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  • Contributors

Marnie Binfield is a doctoral student in radio-television-film at the University of Texas at Austin. She currently teaches Girls on Film and Race, Ethnicity, and Communication at Southwestern University in Georgetown, Texas. Her research interests include popular music, especially hip-hop, and its roles in social and political formations, music video, and women's cultural production. Her dissertation focuses on hip-hop fandom and its relationship to politics. She holds a master's degree in women's studies from San Diego State University.

Daphne A. Brooks is an associate professor of English and African American studies at Princeton University, where she teaches courses on African American literature and culture, performance studies, critical gender studies, and popular music culture. She is the author of two books: Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 (2006) and Jeff Buckley's Grace (2005).

James Robert Currie teaches in the Department of Music at the University at Buffalo (SUNY). His work, appearing in a wide range of forums and disciplines, concerns the interactions between music history, philosophy, and politics; he has just completed a manuscript entitled "No Music: Music's Understanding and the Politics of Negations." He is also active as a performance artist.

Susan Fast is associate professor of cultural studies at McMaster University. She has produced two books: a critical edition of the fourteenth-century treatise Musica speculativa by the Parisian music theorist and mathematician Jean de Meurs (1994) and In the Houses of the Holy: Led Zeppelin and the Power of Rock Music (2001), a collection of essays that explore the body in performance, gender and sexuality, cultural appropriation and hybridity, and ritual and mythology in rock music. Her current project, funded by the Social Sciences and Humanities Research Council of Canada, investigates issues related to gender, race, and normative genre boundaries in all female tribute bands to hard rock and heavy metal. She is also coediting a book entitled Music, Conflict and the Politics of Identity with Kip Pegley.

Monica Hairston currently serves as the interim executive director of the Center for Black Music Research at Columbia College Chicago. She received her master's degree in music literature from the University of Georgia and is a doctoral candidate in ethnomusicology at New York University. Her areas of interest include popular music and jazz in the United States (especially of the 1930s and 1940s) and theories and practices of gender, sexuality, race, class, and nation. Her dissertation focuses on Hazel Scott, the Popular Front, and the politics of gender at Café Society.

Wendy Hsu is a doctoral student in the critical and comparative studies program in the Music Department at the University of Virginia. Her dissertation research is on Asian and Asian American identities in contemporary popular music and culture in transnational settings. She has published articles on Hedwig and the Angry Inch and Bollywood film music. She is a member of an improvised noise trio and an experimental music collective.

Judy Lochhead, Stony Brook University, is a theorist and musicologist whose work focuses on the most recent musical practices in North [End Page 123] America and Europe. Utilizing concepts and methodologies from postphenomenological and poststructuralist thought, she develops modes of thinking about recent music that address the uniquely defining features of this repertoire. Her work distinguishes between the conceptions of musical structure and meaning that derive from the differing perspectives of performers, listeners, and composers. Some recent articles include "Analyzing from the Body," coauthored with George Fisher (2002), "Refiguring the Modernist Program for Hearing: Steve Reich and George Rochberg" (2004), "Visualizing the Musical Object" (2006), and "'How Does It Work?': Challenges to Analytic Explanation" (2006). With Joseph Auner, Lochhead coedited Postmodern Music/Postmodern Thought (2001). She is currently completing a book on the analysis of recent music entitled Reconceiving Structure: Recent Music/Music Analysis.

Ann Powers is the chief pop music critic for the Los Angeles Times. She has previously written for the Village Voice and the New York Times, and from 2001 to 2005 she was a senior curator at the Experience Music Project in Seattle. Powers cowrote Tori Amos: Piece by Piece with the artist (2005) and published Weird like Us: My...


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