Gina Arnold is a professor, an author, and music journalist. Her work has been excerpted in many anthologies, including Shake It Up: Great American Writing On Rock And Pop from Elvis to Jay-Z (Library of America, 2017), The Rock History Reader (Routledge), Rock She Wrote (Rolling Stone Press) and numerous other collections. Her most recent book, “Half A Million Strong: Crowds and Power from Woodstock to Coachella,” was published in 2018 on University of Iowa Press as part of its New American Canon series. She is the author of three books, Route 666: On The Road To Nirvana (St. Martin’s/Picador), Kiss This: Punk In the Present Tense, (St. Martin’s/Picador), and Exile In Guyville (Bloomsbury). She is the co-editor of Music/Video: Histories, Aesthetics, Media (Bloomsbury Academic) and is now editing the OxfordHandbook of Punk Rock. She holds a Ph.D. from Stanford University in Modern Thought & Literature (2011).

Leah Branstetter, Ph.D., is a music historian specializing in rock ‘n’ roll. She currently runs Women in Rock and Roll’s First Wave (, a web project dedicated to preserving the stories of women rockers in the 1950s and early 1960s. She is also active as an educator, advancing major digital education initiatives for the Rock & Roll Hall of Fame and Steven Van Zandt’s Rock and Roll Forever Foundation.

Alejandra Bronfman is associate professor of Latin American, Caribbean and Latino/a Studies at SUNY Albany. She is the author of Isles of Noise: Sonic Media in the Caribbean (University of North Carolina Press, 2016), which records unwritten histories of broadcasting and sonic technologies in the early twentieth century. Her current research interests include environmental and material histories of media and transnational clandestine broadcasting networks.

Norma Coates is an associate professor who holds a joint appointment in the Don Wright Faculty of Music and the Faculty of Information and Media Studies at Western University in London, Ontario, Canada. Her research focuses on two areas: popular music and identity, particularly gender and age, and where the two intersect; and popular music on U.S. network television before MTV. Her articles are published internationally in leading anthologies and journals, and she presents her work at conferences around the world. Dr. Coates is on the Executive Committee of the International Association for the Study of Popular Music-U.S. branch and serves on the editorial board of its journal. She is currently completing a book about popular music on U.S. television before MTV.

Richard Cruz Davila, Ph.D., is a researcher with the Julian Samora Research Institute at Michigan State University. His research traces the history of Latina/os in U.S. popular music, specifically the dispersion of Texas-Mexican music into Michigan and the Midwest through patterns of Tejano labor migration from the 1940s onward, as well as the history of Latina/os in U.S. punk scenes from the 1970s to the present, with a geographical focus on Los Angeles and Chicago.

Kyle DeCoste is a Ph.D. student in ethnomusicology at Columbia University. In his dissertation, he intends to explore the politics of childhood in black popular music in the U.S. In addition to JPMS, he has published in Ethnomusicology and SEM Student News. His first monograph, due in 2020 from the University Press of Mississippi, is co-authored by the Stooges Brass Band and is titled Can’t Be Faded: Twenty Years in the New Orleans Brass Band Game.

Scott Gac is associate professor of American Studies and History and undergraduate and graduate director of American Studies at Trinity College in Hartford, Connecticut. He is the author of Singing for Freedom: The Hutchinson Family Singers and the Culture of Reform (Yale University Press, 2007), which was staged by the Rose Ensemble at the Minnesota Historical Society in spring 2015. His work appears in Choice, Chronicle of Higher Education, Music Research Forum, New England Quarterly, Reviews in American History, and Rethinking History.

Ryan Harper is a faculty fellow in Colby College’s Department of Religious Studies. Harper is the author of The Gaithers and Southern Gospel: Homecoming in the Twenty-First Century (University Press of Mississippi, 2017), and My Beloved Had a Vineyard (Poetry Press, Press Americana, 2017). A jazz drummer and scholar of American religion, Ryan lives in Maine and New York City.

