CFP: Popular Music and Society (journal)

POPULAR MUSIC AND SOCIETY
FINAL CALL FOR PAPERS
1 JULY 2010 SUBMISSION DEADLINE

Special Issue on Popular Music and Marketing

Submissions are invited for a special issue of Popular Music and Society, which will focus on the theme of popular music and marketing. While the subject of popular music and marketing has been a regular focus of business, marketing, and advertising research, there have been relatively few critical and cultural studies in this area. This special issue aims to explore and critically interrogate the various intersections of popular music and marketing, and the role of commerce in popular music culture. All disciplinary, methodological, and theoretical perspectives are welcome; possible themes might include:

*Corporate sponsorship of bands, venues, and tours
*Popular music promotional tools
*Music in commercials
*Popular music merchandising
*Indie marketing and PR
*The "commercial" music designation
*Music marketing in the digital age
*Product placement in popular music
*Histories of marketing in popular music
*"Manufactured" bands

Deadline for the e-mail submission of papers (6,000-8,000 words) is 1 July 2010. This issue of Popular Music and Society will be published in 2011. Please remove identifying information from the paper before submitting; in a separate document, indicate your name, institutional affiliation, postal address, and e-mail address. Queries and submissions should be directed to the guest editor:

Dr Bethany Klein
b.klein [at]leeds.ac.uk

Lecturer in Media Industries
Institute of Communications Studies
University of Leeds
Leeds
LS2 9JT
UK
+44 (0)113 343 6979

CFP: Popular Music Fandom: A One Day Symposium (University of Chester)

POPULAR MUSIC FANDOM: A ONE DAY SYMPOSIUM
UNIVERSITY OF CHESTER
NORTHWEST POPULAR MUSIC STUDIES NETWORK
25 JUNE 2010
CALL FOR PAPERS

Binks Building, University of Chester
Northwest Popular Music Studies Network

Keynote speaker: Matt Hills (author of ‘Fan Cultures’)

While a range of researchers in cultural studies - notably Henry Jenkins, Matt Hills and Cornell Sandvoss - have moved the discussion about media fandom forward, much less work has been done specifically on popular music fandom. We invite contributors from a wide range of disciplines to discuss topics associated with popular music fan culture at this free one-day study event in Chester. Themes for papers may include (but are not limited to):

• Defining fandom
• Stardom and celebrity, reading and textuality
• Fandom and the consumer marketplace
• Fans as musicians / musicians as fans
• Perceptions of the music industry
• Collecting and other fan practices
• Live music, local scenes and fandom
• Stereotyping, self-awareness and media representation
• Gender, age and disability
• Methodology and research practice
• Theorizing fandom: processes, practices, identities
• Issues of taste, social mobility and class
• Personal narratives and investments
• Case studies, ethnographies and histories
• Fandom, heritage and tourism
• Specific music genres: jazz fandom, metal, northern soul, electronic music
• Religion, modernity and the ‘cult’ analogy
• The fan community: insiders, outsiders and the ‘ordinary' audience
• Fan culture and the paradigm of performance
• The ‘pathological’ tradition: questions of typicality and obsession
• Issues of race and nationality
• Power, psychology and symbolic economy
• Online participatory cultures

Papers will be twenty minutes in length. Please send an abstract of up to 200 words along with your name, affiliation, paper title, postal and email address to: Dr Mark Duffett, m.duffett@chester.ac.uk (marking your email title ‘fan symposium’).

The deadline for abstracts is Monday May 10th 2010.

CFP: Special Issue on Popular Music and Marketing

POPULAR MUSIC AND SOCIETY
SPECIAL ISSUE ON POPULAR MUSIC AND MARKETING
CALL FOR PAPERS
DEADLINE: 1 JULY 2010

Submissions are invited for a special issue of Popular Music and Society, which will focus on the theme of popular music and marketing. While the subject of popular music and marketing has been a regular focus of business, marketing, and advertising research, there have been relatively few critical and cultural studies in this area. This special issue aims to explore and critically
interrogate the various intersections of popular music and marketing, and the role of commerce in popular music culture. All disciplinary, methodological, and theoretical perspectives are welcome; possible themes might include:

• Corporate sponsorship of bands, venues, and tours
• Popular music promotional tools
• Music in commercials
• Popular music merchandising
• Indie marketing and PR
• The "commercial" music designation
• Music marketing in the digital age
• Product placement in popular music
• Histories of marketing in popular music
• "Manufactured" bands

