In this Book

summary
Popular music compels, it entertains, and it has the power to attract and move audiences. With that in mind, the editors of Indigenous Pop showcase the contributions of American Indian musicians to popular forms of music, including jazz, blues, country-western, rock and roll, reggae, punk, and hip hop.

From Joe Shunatona and the United States Indian Reservation Orchestra to Jim Pepper, from Buffy Saint-Marie to Robbie Robertson, from Joy Harjo to Lila Downs, Indigenous Pop vividly addresses the importance of Native musicians and popular musical genres, establishing their origins and discussing what they represent.

Arranged both chronologically and according to popular generic forms, the book gives Indigenous pop a broad new meaning. In addition to examining the transitive influences of popular music on Indigenous expressive forms, the contributors also show ways that various genres have been shaped by what some have called the “Red Roots” of American-originated musical styles. This recognition of mutual influence extends into the ways of understanding how music provides methodologies for living and survival.

Each in-depth essay in the volume zeros in on a single genre and in so doing exposes the extraordinary whole of Native music. This book showcases the range of musical genres to which Native musicians have contributed and the unique ways in which their engagement advances the struggle for justice and continues age-old traditions of creative expression.

Table of Contents

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  1. Cover
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  1. Half Title, Title Page, Copyright, Quotations
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  1. Contents
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-x
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  1. Introduction
  2. pp. 3-16
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  1. 1. Joe Shunatona and the United States Indian Reservation Orchestra
  2. John W. Troutman
  3. pp. 17-32
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  1. 2. American Indian Jazz: Mildred Bailey and the Origins of America’s Most Musical Art Form
  2. Chad Hamill
  3. pp. 33-46
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  1. 3. Jazz and the Politics of Identity: The Spirit of Jim Pepper
  2. Bill Siegel
  3. pp. 47-60
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  1. 4. Singing for the People: The Protest Music of Buffy Sainte-Marie and Floyd Westerman
  2. Kimberli Lee
  3. pp. 61-74
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  1. 5. Brothers of the Blade: Three Native Axmen: Link Wray, Robbie Robertson, and Jesse Ed Davis
  2. Scott Prinzing
  3. pp. 75-91
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  1. 6. “We Were All Wounded at Wounded Knee”: The Engaged Resistance of Folk and Rock in the Red Power Era
  2. Jan Johnson
  3. pp. 92-106
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  1. 7. “We’ll Get There with Music”: Sonic Literacies, Rhetorics of Alliance, and Decolonial Healing in Joy Harjo’s Winding Through the Milky Way
  2. Gabriela Raquel Rios
  3. pp. 107-122
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  1. 8. Hearing the Heartbeat: Environmental Cultural Values in the Lyrics of Native Songwriters
  2. Samantha Hasek, April E. Lindala
  3. pp. 123-135
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  1. 9. “The Story of a Lifetime”: Singing, Crossing, and Claiming in Lila Downs’s “Minimum Wage”
  2. Casie C. Cobos
  3. pp. 136-154
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  1. 10. Babylon Inna Hopiland: Articulations of Tradition and Social Injustice by the Hopi Reggae Musician Casper Loma-da-wa Lomayesva
  2. David S. Walsh
  3. pp. 155-178
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  1. 11. Blackfire’s Land-Based Ethics: The Benally Family and the Protection of Shi Kéyah Hozhoni
  2. Jeff Berglund
  3. pp. 179-200
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  1. 12. A Reading of Eekwol’s Apprentice to the Mystery as an Expression of Cree Youth’s Cultural Role and Responsibility
  2. Gail A. Mackay
  3. pp. 201-223
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  1. 13. “By the Time I Get to Arizona”: Hip Hop Responses to Arizona SB 1070
  2. Marcos Del Hierro
  3. pp. 224-236
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  1. Contributors
  2. pp. 237-242
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  1. Index
  2. pp. 243-250
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