IASPM Journal https://iaspmjournal.net/index.php/IASPM_Journal <p>IASPM Journal is the peer-reviewed open-access journal of the International Association for the Study of Popular Music (IASPM) –– its members are invited to <a href="http://www.iaspmjournal.net/index.php/IASPM_Journal/user/register" target="_blank" rel="noopener">register</a> and publish. Click <a href="http://www.iaspmjournal.net/index.php/IASPM_Journal/issue/view/35">here</a> for a copy of the CFP (in several languages) and Style Guide.</p> IASPM - International Association for the Study of Popular Music en-US IASPM Journal 2079-3871 <p>Authors retain copyright, while licensing their work under a <a href="http://creativecommons.org/licenses/by-nc-sa/3.0/" target="_blank" rel="noopener">Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License</a>.</p> REVIEW I Eastern European Popular Music in a Transnational Context https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1037 Review of Eastern European Popular Music in a Transnational Context: Beyond the Borders (Palgrave European Film and Media Studies), edited by Ewa Mazierska and Zsolt Győri,Cham: Palgrave Macmillan, 2019. Nico Thom Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 107 109 REVIEW I Hungry Listening: Resonant Theory for Indigenous Sound Studies https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1103 A review of Hungry Listening: Resonant Theory for Indigenous Sound Studies by Marie Thompson Marie Thompson Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 110 113 REVIEW I Understanding Records. A Field Guide to Recording Practice. https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1049 Review of Understanding Records. A Field Guide to Recording Practice, Second Edition by Jay Hodgson. Michael Ahlers Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 114 116 REVIEW | Flow: The Rhythmic Voice in Rap Music https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1085 Review of <i>Flow: The Rhythmic Voice in Rap Music</i> by Benjamin Burkhart Benjamin Burkhart Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 117 119 REVIEW I Demoler: El Rock en el Perú 1965-1975 https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1153 A review of the book Demoler: El Rock en el Perú 1965-1975 by Sergio Pisfil Sergio Pisfil Copyright (c) 2021 IASPM Journal https://creativecommons.org/licenses/by-nc-sa/4.0 2022-07-08 2022-07-08 11 2 120 122 O Canto Livre de Nara Leão: Engajamento Artístico, Sonoridade e Gesto Vocal https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1027 Nara Leão, a name immediately associated with bossa nova, though little of her production was really associated with bossa nova during the 1960s. At the beginning of the decade, Nara and some of her colleagues changed the directions of Brazilian popular music by approaching more intellectual artists of theater and cinema as well as sectors of the Brazilian left. They effectively established a new song segment, setting the stage for what would be later called "Brazilian protest song". In this article, we take O canto livre de Nara (her third LP) as a privileged object to understand the way in which the interpreter's vocal gesture seems to converge with certain poetic and political perspectives prevailing in the period. Ismael de Oliveira Gerolamo Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 84 106 Indigenizing the Mainstream: Music Festivals and Indigenous Popular Music https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1095 First Nations, Métis, and Inuit music and dance practices have enacted Indigenous survivance since colonization began. Contemporary Indigenous performers within and beyond present-day Canadian borders continue this performative intervention through popular music, building what I call sonic sovereignty. In response to music industry barriers, Indigenous media professionals created performance spaces for First Nations, Métis, Inuit, and international Indigenous musicians. Facing ongoing political changes, Indigenous music professionals navigated multilayered challenges for the 2020 festival season. As uncertainty continues around music festivals in the future, the article addresses how decolonial possibilities are shifting around cultural and political change through music festival performance. Liz Przybylski Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 5 21 Decolonizing the Boundaries: Indigenous Musical Discourse in the History of Kurdish Radio Baghdad https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1059 Divided between empires and nation-states for centuries the Kurds have, by and large, been excluded from discourses of indigeneity. In a similar manner, musical practice among the Kurds cannot be easily cajoled into Western categories such as folk/popular. How then might scholars begin to approach the