Deadline for the e-mail submission of papers (6,000-8,000 words) is 1 July 2010. This issue of Popular Music and Society will be published in 2011. Please remove identifying information from the paper before submitting; in a separate document, indicate your name, institutional affiliation, postal address, and e-mail address. Queries and submissions should be directed to the guest editor:

Dr Bethany Klein
b.klein@leeds.ac.uk

Lecturer in Media Industries
Institute of Communications Studies
University of Leeds
Leeds
LS2 9JT
UK
+44 (0)131 343 6979

Job Posting: Lecturer/Sr Lecturer (2 posts) Department of Music (City University)

JOB POSTING: LECTURER/SENIOR LECTURER (2 POSTS)
SCHOOL OF ARTS, DEPARTMENT OF MUSIC
CITY UNIVERSITY
SALARY: £33K - £55K
DEADLINE: 10 SEPTEMBER 2009

The Department of Music offers students a uniquely rich and diverse musical life at the heart of one of the world's great cultural hubs. The department incorporates first class facilities including a new performance space, digital sound studios, ensemble room and gamelan room, and was placed in the top 15 UK music departments in the 2008 Research Assessment Exercise.

As both our undergraduate and postgraduate programmes move into an exciting period of further expansion and development the Department of Music wishes to appoint two new posts.

We would welcome applicants with expertise in one or more subject areas drawn from film music composition; film music studies; music and media; popular music; and historical performance practice. For one post we are especially interested in someone whose areas of expertise include exceptional skills in digital audio and media.

One role (which can be either post) will also be very important in nurturing the department's existing relationship with the Guildhall School of Music and Drama, and in particular our thriving DMA programme.

For both posts a PhD (or near completion) is essential, ideally with a good track record of research or research potential, and of successful applications for external research funding. You will need to be a versatile team player, willing and able to contribute to our core curriculum and to supervise at postgraduate level. Anticipated starting date is January 2010.

For more information please visit www.city.ac.uk/hr

Closing date: Tuesday 10th September 2009 at 5pm.

Interviews to be held 22nd and 23rd September 2009.

CFP: Popular Dance and Music Matters (University of Surrey)

POPULAR DANCE AND MUSIC MATTERS SYMPOSIUM
UNIVERSITY OF SURREY
21 NOVEMBER 2009
CALL FOR PAPERS

Presented by the Department of Dance Studies and The Department of Music and Sound Recording at University of Surrey in collaboration with The Society for Dance research

Building on the rich dialogue and breadth of expertise that informed the 2007 and 2008 Popular Dance and Music Matters Symposia, we are pleased to launch our third international symposium. For this forthcoming symposium we have decided to concentrate presentations around four broad themes that speak to key issues and debates raised at the two previous symposia:

Re-imagining popular forms in their local and global circulation
Mediations of the popular through new and extant technologies
Spectacle and performativity in expressions of the popular
Revisiting methodology through the dance-music interface

The symposium committee welcomes proposals from scholars and practitioners engaged in examining the practices and products of popular dance and music. In addition to those researching within the fields of dance studies and popular music, we are interested in presentations located in other disciplinary areas such as sociology, cultural studies, social history and media studies.

DEADLINE FOR SUBMISSIONS
7th August 2009

Symposium Committee: Sherril Dodds, Patricia Schmidt, Joanna Hall, Tim Hughes
Guidelines for Proposals

1. Format

Presentations may take the forms of papers or lecture-demonstrations
Presentations should not exceed 20 minutes in length

2. Abstracts

An abstract of 300 words that outlines the research area and key issues within a clearly articulated methodology is required
An indicative bibliography of 4-5 key texts should be included
The name of the speaker and the title of the paper should also be enclosed on a separate sheet of paper as the abstracts will be blind reviewed
Please also note on the title page which of the four themes listed in the Call for Papers your presentation will relate to.

