In this essay, I grapple with the ethics and practices of working on Black composers as a White scholar, and consider how to try to create an anti-racist practice of music scholarship.

Of the sixty-plus companies that comprised the collective WILD (Women’s Independent Label Distribution), Goldenrod Music is the only one that remains and still specializes in women’s music. The company’s survival is contingent upon its ability to adapt to changing lesbian communities; it must both meet the communities’ needs and maintain continu…[Read more]