Stephanie Burt is professor of English at Harvard and the author of several books of poetry and literary criticism, most recently After Callimachus (Princeton UP, 2020) and Don't Read Poetry: A Book About How To Read Poems (Basic, 2019). Ask her about Sarah Records.

James Carter is associate professor of the US & the World at Drew University in Madison, New Jersey. He teaches a range of courses on modern US history, including The Vietnam War, The History of Rock and Roll, The Sixties, The US since 1945, The History of US Foreign Relations, and The Cold War. His book is Inventing Vietnam: The U.S. and State Building, 1954-1968 (Cambridge, 2008). He has also written/published on nation building/war profiteering in Vietnam and Iraq. His website is

Amy Coddington is assistant professor of music at Amherst College, where she teaches classes on American popular music. She is working on a book tentatively titled How Hip Hop Became Hit Pop: Rap, Commercial Radio and American Racial Identity, which explores how rap broke through to a mainstream audience in the late 1980s and early 1990s through programming on commercial radio stations. She recently published a chapter on related matters in The Oxford Handbook of Hip Hop Studies.

James Deaville teaches music in the School for Studies in Art and Culture at Carleton University, Ottawa. He edited Music in Television: Channels of Listening (Routledge, 2010) and with Christina Baade co-edited Music and the Broadcast Experience:Performance, Production, and Audiences (Oxford, 2016). He has published articles on music and sound in film trailers in Music, Sound and the Moving Image (2014) and in the Journal of Fandom Studies (2016), and is author of the essay “Trailer or Leader? The Role of Music and Sound in Cinematic Previews” in the Routledge Companion to Screen Music and Sound (2017). He is currently publishing the article “The Trailer Ear” in The Oxford Handbook of Cinematic Listening, edited by Carlo Cenciarelli. He is co-editing with Ron Rodman and Siu-Lan Tan the Oxford Handbook of Music and Advertising, to which he has contributed a chapter on television promos.

Michail Exarchos (aka Stereo Mike) is a hip hop musicologist and award-winning rap artist (MTV Best Greek Act 2008), with nominations for seven national video music awards and an MTV Europe Music Award. He is the course leader for recording, mixing and production at London College of Music (University of West London), and his publications include articles for Popular Music, Bloomsbury, Routledge, and the Journal of Popular Music Education. His self-produced album Xli3h has been included in the 30 Best Greek Hip-Hop albums of all time.

Barry J. Faulk is a professor of English at Florida State University. His books include British Rock Modernism and Punk Rock Warlord: the Life and Work of Joe Strummer, co-edited with Brady Harrison. An essay on Bob Dylan and the recording studio is forthcoming in Sound and Literature (Cambridge Critical Concepts), edited by Anna Snaith.

Sara Hakeem Grewal is assistant professor in the Department of English at MacEwan University in Edmonton, Alberta, Canada. She received her Ph.D. in comparative literature from the University of Michigan in 2016. Her research interests include global hip hop, race and ethnicity studies, South Asian and world literature, translation, and historical poetics. She has published in The African American Review, South Asia: A Journal of South Asian Studies, and has co-edited a special issue on “West-East Lyric” in Comparative Critical Studies. She is currently working on a monograph titled Ghazal and the Urdu Imaginary, which examines the canonization of the Urdu ghazal through generic and linguistic translation, as well as a co-authored monograph on Panjabi hip hop in the diaspora.

J. Kēhaulani Kauanui is professor of American studies and affiliate faculty in anthropology at Wesleyan University, where she teaches courses on indigenous studies, critical race studies, settler colonial studies, and anarchist studies. She is the author of Hawaiian Blood: Colonialism and the Politics of Sovereignty and Indigeneity (Duke University Press, 2008) and Paradoxes of Hawaiian Sovereignty: Land, Sex, and the Colonial Politics of State Nationalism (Duke University Press 2018). She is also the editor of Speaking of Indigenous Politics: Conversations with Activists, Scholars, and Tribal Leaders (University of Minnesota Press, 2018). Kauanui is one of the six original co-founders of the Native American and Indigenous Studies Association (NAISA), established in 2008. She has a long-term book project in the works, which focuses on the politics of post-punk music.

Andrew Mall (Ph.D. ethnomusicology, University of Chicago) is assistant professor of music at Northeastern University in Boston, where he teaches courses in ethnomusicology, popular music, and music industry. He is the author of God Rock, Inc.: The Business of Niche Music (University of California Press, 2020) and co-editor, with Jeffers Engelhardt and Monique Ingalls, of the volume Studying Congregational Music: Key Issues, Methods, and Theoretical Perspectives (Routledge, forthcoming).

Jeff Melnick teaches American studies at the University of Massachusetts Boston where he is also communications director for the Faculty-Staff Union. His published work includes a recent book on the cultural legacies of the Manson Family, one on American popular culture after 9/11, and A Right to Sing the Blues: African Americans, Jews, and American Popular Song.

José Navarro is associate professor in the Department of Ethnic Studies at the California Polytechnic State University in San Luis Obispo. He received his Ph.D. in English from the University of Southern California in 2012. He has published several articles and book chapters including: “Las Cafeteras’ ‘La Bamba Rebelde’: Chican@ Nationalist Identity & Postnationalist Politics” (2014) in the journal Latino Studies; “Revisiting the Boulevard: The Gender & Sexual Politics of Michael Pressman’s Boulevard Nights” (2017) in the Journal of Popular Culture; “Luis J. Rodriguez’s Always Running: Between Chicano Nationalism and the Left” in Left in the West, edited by Gioia Woods (University of Nevada Press, 2018) and “Braided Together: Native and Black Hip Hop Against Police Violence” with Jenell Navarro in Thinking about Hip Hop: Blackness, Indigeneity, and Identity, edited by Audrey Hudson, Awad Ibrahim, and Kyle Mays (DIO Press, 2019). His research interests include Latina/o/x literary & cultural studies; Chicano/Latino gang film and other gang narratives; the intersections of race, gender, masculinity, and sexuality studies; and decolonial theory and politics.

Kathy Peiss is the Roy F. and Jeannette P. Nichols Professor of American History at the University of Pennsylvania. Her research and teaching center on twentieth century social, cultural, and gender history. She is the author of Cheap Amusements: Working Women and Leisure in Turn-of-the-Century New York (1986), Hope in a Jar: The Making of America’s Beauty Culture (1998), Zoot Suit: The Enigmatic Career of an Extreme Style (2011), and Information Hunters: When Librarians, Soldiers, and Spies Banded Together in World War II Europe (2020).

Alyxandra Vesey is assistant professor in journalism and creative media at the University of Alabama. Her research focuses on gender, music culture, and media labor. She is particularly interested in women+ musicians’ pursuit of cross-industrial business ventures in order to maintain a living. She is currently working on a manuscript about the gender politics of music merchandising, and has also written about musicians’ work in television and film production. Her work has appeared in Feminist Media Studies, Television and New Media, Popular Music and Society, Studies in French Cinema, Spectator, Camera Obscura, Cinema Journal, Emergent Feminisms: Complicating a Postfeminist Media Culture, and Saturday Night Live and American TV.

Brian F. Wright is assistant professor of music history at the University of North Texas. He holds a Ph.D. in historical musicology from Case Western Reserve University and is a former research assistant for the Rock & Roll Hall of Fame Library and Archive. His current book project, The Bastard Instrument: A Cultural History of the Electric Bass, details the early history of the electric bass in jazz, rock, country, and rhythm & blues, exploring issues such as social stigma, amateur music-making, race, and popular music historiography.