Shirli Brautbar is professor of history at Nevada State College and author of From Fashion to Politics: Hadassah and Jewish American Women in the Post World War II Era (2012). She teaches classes in women's studies, the history of religion, and U.S. history.

Chelsea Burns is assistant professor of music theory at the University of Texas at Austin. She researches Latin American modernisms as well as bluegrass and country music. She is especially interested in the ways that contexts—economic, political, material—affect analytical interpretation. Her research suggests that such contextual understanding shapes analysis in critical ways, at times undermining or reversing prevailing musical interpretations. Her work touches on issues of race, post-coloniality, instrumental technologies, and expressions of privilege and class, among others. She has presented at national conferences of the American Musicological Society, Society for Music Theory, Society for American Music, Latin American Studies Association, and International Association for the Study of Popular Music and has published articles in Music Theory Online (2019) as well as Music Theory Spectrum (forthcoming, 2021).

Sophia M. Enriquez is a Ph.D. candidate in ethnomusicology at Ohio State University with graduate certifications in Folklore and Women's, Gender, and Sexuality Studies. Her dissertation explores the interactions of Latin-American and Appalachian folk traditions as well as Latinx communities and migration in the Appalachian region and the U.S. South more broadly. Her work has been presented at meetings of the Society for Ethnomusicology, American Folklore Society, and the Society for American Music. Enriquez has been involved in a number of public folklore projects across the Appalachian region and performs and writes music as part of a female folk trio in Columbus, Ohio.

Nadine Hubbs is a historian and theorist and a musicologist of twentieth- and twenty-first–century popular and classical music. Her musical scholarship recasts social perspectives of people marked by sexuality and gender, class, race, and migration. She is the author of many essays and two award-winning books, The Queer Composition of America's Sound and Rednecks, Queers, and Country Music. She is currently writing a book titled Country Mexicans: Sounding Mexican American Life, Love, and Belonging in Country Music. A publicly engaged scholar, Hubbs frequently collaborates with journalists and media producers; her work has featured in outlets including The Guardian, Los Angeles Times, The Nation, The New York Times, NPR, Pacifica, and BBC Radio. She is a professor of women's and gender studies and music, as well as faculty affiliate in American culture at the University of Michigan, where she also directs the Lesbian-Gay-Queer Research Initiative.

Jessica Hutchings has served as cantor of Congregation Ner Tamid in Henderson, Nevada, since 2014. She holds an M.A. in education from American Jewish University's Fingerhut School of Education and an M.A. in Jewish Sacred Music from the Academy for Jewish Religion. In 2009, she won the national Grinspoon-Steinhardt Excellence in Jewish Education Award and in 2018 she was named Jewish Nevada's Jewish Communal Professional of the Year. At the finale of her cantorial recital, she became the first female cantor to sing alongside hip-hop reggae superstar Matisyahu.

Joe Kadi is a teacher and writer living in Calgary, Alberta, Canada. He teaches in the Women's Studies Program at the University of Calgary.

Clay Kerrigan is a writer and artist living in Los Angeles, where he received his M.A. in poetry at the California Institute of the Arts. His writing has been featured on Entropy Magazine, Yes Femmes, and EndPain. He has produced chapbooks for Darin Klein's Box of Books and The Earthfire Institute Wildlife Sanctuary. He is currently a writing instructor at Los Angeles City College and Glendale Community College, and editor at Halcyon House.

Peter La Chapelle is professor of history at Nevada State College and is author of Proud to Be an Okie: Cultural Politics, Country Music, and Migration to Southern California (2007) and I'd Fight the World: A Political History of Old-Time, Hillbilly, and Country Music (University of Chicago Press, 2019). He teaches classes in cultural history, U.S. Western history, and oral history.

Kimberly Mack holds a Ph.D. in English from UCLA and is assistant professor of African American literature at the University of Toledo. Her book, Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White, is forthcoming from the University of Massachusetts Press as part of their African American Intellectual History series. Her second book, The Untold History of Early American Rock Criticism, is under contract with Bloomsbury Academic. She is also a music journalist who has contributed her work to national and international publications, including Music Connection, Relix, Village Voice, PopMatters, and Hot Press.

