Alex W. Black
Alex W. Black is a doctoral candidate in English at Cornell University. His dissertation is titled Abolition Dramatized: Antebellum Performance Culture and the American Antislavery Movement.
Art M. Blake
Art M. Blake is an associate professor at Ryerson University, Toronto, teaching in the Department of History as well as the Joint Graduate Program in Communication and Culture. Blake is the author of How New York Became American, 1890–1924 (Johns Hopkins University Press, 2006), and has published on urban history, queer history, and sound studies with forthcoming pieces as well. Blake is currently working on a book about sound and the idea of the stranger in post-1945 New York and Los Angeles, to which this article is connected, supported by a grant from the Social Sciences and Humanities Research Council, Canada.
Dolores Inés Casillas
Dolores Inés Casillas is an assistant professor in the Department of Chicana and Chicano Studies and a faculty affiliate of the Program in Latin American and Iberian Studies at the University of California, Santa Barbara. She has published essays on radio humor, immigration broadcasts, and language politics. Her manuscript looks at how immigration politics throughout the twentieth century has shaped U.S. Spanish-language radio.
Nina Sun Eidsheim
Nina Sun Eidsheim is on the faculty of the University of California, Los Angeles’s Department of Musicology. As both a scholar and a singer, she investigates the multi-sensory and performative aspects of the production, perception and reception of vocal timbre in twentieth and twenty-first century music. She is currently working on a book exploring the sensory and material components of listening and contemporary musical practices. [End Page 857]
Mack Hagood is a PhD candidate at Indiana University’s Department of Communication and Culture. His dissertation is an ethnographic study of the ways individuals use media as both soundscaping devices and technologies of the self, calibrating their subjective relationships to sound, space, and sociality.
Kara Keeling is an associate professor in the Division of Critical Studies in the School of Cinematic Arts and in the Department of American Studies and Ethnicity at the University of Southern California. She is author of The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense (Duke University Press, 2007) and co-editor (with Colin MacCabe and Cornel West) of a selection of writings by the late James A. Snead entitled European Pedigrees/African Contagions: Racist Traces and Other Writing. Keeling’s articles have been published in various journals including Qui Parle, The Black Scholar, Women and Performance, GLQ, and elsewhere. Keeling is currently working on Queer Times, Black Futures (forthcoming from New York University Press) which explores the spatio-temporalities of radical imaginations made perceptible by sonic and selected other modes of Afrofuturism.
Roshanak Kheshti is an assistant professor in the Department of Ethnic Studies at the University of California, San Diego. Her research explores the materializations of race, gender and sexuality in sound and film in the context of the culture industries. She is currently completing a manuscript on the structure of desire and pleasure in listening to world music. Her work has appeared in the journals Hypatia, American Quarterly, Parallax, and is forthcoming in Feminist Studies. She has also published numerous musical recordings both as a former member of the Bay Area-based experimental rock band The Ebb and Flow and as composer and performer for independent film.
Josh Kun is an associate professor in the Annenberg School for Communication and Journalism and the Department of American Studies & Ethnicity at the University of Southern California, where he directs The Popular Music Project of the Norman Lear Center. He is the author of Audiotopia: Music, Race, and America (UC Press, 2005), co-author of And You Shall Know Us By The Trail Of Our Vinyl: The Jewish Past as Told By the Records We Have Loved [End Page 858] and Lost (Random House, 2008), and co-editor of The Song Is Not The Same: Jews and American Popular Music (Purdue UP, 2011). With Ron Radano, he co-edits the Duke University Press book series Refiguring American Music, and he...