In addition, I am conducting research internationally in record shops and private archives as well as using databases on the internet.
To produce the re-releases, which are dealing with the so-called first wave of global pop music in the 1960s and 1970s in the form of compilations, I work with a worldwide network of record sellers, connoisseurs, and scholars. While Corvo Records publishes contemporary experimental music, Global Pop First Wave has a focus on music archeology with re-releases of historical non-Western, especially Turkish pop music. Global Pop First Wave is a sublabel of Berlin-based Corvo Records. There are two points of departure for the following notes on decolonizing pop music and rewriting global pop music history: one is my work with the vinyl record label Global Pop First Wave, the other the observation that colonialism is not over yet. To achieve this, I will examine some examples and case studies, specifically in regard to Turkish and Brazilian pop music history. In this text I want to take a look at some of the mechanisms for constructing global pop music history and to question them from a decolonial point of view. Generations of Cameroonians were told that their ancestors had been the Gauls, although that is completely wrong.» (Obolo 2017, 179, translation: H.L.) «As a matter of fact we have a problem with our history and our memory, since these have been written by the conquerors and not by the colonized people.
The essential subject of decolonization is a critical view on colonial patterns of thinking, colonial categories, colonial history of knowledge. «When you are decolonized, colonialism is not simply taken away from you. An essay about the dialectics of westernized local and global pop music and why its decolonization is inevitable. As a curator of the Berlin-based label Global Pop First Wave focussing on non-Western pop music, Holger Lund sees himself entangled in neo- or post-colonial paradoxes. Colonialism is not over, it’s just less visible, especially in culture.
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