Contributors
NICHOLE T. RUSTIN
received her Ph.D. in American studies from New
York University. Formerly an assistant professor at the University of
Illinois, Urbana-Champaign, she is now an independent scholar com-
pleting a book entitled Jazz Men: Race, Masculine Difference, and the
Emotions in 1950s America. She has published articles, reviews, and en-
cyclopedia entries on jazz, gender, art, and race in the South Atlantic
Quarterly, Critical Sociology, Bill Traylor and William Edmondson and the
Modernist Impulse, African American Lives, Radical History Review, the
Journal of American History, and American Studies.
SHERRIE TUCKER
is an associate professor of American studies at the
University of Kansas. In 2004–5 she was the Louis Armstrong Visiting
Professor at the Center for Jazz Studies, Columbia University. She is
the author of Swing Shift: ‘‘All-Girl’’ Bands of the 1940s (Duke University
Press, 2000). Her articles on jazz and gender have appeared in nu-
merous journals including American Music, Black Music Research Journal,
Current Musicology, and Women and Music: a Journal of Gender and Cul-
ture, and edited volumes including Mellonee V. Burnim and Portia K.
Maultsby (eds.), African American Music: A History (Routledge, 2006);
Ajay Heble and Daniel Fischlin (eds.), The Other Side of Nowhere: Jazz,
Improvisation, and Communities in Dialogue (Wesleyan, 2004); Sophie
Fuller and Lloyd Whitesell (eds.), Queer Episodes in Music and Modern
Identity (University of Illinois, 2002); and Vicki L. Ruiz and Ellen Carol
DuBois (eds.), Unequal Sisters: A Multicultural Reader in U.S. Women’s
History (Routledge, 2000). She is currently serving as the team leader
for the ‘‘Improvisation, Gender, and the Body’’ group for a Collabora-
tive Research Initiative of the Social Sciences and Humanities Research
Council of Canada: ‘‘Improvisation, Community, and Social Practice.’’
She is currently completing a book entitled Dance Floor Democracy: The
Social Geography of Memory at the Hollywood Canteen.
Previous Page Next Page