Podcast appearances and mentions of stephanie shonekan

The fourth season of Cover Story with Stephanie Shonekan is kicking off with "Jolene," a song by Dolly Parton that burst back into the forefront of our minds when Beyoncé released her own version of the song earlier this year on her album "Cowboy Carter." Susan Rivera, the dean of the College of Behavioral and Social Sciences at the University of Maryland, sits down with Stephanie Shonekan to discuss how the song has evolved across 50 years.

On this final episode of the season, Stephanie Shonekan brought in a special guest: her daughter, Ojurere Shonekan. Together, they unpack “Emotion,” a song by the Bee Gees released in 1994. Destiny's Child covered it in 2001. The song is a vulnerable confession that the loss of a relationship is taking a serious emotional toll. As Stephanie and Ojurere discuss the song and its reinterpretation from disco to R&B, they take some time to reflect on their own shared memories of loss.

Stephanie Shonekan sat down with her sister dean, Kimberly Griffin, to talk about “Lately,” a classic breakup song that Stevie Wonder released in 1980. The song itself is a crushing glimpse into a relationship that's slowly becoming one-sided. And when Jodeci covered the song in 1993, the group members infused it with their own range of emotion (because there's lots of it to go around during a breakup, even the one-sided kind). In this episode, Stephanie and Kimberly break down the artists' different approaches to “Lately” and reminisce over the era of ‘90s boy groups.

On this episode, Tom Flynn joins host Stephanie Shonekan to talk about “You Can't Hurry Love,” an original song by The Supremes that Phil Collins covered in 1982. Though the songs were released a couple decades apart, the message is timeless – and, perhaps a bit frustrating: love takes time. Tom and Stephanie discuss their memories of youth, wanting love and how the song can stand as a light-hearted reminder to hold on.

Heather Gray joins Stephanie Shonekan during this episode to discuss the Bette Midler and Eddie and Gerald Levert versions of “Wind Beneath My Wings,” a song about love, death and what it does to those who live on. It's a ballad that especially resonates with people who lost loved ones to the September 11 attacks in 2001. And in this episode, Stephanie and Heather also discuss how this song helps them treasure their relationships with their parents.

The third season of Cover Story with Stephanie Shonekan is kicking off with a guest who's pretty familiar with the show by now: our recording engineer, Nat Kuhn. Nat and Stephanie discuss “Killing Me Softly” and the power music holds to make us feel known, even at a level that's surprisingly personal. Plus, Nat plugs in his bass to bring you an in-studio performance that mashes up elements of both Roberta Flack and The Fugees' versions of the song.

In this episode, Diverse host Dr. Jamal Watson engages in a thought-provoking discussion with Dr. Stephanie Y. Evans, a distinguished professor at Georgia State University's Institute for Women's, Gender, and Sexuality Studies, who draws upon her extensive experience as a former department chair from 2010 to 2022.   Evans recently edited a book with Drs. Stephanie Shonekan and Stephanie G. Adams, "Dear Department Chair: Letters from Black Women Leaders to the Next Generation.” Evans sheds light on the book's compelling themes in this interview. She speaks on the importance of documenting personal journeys and experiences, emphasizing the critical role of self-care in leadership positions, and challenging established paradigms of leadership. The dialogue also explores fresh perspectives on leadership within the academic sphere and underscores the transformative influence of mentorship on the journey to success, particularly for aspiring Black women leaders. Tune into this enlightening exchange, as Watson and Evans light the way for a future of empowered Black women leaders.   KEY POINTS: - Dr. Stephanie Y. Evans' Remarkable Path to Higher Education - The motivating force behind Dear Department Chair and its influential reach - How Dr. Stephanie Y. Evans navigated the multifaceted role of Department Chair - Dr. Stephanie Y. Evans' transition from intellectual history to mental health - The power of mentorship and peer networks - The significance of mentorship and peer networks - How Dr. Stephanie Y. Evans and her co-editors advocate for the next generation of Black Women Leaders   QUOTABLES: "This book is an outgrowth of my experience as a department chair. We must keep a record of our personal experiences, but also give context to those experiences." - Dr. Stephanie Y. Evans "If you don't take care of yourself, there's no way that you can have any sort of clarity to be a leader. You have to respect the autonomy of others. If you're going to say no and you're going to set boundaries, you also have to accept that other people are going to say no. You have to have certain types of understandings of what it means to be a human being in this position." - Dr. Stephanie Y. Evans   GUEST RESOURCES: Dr. Stephanie Evans' new book: https://www.wsupress.wayne.edu/books/detail/dear-department-chair   OR FOLLOW US ON SOCIAL MEDIA: Twitter: http://twitter.com/diverseissues Instagram: http://instagram.com/diverseissuesinhighereducation Facebook: http://facebook.com/DiverseIssuesInHigherEducation/ Linkedin: http://linkedin.com/company/diverse-issues-in-higher-education Transcription services are available upon request. Please drop us a line using the form found here.

