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Association: Name: American Studies Association URL: http://www.theasa.net
Citation: URL: http://www.allacademic.com/meta/p105717_index.html Direct Link: HTML Code:

Streeter, Caroline. "�Black, White and Latina: Post-Race Divas in Popular Music�" Paper presented at the annual meeting of the American Studies Association, <Not Available>. 2009-05-24 <http://www.allacademic.com/meta/p105717_index.html>

Streeter, C. A. "�Black, White and Latina: Post-Race Divas in Popular Music�" Paper presented at the annual meeting of the American Studies Association <Not Available>. 2009-05-24 from http://www.allacademic.com/meta/p105717_index.html

Publication Type: Conference Paper/Unpublished Manuscript Abstract: This paper explores the convergence of cultural influences in songs and music videos by Mariah Carey, Alicia Keys and Jennifer Lopez. Although these artists are associated with different musical idioms �Carey with pop, Keys with rhythm and blues, and Lopez with dance music � all three perform songs that undermine segregating industry practices such as targeted ethnic marketing. The term �post-race� refers to the failure of racial classification to capture the hybridity that characterizes Carey, Keys and Lopez -- whose multi-racial /ethnic backgrounds are well-known aspects of their personae. Carey and Keys, bi-racial women of black and white descent, and Lopez, of Puerto Rican descent, reflect the demographics of a post-Civil Rights era United States. As �post-race� divas, Carey, Keys and Lopez represent utopian notions of the U.S. as a harmonious multi-racial society. Their malleable images are compatible with notions of music as a universal language. At the same time, their careers have benefited greatly from their association with black popular culture � especially through their collaborations with rap musicians. As artists and as celebrities, Carey, Keys and Lopez reflect a radical historical shift in how being linked to blackness has been transformed from a liability to a mark of authenticity. Although the legacy of the one-drop rule persists in terms of the way that black popular culture expands to include hybrid figures like Carey, Lopez and Keys, there are also significant tensions that accompany their inclusion. For example, the paper explores how Carey has experienced significant backlash for what has been perceived as her expedient appropriation of black musical forms and her exploitation of her black heritage. The paper argues that particular aspects of how Keys and Lopez are marketed have shielded them from similar accusations.

�Black Folks Passing for Black Folks": Anti-Essentialism and Post-Blackness in STEW�s 2007 Rock Musical, "Passing Strange"

Intergenerational Mobility Among Black and White Immigrants in the Post-Civil Rights Era: Reassessing the Influence of Race

“The Historical Legal Construction of Black Racial Identity of Mixed Black-White Race Individuals: The Role of State Legislatures”

Varied Degrees of Vision: Recognition of Race for White and Black Women in Same-Race and Interracial Families