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Pitchfork’s authenticity problem

The critical reception of Vampire Weekend and Lil Wayne

Bibliographic Data

ID12918482
AuthorsMelanie A Murray (0000-0001-7561-0389, University of Michigan–Dearborn, corresponding author)
Year2021
Volume14
Issue2
Pages237-251
Publication date2021-01-20
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueCommunication Culture and Critique (JOURNAL)
Journal identifiersISSN: 1753-9137 • E-ISSN: 1753-9129
PublisherOxford University Press (OUP) (PUBLISHER)
DOI10.1093/ccc/tcab003
OpenAlexW3132872968
LanguageEN
Citations received1
References cited17

This article turns a critical eye on the arguments deployed by Pitchfork, one of the most popular music websites, when reviewing two artists: Vampire Weekend and Lil Wayne. Rhetorically analyzing the reception of these two artists is illuminating because both had indie breakouts in 2008, both release genre-spanning music, and both have had over a decade of commercial success. However, Vampire Weekend’s whiteness enables them to benefit from authenticity tropes that are unavailable to Lil Wayne. The analysis will show how Lil Wayne is essentialized as a rapper who is unauthorized to move beyond that genre. Overall, this article examines authenticity as the rhetorical move by which exclusion is constructed and highlights how assumptions about the relationship between race and performance are key to arguments about artistry

Advertising · Aesthetics · Art · Art history · Computer security · Grice · Indie film · Key (lock · Linguistics · Literature · Media studies · Rhetorical question · Sociology · Vampire · Visual arts · Computer Science · Media Studies and Communication · Music History and Culture · Rhetoric and Communication Studies · History · Philosophy

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Unique citing works1
Citations per year0,25
Citation span2022 - 2022 (1)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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