{"id":8072,"date":"2017-11-17T04:21:21","date_gmt":"2017-11-17T04:21:21","guid":{"rendered":"https:\/\/www.mangoes-and-bullets.org\/tracksntreks\/"},"modified":"2017-11-17T04:21:21","modified_gmt":"2017-11-17T04:21:21","slug":"tracksntreks","status":"publish","type":"post","link":"https:\/\/www.mangoes-and-bullets.org\/en\/tracksntreks\/","title":{"rendered":"tracks&#8217;n&#8217;treks"},"content":{"rendered":"<p>In his <a href=\"https:\/\/www.unrast-verlag.de\/gesamtprogramm\/allgemeines-programm\/antirassismus\/tracksntreks-365-detail\">dissertation<\/a> published in 2011, musician and music sociologist Johannes Ismaiel-Wendt explores the extent to which popular music contains, transports, and negotiates (post-)colonial knowledge.<\/p>\n<blockquote><p>&#8220;If the key concepts of postcolonial studies existed on vinyl, there might be The Black Atlantic by Gilroy on the one turntable. I&#8217;d have a 12&#8221; version of lyrics like &#8220;De-Linking&#8221; by Mignolo, or even a single like &#8220;London Lies in the Tropics&#8221; by Uh-Young Kim. The other deck would have an album spinning at the same time from Keziah Jones, Natacha Atlas, Jan Delay, Quio, Chronomad or Pinch. I would sync the beats from both turntables and mix tracks&#8217;n&#8217;treks with the mixer.&#8221; (<a href=\"https:\/\/www.unrast-verlag.de\/gesamtprogramm\/allgemeines-programm\/antirassismus\/tracksntreks-365-detail\">Cf. bl<\/a>urb)<\/p><\/blockquote>\n<p>Johannes Ismaiel-Wendt 2011: tracks&#8217;n&#8217;treks. Popular Music and Postcolonial Analysis. M\u00fcnster: Unrast<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In his dissertation published in 2011, musician and music sociologist Johannes Ismaiel-Wendt explores the extent to which popular music contains, transports, and negotiates (post-)colonial knowledge.<\/p>\n","protected":false},"author":2,"featured_media":7629,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","footnotes":""},"categories":[377],"tags":[394,442,396],"class_list":{"0":"post-8072","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-trade-literature","8":"tag-decolonization","9":"tag-popular-music","10":"tag-postcolonialism"},"uagb_featured_image_src":{"full":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"thumbnail":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355-150x150.jpg",150,150,true],"medium":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-206x300.jpg",206,300,true],"medium_large":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"large":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"1536x1536":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"2048x2048":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"bunyad-small":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",150,117,false],"bunyad-medium":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"bunyad-full":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"bunyad-viewport":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false],"bunyad-768":["https:\/\/www.mangoes-and-bullets.org\/wp-content\/uploads\/2017\/10\/978-3-89771-513-4-e1509028869355.jpg",250,195,false]},"uagb_author_info":{"display_name":"glokal e.V.","author_link":"https:\/\/www.mangoes-and-bullets.org\/en\/author\/glokal\/"},"uagb_comment_info":0,"uagb_excerpt":"In his dissertation published in 2011, musician and music sociologist Johannes Ismaiel-Wendt explores the extent to which popular music contains, transports, and negotiates (post-)colonial knowledge.","_links":{"self":[{"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/posts\/8072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/comments?post=8072"}],"version-history":[{"count":0,"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/posts\/8072\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/media\/7629"}],"wp:attachment":[{"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/media?parent=8072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/categories?post=8072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mangoes-and-bullets.org\/en\/wp-json\/wp\/v2\/tags?post=8072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}