Abstract
The book’s epilogue fast-forwards to a brief case study of contemporary music and identity politics. The Broadway musical Hamilton found great success just as the 2016 Democratic Party primary race between Hillary Clinton and Bernie Sanders foregrounded a political divide between so-called identity and class politics. From their earliest days, identity politics have offered a model of solidarity and connectedness, a privileging, in the famous phrase, of the personal as the political. Hamilton does not rewrite history, but it does rewrite how it is felt and who gets to do the feeling. It is not enough simply to achieve some sort of psychological self-actualization, solely on one’s own, individual terms. The epilogue argues for a more nuanced understanding of identity politics as a particularly effective model for building solidarity, as our best chance for creating positive change.
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