Jorge de La Barre holds a Ph.D. in Sociology from École des Hautes Études en Sciences Sociales, Paris (2004). He currently serves as associate professor in the Sociology Department and the Graduate Program in Sociology at Universidade Federal Fluminense, and the Graduate Program in Music at Universidade Federal de Pernambuco. He is also a researcher at the Laboratório de Etnografia Metropolitana and at the Núcleo de Estudos Cidadania, Trabalho e Arte, a Member of the Urban Culture Studies Collective (University of California, Davis), and an Associate Researcher at the Institute of Ethnomusicology—Center for the Study of Music and Dance. His work treats themes of urban culture, urban renewal, cultural globalization, techno-culture, music and city.

Michael Birenbaum Quintero is an ethnomusicologist and associate professor in musicology & ethnomusicology, Latin American studies, and African-American studies at Boston University. He writes about the music of black Colombians, cultural and affective politics, violence and trauma, black cosmopolitanism, ritual soundscapes, and vernacular uses of technology. He has taught at Bowdoin College, Johns Hopkins University, Peabody Conservatory, and Universidad del Valle (Colombia) and worked extensively with Afro-Colombian musicians and activists and the Colombian state. His monograph Rites, Rights and Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific was published in 2018 by Oxford University Press.

Georgia Christgau is a teacher and a journalist. She presented a paper, “Hear Me Roar,” about how feminism seeped into pop music hits of five women artists during the 1970s, at the Museum of Popular Culture’s Pop Conference last April. Her piece, “Kitty Wells, Queen of Denial,” appeared in the second volume of essays about gender and country music, Country Boys and Redneck Women, edited by Diane Pecknold and Kris McCusker. “These are Not Your Children” was included in a series of articles about the HBO series The Wire, in the online journal darkmatter. She also reviews books for School Library Journal.

DJ Lynnée Denise is a scholar and artist born and based in Los Angeles, California. Her work interrogates electronic music of the African Diaspora, theories of escape, and cultural production in the 1980s. Lynnée Denise is a visiting lecturer at California State University Los Angeles in the Pan African Studies Department.

Carola Dibbell wrote rock criticism and book reviews for TheVillage Voice for many years. Her fiction has appeared in The New Yorker, Paris Review, Fence, and Black Clock. Her novel, The Only Ones, was published by Two Dollar Radio in 2015. She lives in New York with her husband, Robert Christgau.

Leigh H. Edwards is Professor of English at Florida State University and author of Dolly Parton, Gender, and Country Music (Indiana University Press, 2018, Foreword Book of the Year Award), Johnny Cash and the Paradox of American Identity (Indiana University Press, 2009), and The Triumph of Reality TV: The Revolution in American Television (Praeger, 2013). She researches intersections of gender and race in popular music, television, and new media. Her work appears in Feminist Media Studies, The Journal of Popular Culture, Film & History, Narrative, FLOW, Journal of Popular Music Studies, Global Media Journal, Journal of American Studies, and Southern Cultures. She is on the Institute for Bob Dylan Studies advisory board and editorial boards of Journal of Popular Television, The Popular Culture Studies Journal, and Pop Culture Universe.

Robert Fink is Professor of Musicology and Chair of the Music Industry program at UCLA. He is co-editor of The Relentless Pursuit of Tone: Timbre in Popular Music (Oxford, 2018) and the author of Repeating Ourselves: American Minimal Music as Cultural Practice (California, 2005). He has published widely on popular and contemporary music, and was awarded the Kurt Weill Prize (for research in musical theater) and the article prize of the Popular Music Study Group of the Society for Music Theory. A past President of the organization, he serves on the board of IASPM-US and as a series co-editor for the “Tracking Pop” monograph series at the University of Michigan Press.

Shannon Garland is a Postdoctoral Scholar in Ethnomusicology at UCLA. Examining media circulation, band touring, and live performance in the context of emerging music industry organizations, Garland’s work addresses affect, aesthetics and sociality in the production of differential economies of value. Her book project, For the Love: Independent Music, Affect, and Labor in Brazil and Beyond, traces the interrelationships between cultural finance, social networking, and live performance, to show how aesthetic judgement forms through both global political economy and the intimate politics of social relationships. Dr. Garland serves as the 2017-2019 chair of the Economic Ethnomusicology Special Interest Group within the Society of Ethnomusicology.

