Contributors’ Notes

Eddy Francisco Alvarez Jr., an interdisciplinary scholar, is assistant professor in the Department of Chicana and Chicano Studies at California State University, Fullerton. He obtained a B.A. and M.A. in Spanish from California State University, Northridge, and an M.A. and Ph.D. in Chicana and Chicano Studies from the University of California, Santa Barbara. His academic and creative work has appeared in Journal of Lesbian Studies, TSQ: Transgender Studies Quarterly, Aztlan: A Journal of Chicano Studies, Sounding Out!: The Sound Studies Blog, Label Me Latina/o, The Rumpus, Hispanic Outlook, and other journals, edited books, and online publications. He is a co-editor of Transmovimientos: Latinx Queer Migrations, Bodies and Spaces (University of Nebraska Press, 2021).Alexandria Arrieta is a doctoral student at the USC Annenberg School for Communication and Journalism who studies issues related to popular music, the internet and race. Her research is particularly focused on the relationship between popular music and internet memes. She has worked as a fellow for Warner Music Group and for the Latin Recording Academy, conducting research to help design marketing and communication strategies. Arrieta is also an independent music artist.Alex Blue V is an assistant professor in the Department of Music at William & Mary. Previously, he was the Thurgood Marshall Postdoctoral Fellow in African and African American Studies at Dartmouth College. His research focuses on the intersections of race, sound, and space. His dissertation (and upcoming monograph) is a “necrographic” study of how musicians in Detroit’s hip-hop scene respond to various narratives of death and dying about Detroit and in Detroit, how they might use a supposedly dead city as inspiration, how they create from seemingly dead spaces, and how all of these things are colored by both race and place.Theo Cateforis is associate professor of music history and cultures in the Department of Art & Music Histories at Syracuse University, and past president of the International Association for the Study of Popular Music-U.S. Branch (IASPM-US). He is the author of Are We Not New Wave? Modern Pop at the Turn of the 1980s (University of Michigan Press, 2011) and editor of The Rock History Reader, now in its third edition (Routledge, 2019).Mike D’Errico is director of music technology & composition, assistant professor of music & computer science, and music department chair at Albright College, where he teaches courses in music production, game design, songwriting, and popular music. His research has appeared in Music, Sound, and the Moving Image, Oxford Handbooks Online, Journal on the Art of Record Production, and edited collections, such as The Oxford Handbook of Electronic Dance Music; Electronic Cities: Music, Policies and Space in the 21st Century; Critical Issues to the Production of Music and Sound; and The Cambridge Companion to Hip-Hop. His book, Push: Software Design and the Cultural Politics of Music Production, is published by Oxford University Press. As an electronic music producer and sound designer, he makes hip-hop beats, electronic dance music tracks, and sound for video games and virtual reality applications. He is an avid certified instructor in pro tools for music and game audio, as well as an Apple-certified pro in Logic Pro X.Dan DiPiero is a musician and lecturer in the Department of Comparative Studies at the Ohio State University. His work has appeared in Critical Studies in Improvisation, Rancière and Music (Edinburgh University Press), Sounding Out!, Audimat, and the Los Angeles Review of Books. His first monograph, Contingent Encounters: Improvisation in Music and Everyday Life, is forthcoming with University of Michigan Press.De Angela L. Duff, associate vice provost at New York University and industry professor in integrated design & media at NYU Tandon, curates music symposia including 2022’s upcoming Prince #TripleThreat40 & #SexyMF30 symposia and 2021’s #1plus1plus1is3 Virtual Symposium; speaks and presents about music internationally on WNYC, BBC Manchester, and Minnesota Public Radio, as well as at 2021’s Pop Conference & Prince 78-88: An Interdisciplinary Conference; writes about music, most recently in 2020’s Prince and Popular Music: Critical Perspectives on an Interdisciplinary Life (Bloomsbury); and produces, co-hosts, and edits the Prince podcasts on Grown Folks Music’s podcast network. You can view her work at http://polishedsolid.com.Beza Fekade is a cultural writer who earned her Master’s degree in African American Studies at Georgia State University. Her Master’s thesis, “Relocating Home: Second-Generation East African Women’s Twitter-Use as sites of Homeplace, Identity, and Memory,”interrogated the convergence of spatiality, cultural identity, and memory through the informal communal practices Black women engage with online. Her non-academic writing spans topics on cultural criticism, black studies, sound studies, and music. She