Heather honors Hip Hop's 50 anniversary with music and conversation about this music and cultural movement since its beginning, August 11th, 1973. She speaks with ethnomusicologist Dr. Stephanie Shonekan and with Kenyan music journalist Bill Odidi about the impact of Hip Hop in Africa. The playlist features Hip Hop music from America and Africa. Sierra Leone music journalist Mohamed King Milan Bangura gives Heather's Drop the Needle quiz a run for her money.

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today, I'm chatting with special guest Jeremy Root about “Respect” Otis Redding and Aretha Franklin

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today, I'm chatting with special guest Sheri-Marie Harrison about “Everything I Own” by Ken Booth and Bread

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today, I'm chatting with special guest Ian Chang about “Ghost of Tom Joad” by Bruce Springsteen and Rage Against the Machine

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today, I'm chatting with Tomiwa Shonekan about “I Believe in You and Me” by the Four Tops and Whitney Houston.

Hello friends,Stephanie Shonekan is an author and musicologist who has worked with the BBC, public radio and written and taught extensively on music, from soul music, to country music, and Nigerian and African-American hip hop. Shonekan serves as the dean of the College of Arts and Humanities at the University of Maryland, and we have created a podcast together, Cover Story with Stephanie Shonekan, at the University of Missouri and NPR-affiliate KBIA. Cover Story is all about life, history, love, identity, and music - through our culture's favorite songs. And that is also what Stephanie Shonekan's work is about. So: We talked about reading Jane Austen while growing up and going to college in Nigeria - and how the stories of Austen might play for young readers in Nigeria growing up and growing into life and literature. Again, it's all about: culture, identity, love, and the stories we tell. In this conversation, Shonekan talks about the fact that in Nigeria as a colonial and post-colonial country, she was introduced to characters and stories that did not reflect her family, her friends, and herself - and that was both an awakening of sorts, and also a painful thing to discover. Her answer? To go and find the authors and the classic literature of Nigeria, her home country. Enter: Classic writers like : Chimimanda Adichie, Buchi Emecheta, Wole Solinka, and  Chinua Achebe. And she asks a very simple but powerful question: Why weren't these writers introduced to her as part of her education? Why did she have to go and discover them for herself? This is a question about the canon of classic literature - and how something that can bring transformation and joy, like classic literature, can also, and has been, used to disseminate power, nationalism and empire, and can be deployed to erase culture and identity.Dean Stephanie Shonekan, in this episode, talks with us about discovering the stories of Jane Austen, and then discovering stories of her own. And then, finally, circling back to come to terms with the stories of Jane Austen. And also: Bridgerton. Because in any conversation about romance, race, and the stories we tell, we have to talk about Bridgerton, right?!Enjoy this excerpt of our conversation: Links and Community* The Woman of Colour: A Tale is a Regency story chronicling the life, love and adventure of a Black heiress, Olivia Fairchild, who travels from a Jamaican plantation to 19th century England to marry. Here's a wonderful edition from Broadview Press published in 2007 with historical notes by Professor Lyndon Dominique. Some teachers are including this book alongside Austen, an inclusion that would seem to direct address the canon of literary works and what gets taught - let us know if you are doing that and how it went for your class. * Stephanie Shonekan references some Nigerian classics, including: Chimimanda Adichie, Buchi Emecheta, Wole Solinka, Chinua Achebe, * Patricia Matthew is a well-known author and professor whom many of you in this community know and love. Professor Matthew has written about her complicated feelings about reading Jane Austen, with “On Teaching, but not Loving, Jane Austen,”   and on Bridgerton here, and on how she embraced her inner Emma - who can relate?! * Here's Chimimanda Adichie's talk on The Power of Story - that is referenced in this conversation* We also talked about the writing of Alyssa Cole and her historic and contemporary romance fiction. Here's the Loyal League series featuring romances set in the Civil War among a network of Black spies working to overturn the Confederacy, which looks absolutely amazing.    Get full access to The Austen Connection at austenconnection.substack.com/subscribe