Theodore S. Gonzalves is a scholar of comparative cultural studies, focusing on the experiences of Asian American/Filipino American communities. He has taught in the United States (California, Hawai’i, and Maryland), Spain, and the Philippines. Theo’s publications include Stage Presence: Conversations with Filipino American Performing Artists (2007), The Day the Dancers Stayed: Performing in the Filipino/American Diaspora (2009), Carlos Villa and the Integrity of Spaces (2011), and, with Roderick Labrador, Filipinos in Hawaii (2011).

Jessica Holmes is a postdoctoral scholar of musicology at the University of California, Los Angeles, and holds a Ph.D. from McGill University. Her research deals with the role of disability within and across contemporary Western art and popular music traditions, with respect to the senses, embodiment, gender, vocality, and performance. Her monograph project, Music at the Margins of Sense, under contract with the University of Michigan Press, engages the misconceptions associated with deafness through the musical accounts of deaf musicians to expand existing conceptions of music and musical ability. Her published work on music and deafness appears in consecutive volumes of the Journal of the American Musicological Society, and she has presented her work at the American Musicological Society (AMS), the Society for American Music, and the Society for Disability Studies. She currently serves as the Chair of the AMS Music and Disability Study Group. https://schoolofmusic.ucla.edu/people/jessica-a-holmes/

Megan Lavengood is assistant professor of music theory at George Mason University, Fairfax, VA, where she teaches undergraduate core theory and graduate courses in advanced theory topics. Her research primarily deals with popular music, timbre, synthesizers, and recording techniques. She hold a Ph.D. from the City University of New York, M.M. from The Florida State University in Tallahassee, Florida, and B.M. from Ohio University in Athens, Ohio.

Morgan James Luker is associate professor of music at Reed College and author of The Tango Machine: Musical Culture in the Age of Expediency (University of Chicago Press). An ethnomusicologist, Luker focuses on the cultural politics of Latin American music, with special emphasis on contemporary tango music in Buenos Aires. His current research examines the materiality and management of historic sound recordings in and about Argentina. Luker is also the founding director of Tango for Musicians at Reed College, an intensive summer music program that brings musicians from around the world to Reed to study tango (www.reed.edu/tango).

Ren Ellis Neyra is a poetic theorist of Cuban descent who grew up in the U.S. South. They teach in the English Department at Wesleyan University, in affiliation with African American Studies and Creative Writing. They are currently completing their academic book manuscript, Cry Bomba: Brown Poetic Listening, which describes how one may participate in multi-sensorial and queerly attentive listenings with 1970s Salsa, contemporary Chicanx and Black poetry, Nuyorican and Puerto Rican poetics, music, theater, performance, and cinema that rehearse abnormal, small insurgencies. Their writing appears in: Artforum; BOMB; La Gaceta de Cuba; Sargasso; Obsidian; La Habana Elegante; Comparative Literature and Culture; Terremoto; and, soon, in the Association for the Study of the Arts in the Present and The Cambridge Companion to Queer Studies. In 2017, their debut book of poems, Meteor Shower/Días Sin Shower, was published by La Impresora Press, San Juan, Puerto Rico.

Alexander Ponomareff is a Ph.D. candidate in comparative literature at the University of Massachusetts Amherst. His research centers on how material constraints shape the form and content of visual and aural media, especially to help understand how expectations and standards of clarity and legibility are created and enforced. His dissertation, Salvage Media: A Materialist Inquiry into the Limits of Visual, Aural, and Textual Clarity, focuses on comic books, subway train graffiti, and sample based audio production.

Catherine Provenzano is a PhD candidate in ethnomusicology, writing a critical ethnographic account of digital pitch correction softwares, their development and use in US Top 40 and Pop Country. She has conducted ethnographic research in Los Angeles, Nashville, Silicon Valley, and Germany. Catherine has presented her research at meetings of the Society for Ethnomusicology, EMP PopCon, and The New School. In addition to her interests in voice and the aesthetics of software, Catherine is pursuing questions of the racializations and genderings of pitch corrected voices. She attends to the dimensions of skilling, labor, emotion, and feeling in the fields of power that shape musical production and listening. She is also a songwriter and performer named Kenniston.