currently works as a program coordinator for A Healing Paradigm, an African and Womanist-centered psychology practice.Jack Hamilton is associate professor of American studies and media studies at the University of Virginia and the author of Just around Midnight: Rock and Roll and the Racial Imagination (Harvard University Press, 2016).Zalika U. Ibaorimi is a multidisciplinary artist, doctoral candidate of African and African Diaspora Studies at the University of Texas at Austin and 2021-2023 Carter G. Woodson Predoctoral Fellow at the University of Virginia. She engages Black material and digital publics as landscapes to trace the human sexual geographies between the relation of the Black femme and spectator. Their relationality is tethered to the logics of shame, desire, and pleasure. She uses Black gender and sexuality analytics to engage Visual Culture Studies through the logics of Black Porn/Sex Work Studies. Ibaorimi specializes in performance, haunting, Black queerness, ontology, horror, flesh, the human and deviant modalities of Blackness. As a scholar and performance-based photographer, she uses the experimental approaches of research-creation to engage Black Study.Pil Ho Kim is an assistant professor of Korean studies at the Ohio State University. His research covers a wide range of topics related to modern Korea, including popular music, cinema, and urban culture. He is currently writing a book manuscript on Gangnam, the geographic symbol for the global rise of South Korean economy and popular culture.Kavita Kulkarni is a postdoctoral research associate and a former ACLS Emerging Voices Fellow at the Center for Digital Humanities at Princeton University. She earned her Ph.D. from the Department of Media, Culture, and Communication at New York University. Through an interdisciplinary lens of media and cultural studies, Black performance studies, and critical geography, her research explores late twentieth- and early twenty-first-century genealogies of house music and practices of Black placemaking in the context of urban development and gentrification in Brooklyn, New York. Kavita was a 2017–2018 Helena Rubenstein Fellow in Critical Studies at the Whitney Museum Independent Study Program, and a 2018–2019 inaugural resident of the Shandaken: Governors Island program for artists and cultural practitioners. Kavita has taught at Princeton University, NYU, Columbia University, and John Jay College, and has been a community organizer on various economic, health, and housing justice issues in Atlanta, Georgia, and Brooklyn, New York.Wonseok Lee is a Ph.D. candidate in ethnomusicology at the Ohio State University. His research focuses on what is the exact meaning of “K” in K-pop, under the circumstances that the presence of non-Korean members and singing in non-Korean languages are common in the field. As a professional drum/percussion player, he also worked with K-pop artists for many years, including Lee Hyori, Shinhwa, BuskerBusker, SG Wannabe, among others.Allie Martin is a Mellon Faculty Fellow at Dartmouth College in the Music Department and the Cluster for Digital Humanities and Social Engagement. Her work explores the relationships between race, sound, and gentrification in Washington, DC. Utilizing a combination of ethnographic fieldwork and digital humanities methodologies, Allie considers how African-American people in the city experience gentrification as a sonic, racialized process. Her work has been supported by the Ford Foundation, the Smithsonian Institution, the Society for American Music, and the American Musicological Society. She is currently working on her first book, tentatively titled Intersectional Listening: Gentrification and Black Sonic Life in Washington, DC.James Denis Mc Glynn is a film music scholar and assistant lecturer at the Department of Music, University College Cork. His research explores the rearrangement of pre-existing music in film and television, which he frames as an important and recurring trend in contemporary screen scoring. He serves on the editorial board for Sonic Scope: New Approaches to Audiovisual Media (Goldsmiths / MIT Press) and has reviewed for [in]Transition: Journal of Videographic Film & Moving Image Studies (JCMS) and The Musicology Review (UCD).McGlynn is an alumnus of the Quercus Talented Students Programme, having been awarded a coveted Quercus Creative & Performing Arts Scholarship in 2015. His receipt of a Ph.D. Excellence Scholarship in 2017 enabled him to pursue his doctoral research at the University College Cork. Soon after, he was invited to work as an instrumental tutor at the Tianmu Institute (Suzhou, China) and in 2018 he completed a research residency at Centre Culturel Irlandais in Paris. James served as conductor, arranger and creative director of the UCC Orchestra for several years. He is also a member of the Irish Gamelan Orchestra, with which he has performed extensively throughout Ireland and in Indonesia. In 2019, the group performed the score for