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Janis Joplin's Piece of My Heart remains one of the most iconic songs of the ‘60s. Released in 1968, it reached #12 on Billboard Hot 100, thanks in part to Joplin's impassioned and unique vocal delivery. At the time, Billboard called it “dynamite”. It's remembered as one of her most popular songs. And yet, it wasn't hers at all. Just a year earlier, Erma Franklin -- as in older sister to Aretha Franklin -- released her version. It didn't do nearly as well, peaking at #62 on Billboard's Pop Singles Chart. So which one's the better version?

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today's guest is a good friend and colleague, Dr. Keona Ervin. She's a professor in the Department of History at the University of Missouri, and also someone I've talked with at length about music. And so when I came up with the concept of the show, I knew she had to be one of my first guests. And so I reached out and asked her to choose a song to chat about. And that choice? Donny Hathaway's live cover of Yesterday by the Beatles.

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today, I'm chatting with my daughter Faremala Shonekan to talk about a song we both love…Before I Let Go, first released by Frankie Beverly and Maze and covered by Beyonce.

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Today, I'm chatting with my good friend, Dr. Brandon Boyd, who is, up to this point, the only professional musician I've had on this show. And the song we'll be discussing is one of my favorites, actually, one I had in mind when I first conceived of the idea behind the show. And that song? I Will Always Love You

This is Cover Story with Stephanie Shonekan, a podcast where we take apart the song covers we love and take a deep dive into the stories behind them. Nothing Compares 2 U was written by Prince in 1984 for his band, the Family. One version was recorded in 1984, but wasn't actually released until only recently...in 2018. Instead, the song debuted on the Family's 1985 self-titled album, released under the Paisley Park Records label. Neither version had much of a splash. Fast forward 5 years when, in 1990, a 24 year old Irish singer-songwriter by the name of Sinéad O'Connor released her version, and it became a breakout hit, thanks in part to the song's music video, made up almost entirely of a closeup shot of the singer's face. So, which one is the better version? Stephanie talks to her good friend Jeremy Root...about the songs... how they compare to one another, and by the end, they'll reveal their top pick.

