Regina N. Bradley is assistant professor of English and African Diaspora Studies at Kennesaw State University in Kennesaw, GA. A former Nasir Jones Hip Hop Fellow (Harvard University, Spring 2016), she is working on a book project, Chronicling Stankonia: OutKast and the Rise of the Hip Hop South, which explores how the hip hop duo OutKast influences conversations about the Black American South in the post-Civil Rights era.

William Cheng is associate professor of music at Dartmouth College. He is the author of Sound Play: Video Games and the Musical Imagination (Oxford, 2014), Just Vibrations: The Purpose of Sounding Good (Michigan, 2016), and Loving Music Till It Hurts (Oxford, forthcoming), and the coeditor of A Cultural History of Music in the Modern Age (Bloomsbury Academic, forthcoming) and Queering the Field: Sounding Out Ethnomusicology (Oxford, forthcoming). He serves as the coeditor of the series Music & Social Justice from University of Michigan Press.

Rebecca Densley is currently a Ph.D. candidate in the College of Media & Communication at Texas Tech University. Her research specializes in the effects of sexualized media on children, adolescents, and families.

Alice Echols is professor of history and the Barbra Streisand Chair of Contemporary Gender Studies at USC. She is the author of four books, including Scars of Sweet Paradise: The Life and Times of Janis Joplin, a biography of the rock singer and a cultural history of the counterculture and the music scene of which Joplin was a part, and her most recent book, Hot Stuff: Disco and the Remaking of American Culture, which probes disco’s “hotness,” a phenomenon that she locates in disco’s upending of America’s racial rules and gender and sexual conventions. Echols has been featured on ABC’s “20/20,” The History Channel’s “1969,” and the BBC’s (and Biography Channel’s) documentary “Southern Discomfort: Janis Joplin.” Her next book, about a Depression-era banking scandal in Colorado, blends cultural history, social history, and memoir as it probes the workings of the American Dream.

Mark Allan Jackson specializes in examining political expression in American music. He has published essays, reviews, and commentaries in such journals as American Music, The Journal of American History, Popular Music and Society, and The Journal of American Folklore. Three of his edited compilations of American folksong recordings have appeared through the West Virginia University Press Sound Archive Series, including Jail House Bound: John Lomax’s First Southern Prison Recordings, 1933, which won the American Folklore Society’s Brenda McCallum Prize. The University Press of Mississippi published his book Prophet Singer: The Voice and Vision of Woody Guthrie in 2007. Currently, he works in Middle Tennessee State University’s English Department, where he teaches courses in American folklore and popular culture.

Loren Kajikawa is associate professor of musicology and ethnomusicology at George Washington University’s Corcoran School of Arts and Design. He is the author of Sounding Race in Rap Songs (University of California Press, 2015). He also edits the Journal of the Society for American Music and is co-series editor of Tracking Pop for University of Michigan Press.

Emily Margot Gale is an interdisciplinary music scholar with interests in North American popular music spanning the eighteenth century through to the present. Her book in progress, Sentimental Songs for Sentimental People, explores the intersections between sentimentality, gender, class, and race with chapters on nineteenth century ballads, the National Barn Dance, Sing Along with Mitch, and 1970s soft rock. Her research has been published in Opera Quarterly and Journal of the Society for American Music. In 2014 she completed her PhD in Critical and Comparative Studies in Music at the University of Virginia.

Fredara Mareva Hadley is visiting assistant professor of ethnomusicology at Oberlin College. Hadley’s research interests include African American music and popular music, and currently she is focused on the music industry and contemporary African American music that exists beyond the boundaries of hip hop. She investigates the ways in which African Americans create music that responds to and pushes the boundaries of established genre categories and how that music represents various realities of African American identities. Her research has been published in numerous venues including the Encyclopedia of African American Music, Okayplayer, and Urb magazine.

Daniel Martinez HoSang is an associate professor of American studies and ethnicity, race and migration at Yale University. He is the author of Racial Propositions: Ballot Initiatives and the Making of Postwar California (University of California Press, 2010).

Dr. Kieran James is a senior lecturer in Accounting in the School of Business and Enterprise at University of the West of Scotland. He was formerly Accounting Professor at University of Fiji. He researches in industrial relations, Marxism, popular music, and sports history. He has published scholarly articles in Critical Perspectives on Accounting,International Journal of Critical Accounting, International Journal of Sport Management & Marketing, Musicology Australia, Punk & Post-Punk, and Sporting Traditions. He has been a Heavy Metal music fan since 1984 and has had an interest in Indonesian metal since 2010.

Oneka LaBennett is associate professor of Africana Studies at Cornell University and affiliated with the Anthropology, Feminist, Gender, and Sexuality Studies Program, as well as Latina/o Studies and American Studies programs. LaBennett is the author of She’s Mad Real: Popular Culture and West Indian Girls in Brooklyn (New York University Press, 2011) and has conducted oral history research on art and culture in the Bronx, with a focus on Bronx women’s contributions to hip hop music. She teaches a course called “Women in Hip Hop,” which uses Black feminist theory, performance studies, and queer of color critique to complicate the ways in which women, gender, and sexuality are represented in hip hop music. [Note to author: Meaning of “complicate” unclear in this context.]

Allison McCracken is associate professor of American Studies at DePaul University. She is the author of the book Real Men Don’t Sing: Crooning in American Culture (Duke University Press, 2015), which has received several awards, including co-winner of the Best First Book Award from the Society for Cinema and Media Studies, the Irving Lowens Book Award from the Society for American Music, the Woody Guthrie Prize from the International Association for the Study of Popular Music-United States (IASPM-US), and the Philip Brett Award from the American Musicological Society’s LGBT Study Group. McCracken is currently doing research on the television series The Voice, the social media platform Tumblr, and feminine-gendered and queer fan youth communities at conventions.

Pablo Palomino is a cultural historian of modern Latin America, currently writing a transnational history of the invention of “Latin American music” as a historical and aesthetic category. He studied and taught at the universities of Buenos Aires (Argentina), Berkeley, and Chicago, and is now assistant professor at Oxford College of Emory University.

Dr. Eric Rasmussen is an associate professor of public relations and the Ph.D. program director in the College of Media & Communication at Texas Tech University. His research focuses on children and media. He is specifically interested in parental mediation and why/how parent-child conversations about the media influence children at different developmental stages in various ways.

Gabriel Solis has conducted ethnographic and historical research with jazz musicians in the United States and with indigenous musicians in Australia and Papua New Guinea. Drawing on work in African American studies, anthropology, and history, he addresses the ways people engage the past, performing history and memory through music. He is the author of two books, Monk’s Music: Thelonious Monk and Jazz History in the Making (University of California Press, 2007) and Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford, 2013), and the co-editor with Bruno Nettl of a collection of essays on cross-cultural improvisation.

Emaeyak P. Sylvanus is a lecturer at the Department of Music, University of Nigeria, Nsukka. He holds a Ph.D. in music from City, University of London. His research focuses primarily on music in Nigerian cinema. As the pioneering scholar on Nollywood film music, Dr. Sylvanus has contributed articles to mainstream journals in the arts, humanities and social sciences.

Rex Walsh: Business, Law and Education are the particular fields of my qualification. Somehow I have always felt like an outsider in many of these disciplines. When I was beginning my work, this was always a source of personal reflection on why this was the case. Now I welcome sitting aside from the mainstream and reflecting critically on the disciplines of my choice. I have spent much of my academic life in working with international students. A curiosity in the human condition, culture and the environment sustain me.