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Cited by

• 2009Spectacular Blackness: The Cultural Politics of the Black Power Movement and the Search for a Black Aesthetic163 cited
• 2012The Sound of Crossover: Micro-rhythm and Sonic Pleasure in Michael Jackson's “Don't Stop 'Til You Get Enough”59 cited
• 2007Afrofuturism and Post-Soul Possibility in Black Popular Music48 cited
• 2008“Drop It Like It's Hot”46 cited
• 2007Finding an alternative: Music programming in US college radio40 cited
• 2000Rap, Black Rage, and Racial Difference30 cited
• 2004Black Radio Politically Defined: Communicating Community and Political Empowerment Through Stevie Wonder's KJLH-FM, 1992-200226 cited
• 2010Sharing Hip-Hop Cultures: The Case of Nigerians and African Americans20 cited
• 2005Turn the beat around20 cited
• 2012Institutionalized erasures: How global structures acquire national meanings in Israeli popular music19 cited
• 2009Specialist music, public service and the BBC in the Internet age17 cited
• 1999Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations16 cited
• 2011Reading Billboard 1979–89: Exploring Rap Music's Emergence through the Music Industry's Most Influential Trade Publication16 cited
• 2010The ”PoumTchak” Pattern: Correspondences between Rhythm, Sound, and Movement in Electronic Dance Music