Gare St. Lazare’s staging of Samuel Beckett’s How It Is (Part 2), starring Conor Lovett and Stephen Dillane (Game of Thrones, The Crown). The production will feature in the 2021 Dublin Theatre Festival, before touring to London in 2022.John McGrath is a lecturer in music at University of Surrey. His monograph, Samuel Beckett, Repetition and Modern Music (Routledge, 2018), has received positive reviews in Music & Letters, Wire Magazine, Psychology of Music, and the Irish Studies Review. McGrath is also an active guitarist, recent appearances include a solo set at King’s Place, London, while his compositions have been aired on various international broadcasts. He is currently co-editing 21st Century Guitar for Bloomsbury Academic.Dr. Robert Prey is an assistant professor at the Center for Media and Journalism Studies, University of Groningen (the Netherlands) where he researches and writes about music streaming platforms and the music, musicians and industry developing around them. Dr. Prey's work has been published in numerous academic journals and edited collections. Prior to and in between academic degrees he worked in radio in Canada and with multicultural television in South Korea.Francesca T. Royster is professor of English at DePaul University, where she teaches classes in African American literature and culture, queer theory, women’s and gender studies and creative nonfiction. She received her Ph.D. from the University of California, Berkeley, in 1995. She has published two books, Sounding Like a No-No: Queer Sounds and Eccentric Acts in the Post-Soul Era (University of Michigan Press, 2013), and Becoming Cleopatra: The Shifting Image of an Icon (Palgrave MacMillan, 2003). She has two books in progress, Black Edens: Country Music’s Black Queer Frequencies (under contract with University of Texas Press) and Fierce Love: A Journey of Black Queer Motherhood (under contract with Abrams Books). She has written scholarly works on Shakespeare, Black lesbian country music fans, Prince, and Fela Kuti on Broadway among other topics, with publications in Shakespeare Quarterly, Shakespeare Studies, Women and Performance, The Journal of Popular Music Studies, American Studies and The Journal of Lesbian Studies, among others. Her creative nonfiction has appeared in the anthologies Untangling the Knot: Queer Voices on Marriage, Relationships and Identity and Queer Praxis, as well as in Feminist Studies, Slag Glass City, LA Review of Books, The Huffington Post, The Windy City Times, and Chicago Literati. She lives in Chicago with her partner, Annie, and their daughter Cecelia.Kwabena Slaughter has an extensive background in the fine and performing arts, including theater management, stage design, dancing with an aerial trapeze dance company, and teaching capoeira. His B.A. and M.F.A. are in studio arts, and he’s currently in the American Studies Ph.D. program at George Washington University. His writing has been published in the journal Philosophy and Social Action and in the Oxford Bibliography. His artwork has been exhibited and collected in the U.S. and abroad.Sarah Suhadolnik is a lecturer in musicology at the University of Iowa, where she teaches courses in American music, jazz, pop, and Western art music. Her research centers on overlapping ideas of music and place—particularly those that highlight the ways in which public perceptions of dynamic musical landmarks, such as New Orleans, are shaped by their popular musical representation. She has served as a member of the editorial staff of the Music of the United States of America series and the University of Michigan Gershwin Initiative.Steve Waksman is the Elsie Irwin Sweeney Professor of Music at Smith College. His publications include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (1999) and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (2009). With Reebee Garofalo, he is the co-author of the sixth edition of the rock history textbook, Rockin’ Out: Popular Music in the U.S.A. (2014), and with Andy Bennett, he co-edited the SAGE Handbook of Popular Music (2015). Currently, he is completing a book on the cultural history of live music and performance in the U.S. titled Live Music in America: A History from Jenny Lind to Beyoncé, which is forthcoming from Oxford University Press.Alex Werth is a geographer, writer, and DJ based in Berkeley, CA. As a doctoral student in geography at UC Berkeley, he researched the longstanding role of popular music and dance in campaigns to empower, but also police, Oakland's working-class communities of color. He has worked to advance these concerns beyond academia as a Public Imagination Fellow at San Francisco's Yerba Buena Center for the Arts, research analyst for the City of Oakland’s cultural plan, and as cultural critic for Africa Is a Country, FIELD, Sounding Out!, and more. He currently works at a housing justice organization, with a focus on stopping pandemic evictions in the East Bay.

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