Table of Contents

Foreword / Portia K. Maultsby
Acknowledgments
Introduction to Black Lives Matter and Music: Protest, Intervention, Reflection / Fernando Orejuela
1. BlackMizzou: Music and Stories One Year Later / Stephanie Shonekan
2. Black Matters: Black Folk Studies and Black Campus Life Matters / Fernando Orejuela
3. Blackfolklifematters: SLABs and The Social Importance of Contemporary African American Folklife / Langston Collin Wilkins
4. BlackMusicMatters: Affirmation and Resilience in African American Musical Spaces in Washington, D.C. / Alison Martin
5. Black Detroit: Sonic Distortion Fuels Social Distortion / Denise Dalphond
Conclusion: Race, Place, and Pedagogy in the Black Lives Matter Era / Stephanie Shonekan
Index

About the Author

Denise Dalphond is an independent, public sector scholar of ethnomusicology specializing in Detroit techno and house music. She writes about music and activism at schoolcraftwax.work.
Alison Martin is a PhD Student in the Department of Folklore and Ethnomusicology at Indiana University. Her dissertation work focuses on the intersections of gentrification, race, and sound in Washington, DC.
Portia K. Maultsby is Laura Boulton Professor Emerita of Ethnomusicology in the Department of Folklore and Ethnomusicology at Indiana University. Sheis editor with Mellonee V. Burnim of African American Music: An Introduction,and Issues in African American Music: Power, Gender, Race, Representation.
Fernando Orejuela is Senior Lecturer and Director of Undergraduate Studies in the Department of Folklore and Ethnomusicology at Indiana University. He is the author of Rap Music and Hip Hop Culture.
Stephanie Shonekan is Associate Professor of Ethnomusicology and Black Studies at the University of Missouri. She is the author of Soul, Country and the USA: Race and Identity in American Music and The Life of Camilla Williams, African American Classical Singer and Opera Diva.
Langston Collin Wilkins is Traditional Arts Specialist with the Tennessee Arts Commission. He is currently writing an ethnographic manuscript on cultivation of local identity within Houston's screwed & chopped hip hop music scene.

Reviews

"[A]book for our time that is right on time."—Journal of Folklore Research
"[T]his book should inspire activists, scholars, and those who fall on both sides to conduct research globally on the topics explored, since anti-blackness is a worldwide issue. All people should know the depth of power music can spark in activists, scholarly and non-scholarly alike, and how music can mobilize significant change in the world."—Western Folklore
"[This] volume is written from the heart of the BLM movement: the authors' stance as politically committed, or 'engaged,' scholars lends the work an immediacy poignantly buttressing its academic value."—Paul Austerlitz, author of Jazz Consciousness: Music, Race, and Humanity