Wayne Marshall is assistant professor of music history at Berklee College of Music. An ethnomusicologist by training and technomusicologist by calling, his research examines the interplay between media technologies and cultural politics with a focus on American social dance music. Marshall co-edited Reggaeton (Duke University Press, 2009) and complements his academic work with online mixes and mashups and by writing for such outlets as Pitchfork and The Wire as well as on his blog, wayneandwax.

Amanda Marie Martinez is a Ph.D. candidate in history at the University of California, Los Angeles. Her dissertation analyzes the role of race and politics in the marketing practices of the country music industry in Nashville from the 1970s to the 1990s.

Jesse Montgomery is a Ph.D. candidate in the Department of English at Vanderbilt University, where he is completing his dissertation on the Young Patriots and radical hillbilly culture. He is the co-author of Fowre: Gone Country (Publication Studios, 2018) and a founding editor of the literary review Full Stop. His work has appeared in n+1, Popula, and Vulture.

Mari Nagatomi is a junior associate professor at Setsunan University in Osaka, Japan. She obtained a Ph.D. in American Studies at the Graduate School of Global Studies at Doshisha University in Kyoto, Japan. In her dissertation, “Tokyo Rodeo: Transnational Country Music and the Crisis of Japanese Masculinities,” she dealt with country music in Japan from the 1930s to the mid-1960s and argued that consumption of country music in Japan is closely related to Japanese men's anxiety over the ideal male image and did not simply result from “Americanization.” As a Fulbright scholar, she continued her graduate research in the History Department at Middle Tennessee State University in 2016-17. Her current research interest is female reception of country music in Japan.

Jocelyn R. Neal is Bowman and Gordon Gray Distinguished Term Professor of Music at the University of North Carolina at Chapel Hill. She is the author of Country Music: A Cultural and Stylistic History, and directs UNC's Bluegrass Initiative.

Karen Pittelman's queer country band Karen & the Sorrows has been featured in Billboard, on WNYC's The Takeaway, and in Rolling Stone, which described them as “Dolly Parton fronting Tom Petty's Heartbreakers.” For the past nine years, she has also worked to help build a growing queer country community, running the Gay Ole Opry Festival and the Queer Country Quarterly in Brooklyn. Her recent writing on music includes “Another Country: On the relationship between country music and white supremacy—and what we can do about it,” a long essay available on Medium. She is the author of Classified: How to Stop Hiding Your Privilege and Use It for Social Change from Soft Skull Press, and her poems have been published in journals including Bodega, Sunday Salon, Keyhole, and Machine Dreams. She is also the co-founder of The Trans Justice Funding Project. She lives in Brooklyn where she works as a writing coach.

Francesca T. Royster is author of the books Sounding Like a No-No: Queer Sounds and Eccentric Acts in the Post-Soul Era (University of Michigan Press, 2013), and Becoming Cleopatra: The Shifting Image of an Icon (Palgrave MacMillan, 2003). She has written scholarly work on Shakespeare, Black Lesbian Country music fans, Prince, and Fela Kuti on Broadway, among other topics. Her creative work has appeared in the anthologies Untangling the Knot: Queer Voices on Marriage, Relationships and Identity and Queer Praxis, as well as in Feminist Studies, Slag Glass City, LA Review of Books, The Huffington Post, The Windy City Times, and Chicago Literati. She is currently at work on a memoir on queer family, Fierce Love: A Journey of Black Queer Motherhood, and a book project on country music performance and fandom through a black queer feminist lens. She is professor of English at DePaul University.

Ryan Shuvera is a Ph.D. candidate at the Centre for the Study of Theory and Criticism at Western University in London, Ontario. Western is situated on the lands of the Anishinaabek, Haudenosaunee, Lunaapewak, and Attawandaron peoples. Ryan is interested in sonic sites of resistance and music that unsettles listeners on Turtle Island.

Deborah R. Vargas is an associate professor and The Henry Rutgers Term Chair in Comparative Sexuality, Gender, and Race at Rutgers University. She is the author of the three-time award-winning book Dissonant Divas in Chicana Music: The Limits of La Onda (University of Minnesota Press). Vargas is currently working on a manuscript titled “Brown Soul,” which explores various texts she refers to as Blackbrown sonic circuits. She is also at work on a manuscript focusing on singer Linda Ronstadt. A number of oral histories of Chicana singers conducted by Vargas are included in the Smithsonian's Latino Music Oral History Project.