Is the post- in post-identity the post- in post-genre

Bibliographic Data

ID5136646
AuthorsR James (0009-0007-2301-7496, University of North Carolina at Charlotte, corresponding author)
Year2017
Volume36
Issue1
Pages21-32
Publication date2017-01-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenuePopular Music (JOURNAL)
Journal identifiersISSN: 0261-1430 • E-ISSN: 1474-0095
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0261143016000647
OpenAlexW2566313935
LanguageEN
Citations received15
References cited13

The 'post-' in both post-identity politics and post-genre musical practice refers to the same thing. Through readings of Taylor Swift's 'Shake It Off', Diplo's description of his practice as a DJ, producer and impresario, Sasha Frere-Jones's infamousNew Yorkerpiece on indie rock miscegenation, and critical race theorists Cristina Beltran and Jared Sexton's critiques of post-racial politics, I demonstrate that progress past traditional commitments to white racial purity is both the defining characteristic of post-racial whiteness, and what makes multigenre pop practice count as post-genre. The 'post-' in post-identityis what distinguishes post-genre practice from supposedly more primitive forms of genre transgression, such as the love & theft-style cultural appropriation Eric Lott identifies in 19th century blackface minstrelsy or Pitbull's Latin American style racial/musical mestizaje

Aesthetics · Appropriation · Art · Art history · Identity (music · Linguistics · Literature · Musical · Political science · Politics · Sociology · Style (visual arts · White (mutation · Critical Race Theory in Education · History · Law · Music History and Culture · Philosophy · Rhetoric and Communication Studies

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