decolonization of research describing Kurdish musical practice? In this article, I propose that one important step in this process is learning to pay closer attention to the ways Kurdish musicians themselves have challenged the colonial legacy, adeptly navigating, challenging, and sometimes simply ignoring the political, linguistic, and cultural boundaries established by their colonizers. As an example of this practice, I describe key moments of resistance in the early history of Kurdish Radio Baghdad. I argue that accepting these acts of resistance as a form of indigenous musical discourse is an important first step toward the decolonization of Western knowledge in this regard. Jon Bullock Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 22 38 Los Jaivas: Toward a Decolonial Attitude in Chilean Psychedelic Rock https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1035 This article proposes a decolonial reading of the rock music produced by Los Jaivas in Chile during the late sixties and early seventies by putting it in dialogue with Rodolfo Kusch’s work on identity and Walter Mignolo’s notion of decolonial aesthesis. By highlighting Indigenous melodies, rhythms, ideas and experiences in the rock genre, Los Jaivas propose an alternative conception of the Chilean subject as Andean and not exclusively displaced-European, as maintained by Chile’s institutions and mainstream culture. The music produced by Los Jaivas articulates a decolonial attitude and recognises Indigenous values as an integral part of Chilean reality, adding a deeper dimension to the political critique of capitalism that occurred during the Unidad Popular period (1970-1973). Through the enduring music of their first albums and singles, Los Jaivas create an instance of decolonial aesthesis that has profoundly altered Chilean discourses of national identity. Israel Holas Allimant Sergio Holas Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 39 54 Tanya Tagaq Covers Nirvana: “Rape Me” and a History of Settler Colonial Violence https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1053 In 2016 Tanya Tagaq—an Inuk artist from Cambridge Bay (Iqaluktuutiaq), Nunavut, known for her performances of a style of throat singing—released her fourth studio album, Retribution. Retribution’s final song is a cover of Nirvana’s “Rape Me.” Tagaq’s version speaks to certain realities and violence faced by Indigenous women living in settler colonial North America. She urges that the song be heard in a new way. There are moments of admiration and moments of confrontation in the cover. Yet, it also calls back to Nirvana’s version. Ultimately, this paper examines Tagaq’s performance of “Rape Me” as a way of naming the sexual violence of colonialism and confronting ideas of reconciliation held by the settler state. Ryan Shuvera Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 55 68 Resistance in Maxida Märak’s album Utopi https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1061 In this article, the music, lyrics, and music videos of Maxida Märak’s 2019 debut solo album Utopi (Utopia) are analysed using feminist, decolonial theories. The article discusses how the construction of resistance to colonial, patriarchal, and capitalist oppressions takes form on Utopi, and shows popular music’s relationship to feminist and Indigenous resistance today. Lyrics, sounds, and images are analysed using discourse analysis, leading to the conclusion that Utopi holds ambiguous possibilities, of resisting settler colonialism, sexism, racism, and capitalism, while at the same time reinforcing neoliberal story telling tropes of individual success, and marketing Indigenous episteme as goods. Currently the most visible Indigenous pop and rap artist in Sweden, Märak was born in Stockholm and considers Jokkmokk, in Sápmi, her home. She became famous for her music and political activism for Saami rights and Saami visibility in 2015, and reached a larger audience when she performed in the intermission of Melodifestivalen, the Swedish contest leading up to Eurovision, in 2018. During 2019, she released her first, full length album with songs about motherhood, land, class, love, sex, and loss. She sings and raps mainly in Swedish, and blends rap, pop, and Saami musical heritage. The conclusion of this article shows how land, and Saami feminine spirituality, are constructed as the basis for feminist, anti-capitalist, and anti-settler colonial activism in Märak’s work. Ann Werner Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 69 83 Special Issue: Popular Music, Decolonization, and Indigenous Studies https://iaspmjournal.net/index.php/IASPM_Journal/article/view/1181 Introduction to the Special Issue on Popular Music, Decolonization and Indigenous Studies Kirsten Zemke Arcia Tecun Copyright (c) 2021 IASPM Journal 2021-12-23 2021-12-23 11 2 1 4