3. Further information

If speakers intend to present a lecture-demonstration, please indicate what your space requirements might be for this
Please identify any AVS equipment that you might need for the presentation: Video/DVD playback, data projector, OHP

3. How to apply

Please send the following information by 7 th August 2009:

Abstract (including title)
Bibliography
Name, title of paper, conference theme on a separate sheet of paper
Contact name, address and telephone number
AVS needs

Please send the above information either by e-mail or in hard copy to:
Dr Sherril Dodds, Popular Dance and Music Matters: Symposium, Department of Dance, Film and Theatre, University of Surrey, Guildford, Surrey, GU7 7XH. S.Dodds [at]surrey.ac.uk

CFP: Pop Culture Tools in the Music Classroom (publication)

POP CULTURE TOOLS IN THE MUSIC CLASSROOM

CALL FOR SUBMISSIONS

DEADLINE: 1 AUGUST 2009

Authors are invited to submit potential contributions to an essay collection on using popular culture in undergraduate- and graduate-level music courses. The essays should focus on teaching and learning tools derived from popular culture, and may also include generalized considerations of popular-culture texts. The collection is intended to serve as a framework for course design or as a supplementary text in either pedagogy or music classes. Approaches concerning methods of using popular culture to address either art or vernacular musics, from the disciplines of musicology, ethnomusicology, music theory and analysis, and performance studies are welcome. Topics may include, but are not limited to:

· electronic media such as mp3s and other digital audio; Ipod culture;streamed radio

· multimedia sources, including YouTube, music videos, television shows,movies, soundtracks

· videogames such as Guitar Hero, Rock Band, Dance Dance Revolution, and others

· online environments such as Second Life

· covers, versioning, parodies, mashups

**Essays should be 6,000-10,000 words in length and conform to /Chicago Manual of Style/ guidelines. Authors will be responsible for acquiring any necessary permissions for copyrighted materials included in their works. Text should be submitted as Word files (.doc or .rtf format),with musical examples in .tif, .pdf, .jpg, .gif, or .bmp format (.tifs are preferred).

The collection will be published by Scarecrow Press in 2010. Materials should be submitted electronically to Nicole Biamonte at (nbiamonte@gmail.com) by *August 1, 2009*. Please include:

1) a cover letter or message, including the author’s name and essay title

2) an abstract of approximately 200 words

3) the proposed contribution, with author’s name and other identifying information omitted

4) a brief biography (50 to 100 words)

5) a current cv

Michael Jackson: Some Observations

MICHAEL JACKSON: SOME OBSERVATIONS

Michael Jackson (1958-2009) passed away yesterday and I find myself in awe of the coverage devoted to the more esoteric parts of his life (e.g. hyperbaric chamber, conversations with Bubbles, dangling of a baby outside a window, his infamous trial). All of this seems to distract from his contribution to popular music of the late 20th century. In the interest of full disclosure, I've liked his music but have always found his little sister, Janet's music the more interesting. Prior to yesterday I haven't bought an album since I forked out the cash for a cassette of Thriller.

I happened to be in HMV on Oxford Street where hordes of shoppers were congregating around a front-end display of his CDs and DVDs whilst his Billie Jean blasted away through the sound system. HMV had entrepreniuerally created an end of aisle display strictly on his music alone. As I've said I haven't bought one of his albums for a couple decades and was caught up in the moment and bought his album the '#1s' which is a compilation of his hits which went to the top of the Billboard charts, so not everything but many of the classics.

Rather than purchase a CD, I opted for this DVD as it had the videos of those covers. By no means was this an act of nostalgia, but thinking about Jackson's contributions to pop culture, it was really these videos which influenced a generation of pop music. What would the dance moves of Justin Timberlake or Beyonce look like without a Michael Jackson? What about his synthesis of R&B which form the undercurrent sound of boy band groups like NSYNC, Backstreet Boys and Blue?

It is easy for the media to focus on lawsuits over control of assets let alone child custody, but in time these will be overshadowed by his artistic contributions. At the time MTV was a fledgling network devoted to Cyndi Lauper, Duran Duran, a younger Madonna and Culture Club. With the Thriller album's hits of Billie Jean and Thriller, Jackson's dance moves indelibly made their mark on our collective consciousness. These dance moves which are highlighted in almost all of his videos coupled with savvy Quincy Jones R&B infused tracks was a revolutionary fusion of musical styles for the 20th century. It would serve as a structural constant for popular music of the past 30 years even outliving its antithesis found in the grunge music of Seattle's Nirvana in the 90s. In terms of musical importance, one could liken it to the 19th century cross-cultural synthesis which brought together antiphonal 'hollers' of the African-American slaves, the creation of the blues and the evolution into jazz.

