong>the</strong> realm <strong>of</strong> Black and <strong>Indigenous</strong> public cultural spheres.<br />
I want to do this by analyzing particular examples within <strong>the</strong> Black and<br />
<strong>Indigenous</strong> popular cultural realms.<br />
CULTURAL APPROPRIATION VS. CULTURAL APPRECIATION<br />
It is becoming almost cliché to use <strong>the</strong> term “cultural appropriation.”<br />
Everyone uses it. White people appropriate hip-hop culture, understood as<br />
Black culture. White people wear headdresses at Coachella. Actually,<br />
everyone wears headdresses—Black, white, green—just hang around a<br />
college campus on Halloween. (Those same people will also wear costumes<br />
that are disrespectful to my Latinx and Asian homies.)<br />
Europeans go to places like Oaxaca, Mexico, learn how to make mezcal,<br />
and <strong>the</strong>n bring it to California and act like it is brand new. They take artistic