Lauren Michele Jackson is a College Fellow in the Departments of English and African American Studies at Northwestern University. She is the author of the forthcoming book White Negroes: When Cornrows Were in Vogue and Other Thoughts on Cultural Appropriation. She recently graduated with a Ph.D. in English Language and Literature from the University of Chicago with a dissertation on the aesthetics of disorientation in twentieth- and twenty-first century black American literature.

Alisha Lola Jones, Ph.D., is an assistant professor in the Department of Folklore and Ethnomusicology at Indiana University (Bloomington). Dr. Jones is a council member of the Society for Ethnomusicology (SEM) and American Musicological Society (AMS) and co-chair of the Music and Religion Section of the American Academy of Religion (AAR). Her forthcoming book Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance (under contract, Oxford University Press) breaks ground by analyzing the role of gospel music making in constructing and renegotiating gender identity among black men. Dr. Jones’s research interests include musical masculinities, global pop music, future studies, ecomusicology, music and theology, the music industry, musics of the African diaspora and emerging research on music and future foodways (gastromusicology). Through her production firm InSight Initiative, her most recent consultant and live event production credits include work with YouTube, Google, and the Shed multi-arts center in New York City in collaboration with film director Steve McQueen, music adviser Quincy Jones, music director Greg Phillinganes, and musicologist Maureen Mahon.

Matthew J. Jones is a musicologist and cultural critic whose work explores the intersections of queerness, popular culture, and social movements. He is the author for Love Don’t Need a Reason: The Life and Music of Michael Callen, forthcoming from Punctum Books. His work appears in the Journal of Popular Music Studies, the Journal of the Society for American Music, Women and Music, and public scholarship venues, such as Musicology Now, as well as in Joni Mitchell: New Critical Readings. He is the recipient of the 2017 ASCAP Deems Taylor/Virgil Thomson article prize for his JSAM essay, “Enough of Being Basely Tearful: ‘Glitter and Be Gay’ and the Camp Politics of Queer Resistance.” He is currently at work on a second monograph about Anglophone popular song about HIV/AIDS called How to Make Music in an Epidemic.

Megan Lavengood is an assistant professor of music theory at George Mason University, 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. Her dissertation is titled “A New Approach to the Analysis of Timbre.”

Sean Lorre, Ph.D. in musicology from McGill University, is a lecturer at Rutgers University. He designs and teaches online courses on African American musical traditions, rock ‘n’ roll, and country music for the Mason Gross School of the Arts, as well as graduate seminars for Rutgers-Newark’s Jazz History and Research program. Lorre is currently working on a manuscript based on portions of his dissertation, titled “British R&B: A Study of Black Popular Music Revivalism in the United Kingdom, 1960-1964,” and has contributed to the Grove Dictionary of American Music, 2nd edition and Music in American Life: anEncyclopediaof the Songs, Styles, Stars, and Stories That Shaped Our Culture. He has presented his research at numerous international conferences, including the American Musicological Society, the Society for American Music, IASPM (U.S. and Canada), and Rhythm Changes.

Jesús A. Ramos-Kittrell is assistant professor in residence in musicology and ethnomusicology at the University of Connecticut. His research approaches sound as platform to analyze social processes that interrogate power asymmetries in dynamics of social, political, and cultural organization. As part of these processes, sound and music articulate identities and their histories in ways that negotiate these imbalances and the structures that produce them.

Andrew Snyder is a musician and scholar who received his Ph.D. in ethnomusicology in 2018 at the University of California, Berkeley. His dissertation focuses on a carnival-turned-activist brass movement in contemporary Rio de Janeiro amidst a period of political crisis in Brazil. He is co-editor of a forthcoming edited collection (Routledge) with Reebee Garofalo and Erin Allen on the international activist brass band movement known as HONK!. He is an avid trumpet player and co-founder of San Francisco’s Mission Delirium Brass Band, which has toured Brazil, France, Spain, Hungary, Croatia, and New Orleans. He teaches at the Conservatory of Music at the University of the Pacific.