Listening to this compilation, I'm struck in particular by the video to Man in the Mirror. Even though it cites many of history's notable events it doesn't seem dated. One of the most fitting images relate to the death of another artist, John Lennon. (I remember that date but his passing affected in particular one of my cousins who could play almost all of his and the Beatles' tunes by memory on the piano. I'm pretty sure she could probably do the same for MJ.) As with Jackson's passing it is his musical contributions which stay in the memory. Back to the video: although the Berlin Wall has fallen and Poland has joined the EU, there is still gender/racial/sexual inequality, conflict in the Middle East, nuclear proliferation still haunts us as does poverty in the Third World. Will it seem dated in another 20 years? I'm not sure, but thanks to digital technology Michael Jackson's music and video will continue to exist. Perhaps his influence will even be discussed in textbooks as are the origins of the blues and jazz today.

Job Posting: Lecturership in Music (University of Hull)

JOB POSTING: LECTURERSHIP IN MUSIC

UNIVERSITY OF HULL

DEADLINE: 26 JUNE 2009

The Department of Drama and Music at the University of Hull wishes to appoint a Lecturer to contribute to the teaching of composition in the areas of jazz, popular or film music, at both undergraduate and postgraduate levels. S/he will have a commitment to research in one or more of these areas and should possess, or be near to completing, a PhD. The successful candidate will be expected to contribute to the Department's administration and reach-out activities.

Closing date for the receipt of applications is 26th June, 2009.

For more details: http://www.hull.ac.uk/jobs/job_vacancies/FA394/index.html

CFP: Popular Dance and Music Matters Symposium (Surrey)

POPULAR DANCE AND MUSIC MATTERS SYMPOSIUM

DEPT OF DANCE STUDIES & DEPT OF MUSIC AND SOUND RECORDING, UNIVERSITY OF SURREY

21 NOVEMBER 2009

CALL FOR PAPERS

The Department of Dance Studies and The Department of Music and Sound Recording at University of Surrey, in collaboration with The Society for Dance Research

Building on the rich dialogue and breadth of expertise that informed the 2007 and 2008 Popular Dance and Music Matters Symposia, we are pleased to launch our third international symposium. For this forthcoming symposium we have decided to concentrate presentations around four broad themes that speak to key issues and debates raised at the two previous symposia:

* Re-imagining popular forms in their local and global circulation

* Mediations of the popular through new and extant technologies

* Spectacle and performativity in expressions of the popular

* Revisiting methodology through the dance-music interface

The symposium committee welcomes proposals from scholars and practitioners engaged in examining the practices and products of popular dance and music. In addition to those researching within the fields of dance studies and popular music, we are interested in presentations that intersect with other disciplinary areas such as sociology, cultural studies, social history and media studies.

DEADLINE FOR SUBMISSIONS

Monday 13th July 2009

For submission guidelines or any questions, please email Dr. Patricia Schmidt at pschmidt [at] surrey.ac.uk

CFP: IX Congreso de la Rama Latinoamericana (Caracas)

IX CONGRESO DE LA RAMA LATIONAMERICANA DE LA ASOCIACIÓN INTERNACIONAL PARA EL ESTUDIO DE MÚSICA POPULAR, IASPM -AL
¿POPULAR, POP, POPULACHERA? EL DILEMA DE LAS MÚSICAS POPULARES EN AMERICA LATINA
UNIVERSIDAD CENTRAL DE VENEZUELA, CARACAS
1 - 5 JUNIO 2010
CALL FOR PAPERS

Con el objetivo de propiciar el encuentro entre los investigadores que desde distintas perspectivas disciplinarias y teóricas abordan el estudio de las músicas populares de América Latina y el Caribe, se convoca al IX Congreso IASPM-AL, que se realizará en la ciudad de
Caracas, Venezuela, del 1 al 4 de junio de 2010, en co-organización de IASPM-AL, el Capítulo Venezolano IASPM-AL/VE y la Universidad Central de Venezuela.

IASPM, International Association for the Study of Popular Music, es una asociación interdisciplinaria e interprofesional, que agrupa desde 1980 a estudiosos de las músicas populares del mundo, en sociedades mediatizadas e industrializadas. Entre sus actividades, promueve la realización de congresos mundiales y regionales y comunica sus resultados a una amplia red internacional de investigadores, a través de diferentes medios. La Rama Latinoamericana IASPM, fundada en 2000, cuenta con alrededor de trescientos miembros, repartidos en todo el continente americano y otros países del mundo. Se pueden consultar las
actas de los congresos IASPM-AL anteriores en www.hist.puc.cl/iaspm/actas.html

Estos congresos son bilingües: español/portugués.

