The 2017 film Rumble: The Indians Who Rocked the World advanced arguments for Native American presence in multiple genres of American music and for previously underacknowledged Native influences on those genres. Now, seven years later—and in the wake of increased Native visibility in music, literature, art, and screen culture—how might we reevaluate arguments for Indigenous presence, agency, and influence? Can we historicize such arguments over a longer span of time? Might we develop new critical perspectives on what the Anishinaabe theorist Gerald Vizenor has called survivance, that canny mix of survival, resistance, courage, and ironic wit that characterizes so much Native American cultural production?