Venue: EMP Lobby

Venue: Level 3

Moderated by: Jody Rosen

Sasha Frere-Jones, "What''s the 911?"

Robert Fink, "Soul Power, 1971"

Caroline Polk O''Meara, "Making Music, Producing Space: The Bush Tetras and New York City, 1980"

Joshua Clover, "1989: Bob Dylan Didn''t Have This to Sing About"

Venue: JBL Theater

Moderated by: RJ Smith

Court Carney, "Black Los Angeles and the Diffusion of Early Jazz"

Miles Grier, "Watts Rocks 1965"

Rod Hernandez, ""That''s Radical! Punk, Skateboarding, and Latinos in Southern California, c. 1980""

Daudi Abe, "6 N The Mornin: California Hip-Hop Music 1987-1992"

Venue: Learning Labs

Moderated by: Allen Lowe

Robert Bennett, ""A Weapon Like No Other Nation Has": The Geopolitics of Jazz Diplomacy"

Andrew Raffo Dewar, "Searching for the Center of the Sound: Bill Dixon''s "Instantaneous Realization" of Composition"

Rob Wallace, "The Drumset is a Time Machine"

Venue: Level 3

Moderated by: Daphne Brooks

Alexandra Vazquez, "Notes on Vernacular Suburbanism"

Patricia Jeehyun Ahn, "Scoring Orange County: Audiovisual Pleasures in TV's Regional Dramas"

Christine Bacareza Balance, "Tool Time, Party Time, and Where We Stick the Kids: Garages and Suburban Cultural Production"

Karen Tongson, "This DeBarge Called My Back: Audio Archives of the Suburban Dykeaspora"

Venue: JBL Theater

Moderated by: Oliver Wang

Joshua Alston, "Hood Boys and Soul Majestics: Shifting Dynamics of Black Masculinity in Soul Music"

Elizabeth Mendez Berry, "Love Hurts, the Remix"

Leslie Wingard, "The Cross-Over: Sensually and Spiritually Feelin'' The Music"

Rob Kenner, ""Murderation": Dancehall Reggae and the "Boom Boom Bye" Backlash"

Venue: Learning Labs

Moderated by: Michael J. Kramer

Mark Sinker, ""... b-but does it pass the test of SPACE?!!!" Why rotten music-writing creates worse history; how the music that this damages – not to mention the music it doesn''t -- suggests ways writers can do something about it (possibly); how we can bring the lost moment back to life without destroying it..."

Randall Roberts, "Birth of the Snark: Creem Magazine's "Rock & Roll News" section, 1971-1976."

Devon Powers, "Is Rock Criticism Part of Intellectual History?"

Venue: Demo Lab

Moderated by: Holly George-Warren

Roni Sarig, "Triggerman's Southern Journey"

Michael Barthel, "It Doesn''t Matter Which You Heard: The Curious Cultural Journey of Leonard Cohen''s "Hallelujah""

Mike McGonigal, "Voyager Song: "Dark Was the Night, Cold Was the Ground""

Anthony Miller, "Songs for Tania, or The Ballad(s) of Patty Hearst"

Venue: JBL Theater

Hip-hop photographer, filmmaker, and videographer (DJ Shadow's "Midnight In A Perfect World," Control Machete, etc.) Brian "B+" Cross has created two classics of musical film. "Keepintime" is a short based on a conceptual concert that brought together two generations--funk drummers such as James Gadson, Paul Humphrey, Earl Palmer, and Roy Porter and turntablists such as DJ Shadow, Cut Chemist, J-Rocc, and Babu--to have a musical and conversational dialogue on rhythm and time. The feature-length Brasilintime took the original Keepintime crew to Sao Paulo for an exploration of global rhythms with a new multigenerational cast, including samba drumming pioneer Wilson Das Neves, Azymuth's Mamao, Jorge Benjor's drummer Comanche, and Brazilian hip-hop turntable legend DJ Nuts. This session will screen portions of these two works as the lead-in to a conversation with Cross about the ways in which rhythm provides a bridge between place and time.

Venue: Learning Labs

Activist, journalist, and educator Ellen Willis was one of the first writers in the 1960s to publish critical essays on rock music and was the first pop critic for the New Yorker. Her writing always addressed her three R's, "radicalism, religion and rock," and her language reflected the spirit of rock's vernacular, while maintaining a fierce intellectual edge. In the 1970s, Willis turned her attention towards contemporary politics and gender, but she never lost her interest in popular culture. She founded the feminist activist group Redstockings and becoming a major critical opponent to anti-pornography feminism in the 1980s. In 1995 she founded the Center for Cultural Reporting and Criticism at New York University, where she taught a generation of cultural critics and continued writing about politics and culture until her death in the fall of 2006, at the age of 64. The New York Observer called her "a rock n' roll feminist superhero" and each elegy for Willis asked for her work to be read, remembered and discussed and for her spirit to continue. In this lunchtime tribute, her friends, peers and followers, including Sasha Frere-Jones, Robert Christgau, and Ann Powers, read brief excerpts of Willis's writing, rock and otherwise, and reflect on the impact of her work in their own writing and activist lives. Conference attendees interested in participating should email EricW@emplive.org

Moderated by: Daphne Carr

Venue: Level 3

Moderated by: Fred Maus

Simon Reynolds, "Just 4 U London: Place and Race in British Dance Culture from Rave to Grime"

Cosmo Lee, "The Mechanical Heart of Berlin Techno"

Geeta Dayal, "Examining European fandom of the Detroit, Chicago, and New York Dance Music Mythos"

Tim Lawrence, ""I''m a Proper Cunt Once I''ve Had a few Lines, and for that Money I''ll Be Doing my Special ''Cunt Dance'' and Flicking Shit at that Twat Mancuso." What (Else) Happened When the New York Loft Moved to London?"