El IX Congreso IASPM-AL propone cuatro áreas temáticas para la presentación de ponencias:

I Estudios de música popular en América Latina: genealogías, trayectorias y contextos. Interesa abordar los presupuestos intelectuales, epistemológicos y culturales que subyacen en el
desarrollo de los estudios sobre la música popular en América Latina desde de una diversidad de enfoques disciplinarios, como la historia, la antropología y la musicología, y sus relaciones con formaciones discursivas derivadas del nacionalismo, americanismo, colonialismo, indigenismo, etc. Se busca con ello indagar históricamente en torno a la definición de los campos de lo popular y masivo en relación a la música en la región, ya sea definiéndolos desde la oposición o integración a los conceptos de patrimonio, cultura local, pertenencia e identidad.

II Música popular, estética y posmodernidad en América Latina. El complejo universo musical en el que se encuentra sumergida la música popular en Latinoamérica, ha devenido en una multiplicidad de lenguajes y formas de producción, distribución, consumo y oferta, generándose así límites cada vez más imperceptibles de categorización como una forma de clasificar y definir lo que es género y estilo, en el continente. Todo esto ha trastocado la conceptualización que los
músicos e investigadores poseen sobre la producción de géneros y estilos en la región, llevándolos a vivir y crear más allá de los mismos, rebasando así las fronteras de la fusión y las músicas del
mundo como una nueva forma de definir lo que es identidad.

III Cover y versión El uso de conceptos anglosajones en los estudios de música popular, ha ayudado a establecer una lengua franca en el campo de la investigación en música popular. Sin embargo, también han dificultado el tratamiento de las particularidades de nuestras propias
músicas, cuyos procesos han debido ser adaptados a los conceptos en boga. ¿Cuáles son las particularidades del cover y la versión en la música popular latinoamericana? ¿Qué fricciones ofrecen nuestras músicas a estos conceptos?

IV Formación del músico popular. Considerando tanto ámbitos formales como informales de formación musical, interesa estimular la reflexión sobre las prácticas de transferencia de conocimientos, habilidades, teorías y estéticas explícitas o no en instancias como escuelas de
música popular; ensayos y performances; estudios de grabación; internet o producción intelectual en América Latina.

El Congreso se desarrollará en base a conferencias, sesiones plenarias, y mesas paralelas de trabajo en torno a los cuatro temas convocados. Así mismo, se ofrecerán conciertos, presentaciones de discos y publicaciones, así como actividades relacionadas con la música popular, principalmente venezolana.

Los interesados en participar como ponentes en el IX Congreso IASPM-AL deberán enviar lo siguiente hasta el 15 de noviembre de 2009:

1. Título y resumen de la ponencia en español o portugués de 300 palabras, más bibliografía.

2. Área temática en la que desea participar.

3. Nombre del autor, institución, profesión, dirección postal y electrónica y currículo de 200 palabras, destacando sus ponencias y publicaciones anteriores.

Los resúmenes deben ser enviados a comitedelectura@gmail.com Escriba su nombre y apellido en el Asunto del Mensaje.

El resultado de la evaluación del Comité de Lectura se informará a partir del 15 de enero de 2010.

El Comité de Lectura del IX Congreso IASPM-AL está integrado por:

Maria Amélia Garcia de Alencar, Universidade Federal de Goiás, Brasil
Wander Nunes Frota, Universidade Federal do Piauí, Brasil
Marita Fornaro, Universidad de la República, Uruguay
Juan Francisco Sans, Universidad Central de Venezuela
Javier Osorio, Pontificia Universidad Católica de Chile

Job Posting: Popular Music Studies (Queensland, Australia)

JOB POSTING: LECTURER, POPULAR MUSIC
QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY, AUSTRALIA
DEADLINE: 29 MAY 2009

Lecturer Popular Music *
*Level B, Continuing, Full Time, Gold Coast campus

Reference: QCM0206/09

Overview:*
The Queensland Conservatorium Griffith University wishes to appoint a highly motivated creative musician to the position of Lecturer in Popular Music. This is a teaching focussed position, with the expectation that the appointee will contribute to the research profile of the Conservatorium.

*The role:*
The role will be primarily responsible for teaching within the Bachelor of Popular Music programme, in areas such as sound / audio production, creative music technology, and ensemble work.

The position also entails opportunities for development in the applicant's area of expertise, and there is an expectation of ongoing contribution to the artistic life of the Conservatorium, particularly within the Gold Coast campus.

