Notes on Contributors

Idelber Avelar is Professor of Latin American Literature at the Department of Spanish and Portuguese, Tulane University. He is the author of The Letter of Violence: Essays on Narrative, Ethics, and Politics (2004) and The Untimely Present: Postdictatorial Latin American Fiction and the Task of Mourning (1999), the latter a recipient of the MLA Kovacs Award and translated into Spanish and Portuguese. He is the co-editor of a forthcoming volume on Brazilian popular music and citizenship, as well as the author of numerous articles published in the Americas and in Europe. He is currently at work on two manuscripts, one on masculinity in Latin American fiction and the other on race, rhythm, and nationhood in Brazilian popular music.

Albert Bell lectures in youth and community studies at the University of Malta. His research interests include music subcultures and his doctoral dissertation focused on heavy metal culture in Malta. Albert also plays bass for Maltese doom metal bands Forsaken and Nomad Son.

Dan Bendrups is Senior Lecturer in Music at the University of Otago, Dunedin, New Zealand. His teaching and research combines ethnomusicology and popular music studies, and he has written on diverse topics pertaining to music and popular culture in Australia, New Zealand and the wider Pacific. Dr. Bendrups is best known for his work on Rapanui (Easter Island) music, and also works with Latin American and Latvian migrant musicians in Australasia. He is currently the recording reviews editor for The World of Music, New Zealand representative for the Australia/New Zealand branch of the International Association for the Study of Popular Music, and chair of the Australia/New Zealand Regional Committee of the International Council for Traditional Music.

A scholar working at the intersection of ethnomusicology, folklore studies, popular music studies, and performance studies, Harris M. Berger is Professor of Music and Associate Head in the Department of Performance Studies at Texas A&M University. His books include Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience (1999), Global Pop, Local Language (co-edited with Michael T. Carroll, 2003), Identity and Everyday Life: Essays in the Study of Folklore, Music, and Popular Culture (co-authored with Giovanna P. Del Negro, 2004), and Stance: Ideas about Emotion, Style, and Meaning for the Study of Expressive Culture (2010). In 1996, he founded the Popular Music Section of the Society for Ethnomusicology and was the section’s chair until the end of 2004. He served as the president of the US Branch of the International Association for the Study of Popular Music from 2004 to 2007. Dr. Berger is co-editor of the Music/Culture series at Wesleyan University Press and has recently completed a five-year term as the co-editor of the Journal of American Folklore. He is currently President-Elect of the Society for Ethnomusicology. His Web site can be found here.

Paul D. Greene is Associate Professor of Ethnomusicology and Integrative Arts at Pennsylvania State University’s Brandywine Campus. His research focuses on music, technology and religion in India and Nepal. He is recipient, with Thomas Porcello, of the Society for Ethnomusicology’s 2006 Klaus P. Wachsmann Prize, for the edited volume Wired for Sound: Engineering and Technologies in Sonic Cultures. His articles have appeared in Ethnomusicology, Asian Music, The World of Music, Popular Music, Popular Music and Society and elsewhere. He has served as Recording Review Editor of Ethnomusicology and is former Chair of the Popular Music Section of the Society for Ethnomusicology.

Ross Hagen is an adjunct lecturer at Utah Valley University and has taught courses in Western music history, American music, and rock music. He studied music at Davidson College and received his M.M. and Ph.D. in Musicology at the University of Colorado – Boulder. His dissertation compares modes of participatory fan activity in the Denver noise scene and in rock fan fiction to deconstruct codes of authenticity and ideology within music fandom. He is also active as a bassist and composer in the bands encomiast and Schrei aus Stein.

Sharon Hochhauser is an independent scholar who specializes in the study of popular music and the entertainment industry.  Her past work includes studies of the Moody Blues and their relationship to their fans and filksong, a science-fiction-based musical practice. She holds a Ph.D. in Musicology/Ethnomusicology from Kent State University and currently works as an entertainment special event producer.

Shuhei Hosokawa is Professor at the International Research Center for Japanese Studies (Kyoto). He is the co-editor of Karaoke around the World (1998) and contributor to the collections Popular Music Studies (edited by David Hesmondalgh and Keith Negus), Sonic Synergies (edited by Gerry Bloustien, Margaret Peters and Susan Luckman), Situating Salsa (edited by Lise Waxer) and Fanning the Flames (edited by William W. Kelly).

Keith Kahn-Harris is an Honorary Research Fellow in the Department for
Psycho-Social Studies, Birkbeck College, London. He is the author of Extreme Metal: Music and Culture on the Edge (2007), co-author of Turbulent Times: The British Jewish Community Today (2010), co-editor of After Subculture: Critical Studies in Contemporary Youth Culture (2004), and for several years wrote for the metal magazine Terrorizer. He blogs at and his personal website is

Kei Kawano received his Master’s degree at the Graduate School of Social
Engineering, Tokyo Institute of Technology. He is currently working at 
the New Delhi office of the Japan External Trade Organization (JETRO).

Rajko Muršič is professor of cultural anthropology at the University of Ljubljana, Slovenia, where he lectures in anthropological methodology, popular music, and popular culture.  He is the author of Center za dehumanizacijo: Ethnological Description of the Rock Group (1995) and Trate: Stories of the Rock and Youth Club (2000), co-editor of Europe and Its Other: Notes on the Balkans (2007), and author of many articles on popular music, cultural anthropology, and theoretical issues in anthropology. He used to work for Radio Student and occasionally writes for the magazine Nova Muska.

Steve Waksman is Associate Professor of Music and American Studies at Smith College.  He is the author of 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).  A guitarist since age nine, he is a particular fan of old-school 1970s metal, and remembers fondly the moment he figured out how to play a power chord. He blogs here.

An anthropologist specializing in the cross-cultural study of popular musics, Jeremy Wallach is an associate professor in the Department of Popular Culture at Bowling Green State University in Ohio, USA. He is the author of Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001 (2008) and numerous articles and book chapters on Southeast Asia, sound recording technology, and rock music. He is a founding member and current Chair of the Popular Music Section of the Society for Ethnomusicology.

Robert Walser is Professor of Music at Case Western Reserve University.  He is the author of Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, the editor of Keeping Time: Readings in Jazz History, and a Certified Pro Tools Operator.

Specializing in popular culture and social theory, Deena Weinstein is Professor of Sociology at DePaul University in Chicago. Her recent publications include Heavy Metal: The Music and Its Culture (2000) and various journal articles and book chapters on the structure of rock bands, protest songs, rock criticism, celebrity and religion, among others. In addition, she is a rock journalist, concentrating in metal.

Cynthia P. Wong is an ethnomusicologist who studies expressions of cultural, gender, and generational identity in popular music. Her dissertation research examined these identity issues in the lives and music of the pioneer generation of rock musicians in the People’s Republic of China. Her earlier projects have focused on issues of cultural and masculine identity among Asian American rappers in the United States. She has also conducted extensive research on the impact of the Great Proletarian Cultural Revolution (1966-76) on the lives and careers of Chinese musicians in the United States. She has taught at SUNY-Stony Brook and is affiliated with Columbia University in New