Contributors’ Notes

Anjeline De Dios is a cultural geographer and vocal performer who creates and studies emergent spaces of sound, healing, and change. She previously worked in academia as a university professor of cultural studies, and in systems-led innovation as a strategic researcher. Currently, she is an independent researcher, performing artist, meditation and systems-change facilitator, and consulting divination practitioner.Wendy Fonarow, Ph.D., is a Los Angeles based anthropologist specializing in live music, performance, and ritual. She is a Chair of the Anthropology Department at Glendale College. She is author of Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Wesleyan). She has been a contributor to The Guardian and other media publications.Justin Gardner is an Associate Professor in Psychology at Stanford, where he heads the Gardner lab. He and his team use a combination of functional magnetic resonance imaging, computational modeling and analysis, and psychophysical measurements to study how neural activity in the human cortex creates our sense of visual perception. Of particular interest is the ways our brain mechanisms give rise to our remarkable cognitive feats such as selective attention and sensory inference. Gardner is also a member of BioX, an affiliate of Institute for Human-Centered Artificial Intelligence (HAI), and a member of Wu Tsai Neurosciences Institute.Dr. Lauron Kehrer is Assistant Professor of Ethnomusicology and Musicology in the Irving S. Gilmore School of Music at Western Michigan University in Kalamazoo, Michigan, where they teach courses in popular music, global music cultures, and western art music. Their research focuses on the intersections of race, gender, and sexuality in American popular music, especially hip hop. They have published articles in American Music, the Journal of the Society for American Music, and Popular Music and Society. Their first book, Queer Voices in Hip Hop: Cultures, Communities, and Contemporary Performance (University of Michigan Press 2022) examines the work of Black queer and trans artists in hip hop. They are currently co-editing a volume with Stephanie Jensen-Moulton called “Better Be Good to Me”: American Popular Songs as Domestic Violence Narratives (under contract with University of Michigan Press).Tara López is an Assistant Professor of Ethnic Studies at Winona State University. Her research explores the role working class and communities of color play in the evolution of cultural and social movements, with a particular focus on the role of women of color. Her first monograph, The Winter of Discontent: Myth, Memory, and History was published by University of Liverpool Press in 2014. Her work on punk commenced with a co-authored chapter titled, “How to Forget (and Remember) ‘The Greatest Punk Rock Band in the World’: Bad Brains, Hardcore Punk, and Black Popular Culture,” published as part of an anthology titled, Youth Culture and Social Change: Making a Difference By Making a Noise in 2017. López recently published, “ ‘¡Vamonos pa’l Chuco!’: Punk Rock, Power, and Memory in El Paso, Texas” in the Journal of Texas Music History in 2020 and is currently finishing a book for the University of Texas Press titled Chucotown Soundtrack: El Paso Punk Rock that will be published in 2024.Lucy March is a doctoral candidate in the Media and Communication program at Temple University. Her research is concerned with digital transcultural flows of popular music, and characteristics of music genres that have primarily emerged online (also known as “Internet music”). In particular, she is interested in how online platforms shape identity, representation, and audience interaction within these musical subcultures.Leonard “Leo” Martin is the Resource Description Librarian for Unique Formats and Materials at University of Houston Libraries. His research focuses on inclusive metadata description & access in library systems, with a focus on anonymity and pseudonymity usage by popular music recording artists. Leo’s research also traces the development of modern musical microgenres emerging within various hip-hop and electronic music scenes. He is currently serving a 5-year term as the Subject Authority Cooperative Program (SACO) Music Funnel Coordinator. In this role Leo promotes and facilitates the creation and revision of various Library of Congress controlled vocabularies used to describe and classify music resources in library systems worldwide.Dr. Marquese McFerguson is an Assistant Professor of Intercultural Communication within the School of Communication and Multimedia Studies at Florida Atlantic University. His scholarship and teaching examine how individuals in society communicate, perform, and (re)imagine identity across a diverse number of cultural intersections including race, class, and gender. His research agenda is centered on building bridges of understanding across cultures by examining how racialized identities are produced/portrayed by media makers and interpreted/performed by media audiencesCesare Parise is a Senior Lecturer in Psychology at the University of Liverpool, where he heads a lab devoted to multisensory perception. His current projects include the development of a model for fly vision that can be adapted to other creatures. Parise’s background is in experimental psychology. After earning his DPhil at Oxon, he worked as a research scientist for the Max Planck Institute for Biological Cybernetics and the Center for Excellence in Cognitive Interaction Technologies. In 2016, he joined Facebook Reality Labs (now Meta Reality Labs) as a Primary Investigator in perception science, where he investigated haptics, multisensory integration, and spatial audio to develop next-generation technologies for virtual and augmented reality.Douglas Rasmussen earned his Master of Arts degree in English Literature from the University of Saskatchewan where he wrote his thesis on the AMC television series Breaking Bad. Since then he has been continuously writing on various subjects in popular culture, from Star Trek, to action films, Scream, David Bowie, the band Queen, and Quentin Tarantino. Currently he also contributes to the website Housequake.com, which is dedicated to exploring the works of Prince, where he has written a number of blogs on various aspects of Prince’s career and legacy.Carol Vernallis’s monograph, Experiencing Music Video: Aesthetics and Cultural Context (CUP, 2004), is the first to articulate a theory of how music, lyrics and image can be placed in relation, as well as provide detailed analyses of individual videos. Her second, Unruly Media: YouTube, Music Video, and the New Digital Cinema (OUP, 2013), takes account of a new mediascape that is driven by intensified audiovisual relations. Her third, The Media Swirl (Duke, 4/14/23), further considers the contemporary landscape. She is co-editor of Cybermedia: Explorations in Science, Sound, and Vision and Transmedia Directors (Bloomsbury) and two Oxford Handbooks on audiovisuality. She’s adjunct professor in the department of Cultural Studies and Comparative Literature at the University of Minnesota.Aubrey Woodiwiss is a multi-award winning colourist and multi-disciplinary creative. His portfolio spans iconic music videos for the likes of Beyonce, Jay-Z, Rihanna, Calvin Harris, Frank Ocean and Taylor Swift, as well as high-profile commercials for Calvin Klein, Honda, Nike, Coors, and Gap. Aubrey has collaborated with directors and cinematographers such as Emil Nava, Chris Hewitt, Seb Edwards, Sam Brown, Melina Matsoukas, Scott Lyon, Andreas Nilsson, Marcus Söderlund, Jamie Rafn, the late Ringan Ledwidge and Jonas Akurland. He co-creative directed the immersive mixed media art exhibition and initiative, ‘mentl’ with Pulse Films director Ben Newman and producer Craig Newman, and runs his own creative studio.Jacob Wolbert is a PhD candidate in Ethnomusicology at the University of California, Berkeley and a professional percussionist. His forthcoming dissertation looks at encounters between popular musicians and corporations in urban Brazil and the way these encounters dialogue with notions of political economy, gift exchange, and musical Brazilian-ness.

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