*The person*:
The successful applicant will have a strong record of achievement in the music industry as a professional performer / recording artist, composer/ songwriter / arranger, producer / entrepreneur, as well as prior tertiary teaching experience*.*

*Salary Range:*
$70,566 - $83,799 per annum. Salary package including 17% superannuation contribution: $82,563 - $98,046 per annum.

For application queries, contact Ms Sue Thorne, HR Officer on (07) 555 28151
For position queries, contact Dr Donna Weston on (07) 555 29007

*To apply:* check out the website Applications close: 29 May 2009

http://www.seek.com.au/users/apply/index.ascx?Sequence=94&PageNumber=1JobID=15367791

Lowens 2008 Book Award Competition - Society of American Music

LOWENS 2008 BOOK AWARD COMPETITION
SOCIETY FOR AMERICAN MUSIC
CALL FOR NOMINATIONS
DEADLINE: 1 MAY 2009

We invite you to submit books published in the year 2008 for consideration for the Irving Lowens Book Award of the Society for American Music. The Society annually awards the prize for the book judged as the best in the field of American music. Any book on American music with a year 2008 imprint is eligible.

We define the term "American music" in its broadest, most inclusive sense. We view it as composed of the music of all of North America (Canada, USA, Mexico, Central America, and the Caribbean) in its historical and contemporary styles and contexts, including art and popular cultures, ethnic groups and minorities, along with its ramifications on cultures elsewhere in the world.

The Lowens Book Award represents our most prestigious honor and carries with it a monetary prize as well as a citation that will be presented at the national conference in the spring of 2009. A list of previous award winners, from 1983 to the present, may be viewed at the SAM website at http://american-music.org/awards/LowensBookAward.php.

Since each of the five members of the committee must review every book under consideration, we would appreciate your sending five (5) review copies to the members of the committee. Nominations and questions and may be directed to the chair of the committee, Larry Hamberlin (lhamberl at middlebury.edu).

DEADLINE: 1 MAY 2009

CFP: Kiss Me Again: Mapping the Life and Legacy of Arthur Russell (NYU)

KISS ME AGAIN: MAPPING THE LIFE AND LEGACY OF ARTHUR RUSSELL
NEW YORK UNIVERSITY, NYC
10 OCTOBER 2009
CALL FOR PAPERS

The composer and musician Arthur Russell lived and worked in New York between 1973 and 1992. During his time in the city he performed and recorded compositional music, pop music, disco, new wave, songs for the cello, and hip-hop-inflected electronic pop. As any listener of his music will know, he also liked to blur the boundaries of genre as he went about his work. Russell's open-mindedness and antipathy to being marketed contributed to his lack of recognition, and his music went relatively unheard outside of aficionado dance circles after his passing. But beginning with the simultaneous release of Calling Out of Context and The World of Arthur Russell in 2004, and culminating with the release of the documentary film Wild Combination in 2008, Russell's work has gained a new lease of life.

Acknowledging the newfound interest in Arthur Russell, New York University, the Centre for Cultural Studies Research at University of East London and Bloomfield College are organising an Arthur Russell conference that will take place at NYU on 10 October. The all-day event will be organised around four panels, two featuring invited speakers, two featuring speakers who respond to this call for papers. The conference will also feature a screening of Wild Combination, with director Matt Wolf answering questions, and (it is hoped) rare Arthur Russell footage shot by Phill Niblock and Alan Abrams. The evening event will feature musicians who worked with Arthur Russell. Tim Lawrence's biography of Arthur Russell, Hold On to Your Dreams, will be launched during the event. Attendance is free.

Suitable themes for papers include but are by no means restricted to Arthur Russell and his collaborators; Arthur Russell and the downtown scene; Arthur Russell and composition; Arthur Russell and genre; Arthur Russell, sexuality, race and sound; Arthur Russell and performance; and Arthur Russell and the contemporary music market. Papers might also consider specific recordings, including "Kiss Me Again" by Dinosaur, Arthur Russell's first record release, which came out on Sire Records in 1978. Papers should last for 20 minutes.

Abstracts of 250 words should be submitted to one of the organisers by 15 July. Decisions will be circulated by 31 July.

Organisers:
Sukhdev Sandhu (NYU): ss162 at nyu.edu
Tim Lawrence (UEL): tlawrence1 at mac.com
Peter Gordon (Bloomfield): petergordonmusic at mac.com