I distinguish between the nineteenth‐ to twentieth‐century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth‐ to twenty‐first‐century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth‐century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth‐ and twenty‐first‐century practice. I use Nietzsche to track shifts from classical to neo‐liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding‐Williams's reading of this film, and argue that mid‐century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated.