Josh Kun is an American author, academic and music critic. Kun is an Associate Professor of Communication in the Annenberg School at the University of Southern California.He also holds a joint appointment at USC's Department of American Studies and Ethnicity. He is the director of The Popular Music Project at USC Annenberg's The Norman Lear Center and co-editor of the book series "Refiguring American Music" for Duke University Press.Kun serves on the boards of Dublab, Los Angeles Contemporary Exhibitions, and the Latin American Cinemateca, and on the editorial boards of American Quarterly, the International Journal of Communications, and The Journal of Popular Music Studies. He has also worked as a consultant and curator with The Los Angeles Public Library, Walt Disney Concert Hall, The Autry National Center, and the Santa Monica Museum of Art.
Josh Kun graduated from University of California, Berkeley, with a Ph.D in Ethnic Studies. Prior to USC, he was an Associate Professor of English at the University of California, Riverside. His research focuses on the arts and politics of cultural connection, with an emphasis on popular music, the cultures of globalization, the US-Mexico border, and Jewish-American musical history.
In 2005, he co-founded Reboot Stereophonic, a non-profit record label dedicated to excavating lost treasures of Jewish-American music. Reboot has been featured in The New York Times and on National Public Radio. He is also a co-founder of the Idelsohn Society for Musical Preservation, which is named for Abraham Zevi Idelsohn, legendary Jewish musicologist and writer of everybody's favorite classic, "Hava Nagila." Idelsohn Society is committed to the belief that music creates conversations otherwise impossible in daily life. The Society's goal is to incite a new conversation about the present by listening anew to the past, focusing on stories of hybrid identities, eclectic communities, racial dialogue, and pioneering musical style, music that forces listeners to interrogate their own identities.
Dr. Kun's October 2009 exhibit “Last Exit USA” at the Steve Turner Contemporary Gallery in Los Angeles, focused on popular music exchanges between Mexico and the U.S. in the 1960s, complete with 44 album covers and two listening stations. According to the Los Angeles Times review of the exhibit, “Listening to Kun’s selections is like visiting a world both familiar and strange, a sort of parallel universe that is disorienting, eye-opening, exciting.”
As a critic and journalist, Kun is a regular contributor to The New York Times, The Los Angeles Times, Los Angeles Magazine, VIBE, Tu Ciudad Los Angeles, the San Francisco Bay Guardian, and Boston Phoenix.
Kun, J. & Montezemolo, F. (2011). Re-Assembling Tijuana: The Border City in the Age of Globalization.
Kun, J. (2011). The Song Is Not The Same: Jews and American Popular Music. The Jewish Role in American Life Vol. 7. Annual Volume of The USC Casden Institute.
Kun, J. & Pulido, L. (2011). Black and Brown Los Angeles: A Contemporary Reader.
Kun, J. & Keeling, K. (2011). Special Issue on Sound: American Quarterly.
Kun, J. (2011). “Playing the Fence, Listening to the Line: Sound, Sound Art, and Acoustic Politics at the US-Mexico Border.” Performance in the Borderlands: A Critical Anthology. Eds. Harvey Young and Ramon Rivera-Servera. Palgrave.
Kun, J. (2011). “The Tijuana Sound: Blues, Brass, and the Musical Borders of the 1960s.” Transnational Encounters: Music and Performance at the U.S.-Mexico Border. Ed. Alejandro Madrid. Oxford University Press.
Kun, J. (2011). "California Sueños." Boom: A Journal of California Studies. Issue 1, Volume 1. UC Press.
Kun, J. (2011). "The Sound of ’68: Notes on The Musical Legacy of Tlateloco." Kalfou. Special journal issue, "1968." University of Minnesota Press.
Kun, J. (2010). "Black Sabbath." Liner notes essay. Black Sabbath: The Secret Musical HIstory of Black-Jewish Relations. Idelsohn Society for Musical Preservation.
Kun, J. (2010). "El Disco Es Cultura." The Record: Contemporary Art and Vinyl. Ed. Trevor Schoonmaker.
Kun, J. (2010). "Tijuana and the Borders of Race." The Blackwell Companion to Los Angeles. Eds. William Deverell and Greg Hise.
Kun, J. (2009). "Have An Hors D’ Ouevrey Irvy: The Music of Jewish-American Food." Koscher & Co. Exhibition Catalog. Judisches Museum Berlin.
Kun, J. (2009). "The Sound of the Desert Sublime." Convergence: Special Issue on "The Sonic West." Ed. Stephen Aron.
Kun, J. (2009). "Mazel Tov, Mis Amigos." Liner notes essay. Juan Calle and HIs Lantzmen, Mazel Tov, Mis Amigos. Idelsohn Society for Musical Preservation.
Kun, J. (2007). Abie the Fishman: On Masks, Birthmarks, and Hunchbacks. In E. Weisbard (Ed.), Listen Again: A Momentary History of Pop Music (pp. 50—68). Durham, NC and London: Duke University Press.
Kun, J. (2005). Bagels, Bongos, and Yiddishe Mambos, or The Other History of Jews in America. Shofar: An Interdisciplinary Journal of Jewish Studies, 23(4), 50-68.
Kun, J. (2004). File under: Post-Mexico. Aztlan, 29(1), 271-277.
Kun, J. (2004). What Is an MC If He Can't Rap to Banda? Making Music in Nuevo L.A. American Quarterly, 56(3), 741-758.
Kun, J. (2002). Two Turntables and a Social Movement: Writing Hip-Hop at Century's End. American Literary History, 14(3), 580-592.
Kun, J. (2002). Introduction to by Mickey Katz.
Kun, J. (2000). The Aural Border. Theatre Journal, 52, 1-21.
Kun, J. (2010, June 15). "Unexpected Harmony: YouTube Helps Legaci's Breakout." The New York Times.
Kun, J. (2009, April 3). "Mexican Bands Find Success Via Cell Phones." The New York Times.
Kun, J. (2008, December). "Immigrant Sage: How a 70-year-old curmudgeon, played by a 28-year-old, became one of the most popular personalities on L.A. radio." Los Angeles Magazine.
Kun, J. (2008, February 17). "A Line in the Sand" Los Angeles Times.
Kun, J. (2007). "Far Out Fred: The man behind Folk Songs for Far Out Folk". Guilt & Pleasure, 6.
Kun, J (2007). "How We Listen". Guilt & Pleasure, 6.
Kun, J. (2007). Interview with Jorge Hernandez. Bomb: A quarterly arts & culture magazine since 1981, 98.
Kun, J. (2007, August 6). "The latte-ization of Tijuana; It isn't Yankee imperialism in a town with Yankee imperialism in its DNA". Los Angeles Times, A19.
Kun, J. (2007, July). "The Ballad of Music Man Murray." Los Angeles Magazine, 136-141, 212-216.
Kun, J. (2007, May 13). "Mexico City's Indie Rock, Now Playing to the World". New York Times.
Kun, J. (2006, December 17). "The New Sound of Mexico, Sung in a Nashville Accent". New York Times.
Kun, J. (2006, July 9). "We Are a Band, and We Play One on TV". New York Times.
Kun, J. (2006, May 14). "The Twiins: Mexican Music, Made in America". New York Times.
Kun, J. (2006, April 9). "They're With the Band, Speaking That Global Language: Brass". New York Times.
Kun, J. (2006, February 15). "The Island of Jorge Hank Rhon". LA Weekly News.
“Art review: Josh Kun at Steve Turner Contemporary”, Los Angeles Times, October 23, 2009
“The LAist Interview: Dr. Josh Kun”, LAist, 2005.
"Interview With Victoria Cuellar, Angeline Shaka, and Josh Kun", Hemispheric Institute of Performance [sic] and Politics, Spectacles of Religiosity, NYU, July 19, 2003