Petra R. Rivera-Rideau is assistant professor of American studies at Wellesley College. She is the author of Remixing Reggaetón: The Cultural Politics of Race in Puerto Rico (Duke University Press, 2015), and co-editor of Afro-Latin@s in Movement: Critical Approaches to Blackness and Transnationalism in the Americas (Palgrave Macmillan, 2016). Her current research examines Latino whiteness in the Latin urban music industry, and the performance and consumption of Latinidad in Zumba Fitness.

Greg Tate is a writer and musician who lives in Harlem. He was a staff writer at The Village Voice from 1987-2003. His writings on culture and politics have also been published in The New York Times, The Washington Post, Artforum, Rolling Stone, VIBE, Premiere, Essence, Suede, The Wire, One World, Downbeat, and JazzTimes. He was recently acknowledged by The Source magazine as one of the ‘Godfathers of Hiphop Journalism’ for his groundbreaking work on the genre’s social, political, economic and cultural implications in the period when most pundits considered it a fad. His books include Everything But The Burden, What White People Are Taking From Black Culture (Harlem Moon/Random House, 2003), Midnight Lightning: Jimi Hendrix and The Black Experience (Acapella/Lawrence Hill, 2003); Flyboy In The Buttermilk, Essays on American Culture (Simon and Shuster, 1993). Next year Duke University Press will publish Flyboy 2: The Greg Tate Reader. He recently completed ‘The 100 Best Hiphop Lyrics’ for Penguin and is now working on a book about the Godfather of Soul, James Brown, for Riverhead Press.

Jericko Torres-Leschnik is a student at Wellesley College double-majoring in art history and Latin American studies. Torres-Leschnik has an interest in the impact of visual culture on identity and art as a reflection of society. Last summer she interned at the Museo Nacional de Antropología in Mexico City as a visiting research assistant. Torres-Leschnik also is attracted to working in the art world, with a focus on Latin America’s history and the influence of the modern art movement and indigenous heritage on contemporary artists.

Gayle Wald is professor of English and American studies at George Washington University. She is the author of three books—Shout, Sister, Shout! The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe (Beacon Press, 2007), and It’s Been Beautiful: Soul! and Black Power Television (Duke UP, 2015). She is currently working on projects about children’s music and the American left (notably, Ella Jenkins) and on transnational Motown. She is a former co-editor of the Journal of Popular Music Studies and of the Bloomsbury book series 33-1/3.

Steve Waksman is professor of music and Sylvia Dlugasch Bauman Professor of American Studies at Smith College, and the president of IASPM-US. His publications include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard, 1999), This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (U. California, 2009), and the SAGE Handbook of Popular Music (2015), which he co-edited with Andy Bennett. Currently, he is writing a book on the cultural history of live music and performance in the U.S., tentatively titled, “Live Music in America: A History, 1850-2000.”

Zachary Wallmark is assistant professor of musicology and assistant professor of psychology (by courtesy) at Southern Methodist University in Dallas. His current research explores the contribution of timbre to affective response, aesthetic judgment, and empathy in popular music and jazz, using methods from musicology and the cognitive sciences. His work appears in The Dutch Journal of Music Theory, Ethnomusicology Review, Frontiers in Behavioral Neuroscience, Music Perception, and Psychology of Music, among others, as well as the Oxford Handbook of Timbre (2018) and the collection Negotiated Moments: Improvisation, Sound, and Subjectivity (Duke, 2016). He was the recipient of an NEH Fellowship (2017).

Oliver Wang is a professor of sociology at CSU-Long Beach and was co-editor of the Journal of Popular Music Studies from 2013 to 2018. He is the author of Legions of Boom: Filipino American Mobile DJ Crews of the San Francisco Bay Area. He also contributes to NPR’s All Things Considered, KCET’s Artbound, KPCC’s Take Two, the Los Angeles Review of Books and other outlets. He is the creator and writer of the audioblog Soul-Sides.com and is the producer and co-host of the album appreciation podcast Heat Rocks.