Contributors’ Notes

Genevieve Allotey-Pappoe is assistant professor of music at Brown University. She has a Ph.D.in musicology from Princeton University as well as an MPhil in ethnomusicology and a BA in music and sociology from the University of Ghana. Her research interests include music of Africa and the Black diaspora. Allotay-Pappoe studies the global circulation, experience, and contextualization of Black music genres as these genres move between geographical locations, offline and online communities, and across digital platforms. Her other interests include popular music studies, sound studies, the music industry, creative economy, and media theory. She is the founder and host of the Black Music Nomad show, a podcast that explores Black music through the experiences and stories of musicians working in a range of musical environments across the globe. Genevieve is also a compose, whose compositions have been performed in Greece, USA, Ghana, and Nigeria.Derek Baron is a postdoctoral associate at the Center for Cultural Analysis at Rutgers University-New Brunswick. They received their Ph.D. in historical musicology from New York University in 2023. Their book in progress is titled The Geopolitics of Voice: Sound, Listening and Law in US Settler Colonialism.Joshua Chambers-Letson is the chair of performance studies and professor of performance studies and Asian American studies at Northwestern University. Completing a book on queer love and loss for New York University Press (forthcoming 2025), Chambers-Letson is also the author of After the Party: A Manifesto for Queer of Color and A Race So Different: Law and Performance in Asian America; co-editor of José Esteban Muñoz’s The Sense of Brown with Tavia Nyong’o and of Frances Ya-Chu Cowhig’s China Trilogy: Three Parables of Global Capital with Christine Mok.Brian Conniff is professor of English at the University of Scranton. His recent publications have focused on modern poetry, the prison and literature, and Christianity and literature. His essay in this volume is part of a longer study of Bruce Springsteen and the Catholic imagination. He is also working on a study of an American poetics of civil rights.Micaela J. Díaz-Sánchez is associate professor of Chicana/o studies at the University of California Santa Barbara, where she teaches courses on performance, gender, race, sexuality, visual art, and music. Her forthcoming book focuses on transnational feminist performances of nation and diaspora across aesthetic practices.Leigh Edwards is professor of English at Florida State University. She is the author of Dolly Parton, Gender, and Country Music (2018, Foreword Book of the Year Award), Johnny Cash and the Paradox of American Identity (2009), and The Triumph of Reality TV: The Revolution in American Television (2013). She works on popular music, television, film, and new media. Her research focuses in particular on the use of multi-platform storytelling in popular music and the interplay with visual culture. She is on the advisory board of the Institute for Bob Dylan Studies and on the editorial board of the Journal of Popular Television.Francesca Inglese is an assistant professor of music in the College of Arts, Media and Design at Northeastern University. Her research explores the racial politics of music making and listening in South Africa, North America, and Europe. She is an ethnographer, historian, and violinist.Maya Kronfeld is assistant professor of theory in the Literature Program at Duke University, with secondary appointments in the Music Department and the Philosophy Department. Her work appears in Radical Philosophy, Jazz & Culture, Philosophy and Literature and is forthcoming in The Cambridge Companion to Philosophy and Literature, The Johns Hopkins Guide to Critical and Cultural Theory, and Political Concepts: A Lexicon. Kronfeld is also a professional pianist who has collaborated with Georgia Anne Muldrow, Toshi Reagon, Nona Hendryx, Thana Alexa and Antonio Sanchez, Christian McBride, and Taylor Eigsti, and lent her skills to drummer-led projects by Justin Brown, Blaque Dynamite, Nikki Glaspie and Thomas Pridgen. Kronfeld played keyboards on Nicole Zuraitis’s How Love Begins, which won the 2024 Grammy Award for best vocal jazz album. She is on the piano faculty at the Stanford Jazz Workshop and performed most recently at the Newport and Monterey jazz festivals.Sara Marcus is assistant professor of English at the University of Notre Dame and the author of Political Disappointment: A Cultural History from Reconstruction to the AIDS Crisis (Harvard University Press, 2023), as well as Girls to the Front: The True Story of the Riot Grrrl Revolution (Harper Perennial, 2010).Tracy McMullen is a saxophonist, composer, associate professor of music at Bowdoin College, and a fellow at the Hutchins Center for African and African American Research at Harvard University (2024-25). Her expertise is twentieth- and twenty-first-century American culture and music, with particular emphasis on how race, gender, sexuality, and class intersect with musical practice and discourse. Her 2019 book, Haunthenticity, won the National Endowment for the Humanities and Andrew W. Mellon Foundation Book Award, and her articles and chapters have appeared in numerous peer-reviewed journals and edited volumes in the United States and Europe.Matthew D. Morrison is a musicologist, violinist, and associate professor in the Clive Davis Institute of Recorded Music at New York University. His book, Blacksound: Making Race and Popular Music in the United States, is published by the University of California Press (2024).Cibele Moura is a doctoral candidate in music and sound studies at Cornell University. Much of her research examines the political stakes of popular music-making, listening practices, and knowledge production in Latin America. She is the co-editor and co-translator of A luta pelo nacional popular na Bolívia (Editora da PUCRS, 2024).Shana L. Redmond is a writer and scholar. She is the author of Anthem: Social Movements and the Sound of Solidarity in the African Diaspora (New York University Press, 2014) and Everything Man: The Form and Function of Paul Robeson (Duke University Press, 2020), which received a number of honors, including a 2021 American Book Award. Her contributions to public thought include essays for NPR and Mother Jones as well as liner essays for Nina Simone’s You’ve Got to Learn (Verve, 2023) and Paul Robeson: Voice of Freedom (Sony, 2024). A 2023 Guggenheim fellow, she is professor of English and comparative literature at the Center for the Study of Ethnicity & Race at Columbia University.Juno Richards is associate professor of English and women, gender, and sexuality studies at Yale University. They are the author of The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes and co-author of The Ferrante Letters: An Experiment in Collective Criticism.Javier Rivera is a Ph.D. candidate at the University of Southern California’s Annenberg School for Communication. His research looks at US Latinx media and popular culture, embodiment and performance, aesthetics, and affect. He is working on a dissertation project tentatively titled Ambivalent Attachments: The Cringeworthiness of US Latinidad and the Crisis of In/Coherence, which considers the affective landscape of what makes objects of Latinx popular culture “cringeworthy.”Barry Shank is College of Arts and Sciences distinguished professor of comparative studies at Ohio State University, where he teaches courses in American studies, popular music studies, cultural theory and interdisciplinary methods. He is the author of The Political Force of Musical Beauty (Duke University Press, 2014), A Token of My Affection: Greeting Cards and American Business Culture (Columbia University Press, 2004), and Dissonant Identities: The Rock ‘n’ Roll Scene in Austin, Texas (Wesleyan University Press, 1994), and a co-editor of The Popular Music Studies Reader (Routledge, 2005), with Andy Bennett and Jason Toynbee), and American Studies: A New Anthology (Wiley-Blackwell, 2009), with Janice Radway, Kevin Gaines and Penny Von Eschen.Guangbin Shi is pursuing a Ph.D. in the School of Music at the University of Queensland. He studies cultural exchanges in contemporary popular music. Guangbin is of Chinese descent and cultural origin but has been influenced more by African American popular music. Traveling between China and overseas, he has focused on continuously experiencing and exploring the musical assimilation as well as the divergence embedded in diverse sociocultural contexts.