Venue: JBL Theater

Moderated by: Erik Davis

Tim Sommer, "Anticipating The Re-Emergence of The Pre-Temperate Aboriginal Drone Form as The Root And Dominant Figure In Rock Music."

David Grubbs, "Sound Art Is an Argument"

Tim Hecker, "Glenn Gould: The Vanishing Musician and the Virtuosity of the Studio"

Lorraine Plourde, "Disciplined Listening in Tokyo"

Venue: Learning Labs

Moderated by: Tim Quirk

Erica Easley, "ReDressing History: Rock T-shirts and The (re)Creation of Rock Mythology"

Katherine Meizel, "Making the Song Your Own: Nostalgia, Authenticity, and the Cover in American Idol"

Daphne Carr, "Selling Sad: How Hot Topic Made the Mall (Safe for the) Miserable"

Michaelangelo Matos, "A Matter of Trustafarians: Behind the Bob Marley Poster on the Dorm Room Wall"

Venue: Demo Lab

Moderated by: Ken Wissoker

Dave Stelfox & Erin MacLeod, ""Screwing up the world": Hip Hop Slows Down And Makes Do In Houston, Texas"

Stacey Campbell & James Dooley, "Keeping it Real From the Rez to the Hood: Aboriginal Hip Hop Identity and Resistance"

Wayne Marshall, "Follow Me Now: The Zig-Zagging Zunguzung Meme"

Venue: Level 3

Moderated by: Josh Kun

Peter Scholtes, "Why My Father Wrote "They''ll Know We Are Christians By Our Love""

Adam Gussow, "Documentary Fakelore: Unmasking the Travel Channel's Secrets of the Delta Blues"

Camara Dia Holloway, "The Colored Tints of Optic White: Jazz in Good Night, and Good Luck"

Douglas Wolk, "The Woman in the Back: Clydie King in the Shadow of Classic Rock"

Venue: JBL Theater

Moderated by: Eric Lott

Charles Kronengold, "[insert cliché here]"

Fred Maus, "AIDS and Mourning in Three Songs by the Pet Shop Boys "

John Sellers, "The Waiting Is the Hardest Part: A Fan Takes on Reclusive and Prolific Songwriters"

Peter Doyle, "The Psychogeography of Sydney's Sonic Sublime"

Venue: Learning Labs

Moderated by: Franklin Bruno

Wendy Fonarow, "The Participant Framework of the Indie Gig: The Three Zones and Contemporary Change"

Mark Percival, "Time, Space, Identity and Indie Music Production in West Central Scotland"

Tobias Carroll, "From a Basement Show on the Hill"

Matthew Bannister, "White Boys, White Noise: Masculinities in 1980s Alternative Guitar Rock"

Venue: Demo Lab

Moderated by: Amy Phillips

Dominique Leone, "What You Hear Is Never What They Heard, and What You Get Is Never What They Had"

Jesse Fuchs, "Kick, Punch, It's All in the Mind: the First Decade of Musical Videogames"

Jessica Suarez, "Bigger Than The Sound: Fan-Created Media and Imagined Communities"

Chris Neal, "16th Avenue Freeze-Out: The Impending Decentralization of Country Music"

Venue: University of Washington

This multi-media conversation between Jeff Chang, author of the award winning Can't Stop Won't Stop: A History of the Hip-Hop Generation and Total Chaos: The Art And Aesthetics of Hip-hop, and Gaye T. Johnson, faculty in the Black Studies Department at UC Santa Barbara, centers New Orleans' shaping influence on pop music's past, present, and future through a revelatory discussion of music, history, and memory in the wake of Katrina. Johnson draws upon her research project, "The Mexican Genius of Borderlands Jazz," awarded the 2006 prize for best writing on Comparative Ethnic Studies from the American Studies Association to set the ground for Chang's historical exploration of the connection between breakbeat, the clave, the blues 4/4, James Brown, and what has come to be known as the New Orleans meter. Facilitators: Michelle Habell-Pallan, Associate Professor of American Ethnic Studies and Women Studies and Music adjunct at the University of Washington. Judy Tsou, Head Music Librarian, School of Music, University of Washington. Note: A reception at 7:30 will be followed by the conversation from 8 to 9 pm. . . . Location: University of Washington Ethnic Cultural Center 3940 Brooklyn Avenue NE Seattle, WA 98105 206 543 7661 Co-sponsored by the University of Washington's Deparment of Women Studies, School of Music, and Walter Chapin Simpon Center for the Humanities.