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  • 1.
    Muchitsch, Veronika
    Södertörn University, School of Culture and Education, Gender Studies.
    “Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming2023In: IASPM@Journal, E-ISSN 2079-3871, Vol. 13, no 3, p. 48-65Article in journal (Refereed)
    Abstract [en]

    Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies. 

  • 2.
    Werner, Ann
    Södertörn University, School of Culture and Education, Gender Studies.
    Making Aboriginal Men and Music in Central Australia, Åse Ottosson. London: Bloomsbury, 2016.: Åse Ottosson. London: Bloomsbury, 2016.2016In: IASPM@Journal, ISSN 1025-8973, E-ISSN 2079-3871, Vol. 6, no 2, p. 189-191Article, book review (Other academic)
  • 3.
    Werner, Ann
    Södertörn University, School of Culture and Education, Gender Studies.
    Resistance in Maxida Märak’s album Utopi2021In: IASPM@Journal, E-ISSN 2079-3871, Vol. 11, no 2, p. 69-83Article in journal (Refereed)
    Abstract [en]

    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 epistemes 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, anticapitalist, and anti-settler colonial activism in Märak’s work.

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