Jacqui and Liz are extremely grateful to their guests for the rich and illuminating discussion of the current state of protest singing within the Black Lives Matter movement. Thank you Micah Hendler, Nikki Nesbary, Caullen Hudson, and Patrice Rhone. Micah Hendler is a musical changemaker, and covers music and social change for Forbes. He is the founder and artistic director of the Jerusalem Youth Chorus.Nikki Nesbary is an experienced facilitator, trainer, and program manager. She is a singer and leadership team member with SongRise, a DC-based women's social justice a cappella group.Caullen Hudson is a filmmaker, activist, and founder of SoapBox productions and organizing. He is a scholar and producer of the feature documentary Chicago Drill ‘n' Activism, and produces and co-hosts the Bourbon ‘n BrownTown podcast. Check out their Collective Freedom Project,  a four-part series highlighting grassroots efforts in Chicago, Atlanta, Texas, and California to fight crimmigration.In addition to her digital activism, Patrice Rhone is a fashion fanatic, marketing professional, and blogger. She will also be rocking some classic 80s Madonna and Whitney with Jacqui and Liz at our next karaoke party.LINKSOn the march: is communal protest singing poised for a comeback? by Micah Hendler, Jun 13, 2020 https://www.forbes.com/sites/micahhendler/2020/06/13/on-the-march-is-communal-protest-singing-poised-for-a-comeback/?sh=639ce5157372Dr. Ysaye M. Barnwellhttps://www.ymbarnwell.com/Marching and Singing with Ysaye Barnwell - Black Lives Matter, YouTube, uploaded Jun 9, 2020Https://www.youtube.com/watch?v=AXV9c0-JZcgLift Every Voice and Sing by the Spellman College Glee Club, YouTube, Feb 28, 2019https://www.youtube.com/watch?v=pRF9FOPgLpwLift Every Voice and Sing by SongRise, Juneteenth Solidarity Sing, YouTube, Premiered Jun 20, 2020https://www.youtube.com/watch?v=Ko9I9d8Zu68Tupac interview about food in hotel, YouTube, uploaded Dec 29, 2012 (from Tupac: Resurrection)https://www.youtube.com/watch?v=HuBWjhEax3gThis is what protest sounds like by Breeanna Hare, November 19, 2017https://www.cnn.com/2017/04/20/us/soundtracks-protest-music-evolution/index.htmlAnti-maskers, the alt-right, and leftist messaging by Paula Ethans, October 20, 2020https://canadiandimension.com/articles/view/anti-maskers-the-alt-right-and-leftist-messagingAnti-vaccine protesters are likening themselves to civil rights activists by Mackenzie Mays, Sep 18, 2019https://www.politico.com/story/2019/09/18/california-anti-vaccine-civil-rights-1500976Justice Choir https://www.justicechoir.org/Kendrick Lamar's "Alright" chanted by protesters during Cleveland police altercation by Jeremy Gordon July 29, 2015https://pitchfork.com/news/60568-kendrick-lamars-alright-chanted-by-protesters-during-cleveland-police-altercation/Has Kendrick Lamar recorded the new Black national anthem? by Aisha Harris, Aug 3, 2015https://slate.com/culture/2015/08/black-lives-matter-protesters-chant-kendrick-lamars-alright-what-makes-it-the-perfect-protest-song-video.htmlKendrick Lamar - Alrighthttps://www.youtube.com/watch?v=Z-48u_uWMHYReverend Gary Davis ~ I'll Be Alright Somedayhttps://www.youtube.com/watch?v=ovZZL_-SWTEPete Seeger - We Shall Overcome (Live)https://www.youtube.com/watch?v=s1yQcIEFAFcYou About to Lose Your Job (Original Remix), YouTube, uploaded Jun 4, 2020https://www.youtube.com/watch?v=6cDyvJu05bcChief Keef "Faneto"https://www.youtube.com/watch?v=XuEx6lNHZjMLudacris - Move Bitchhttps://youtu.be/3oIbztWsY8gBlack Lives Matter and Music: Protest, Intervention, Reflection,  Edited by Fernando Orejuela and Stephanie Shonekan, from Indiana University Presshttps://iupress.org/9780253038425/black-lives-matter-and-music/The World in Six Songs by Daniel J. Levitin, from Penguin Random HouseI'm Gon' Stand sung by Nikki NesbaryI'm Gon' Stand by Bernice Johnson Reagon of Sweet Honey In The Rock, SongRise, YouTube, uploaded Nov 23, 2016https://www.youtube.com/watch?v=weuKNknUbqw

Join Dr. Ashley Pribyl as she interviews Dr. Stephanie Shonekan, Associate Dean of the College of Arts & Science and Professor of Music at the University of Missouri. They discuss the first major black opera diva, Camilla Williams, Mizzou's musical response to the 2015 protests, and what true diversity and inclusion in classical music would mean.The theme for MOSY Motifs is the overture to Treemonisha by Scott Joplin, recorded by Cristian Chiappini & Orchestra dell'Università di Firenze.Music examples:Camilla Williams sings "Beau Soir" by Claude DebussyMarian Anderson sings the spiritual "Deep River"New Symphony Orchestra conducted by Trevor Harvey performs Fela Sowande's African Suite"Summertime" from Porgy and Bess (1959 film version)These complete examples, as well as more music related to this episode, can be found here or on our YouTube page.Support the show

Professors Stephanie Shonekan and Adam Seagrave identify the need for a shared understanding of what equality means for a diverse student body. In this episode, host Debi Ghate talks with them about the events that transpired to launch a course called “Citizenship@Mizzou” and the “Race & the American Story” project across various campuses. The project has become a rare space in the academy for a serious conversation about citizenship and race in America.Watch the full interview.This interview was recorded on December  9, 2020.

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Midday on Music and today explore music as a window into Muslim Culture, and the creative work of Muslim women, who are being celebrated in a series at the Creative Alliance in Baltimore this season called Nisa'a Women. My guests this afternoon are Sudanese singer Alsarah and her band The Nubatones. The group is in town as the second installment in the Nisa'a Women series. They are conducting workshops at local schools, they'll be at a community potluck for refugee and immigrant communities and they will give a concert at the Creative Alliance tomorrow night. Later on, a discussion about the growing popularity of Contemporary African music. Despite Hip Hop and Afrobeats artists dominating music charts around the world, they were not well represented at this year's Grammy awards. Stephanie Shonekan ,University of Missouri Associate Professor of Black Studies and Ethnomusicologist, joins us on the telephone to discuss who wins awards, who doesn't and why.