Tymon Adamczewski is assistant professor at the Department of Anglophone Literatures of Kazimierz Wielki University in Bydgoszcz, Poland, where he teaches literary and cultural studies. He is the author of Following the Textual Revolution: The Standardization of Radical Critical Theories of the 1960s (McFarland 2016) and of several articles (in AVANT, Image [&] Narrative, NJES, Theoretical Practice, among others) which address diverse aspects of critical theories in various contexts. He has recently edited a monograph titled All Along Bob Dylan: America and the World (Routledge 2020) and is interested in the critical discourses of contemporary humanities, music and ecocriticism.

Christine Bacareza Balance is Associate Professor of Performing & Media Arts and Asian American Studies, and core faculty in the Southeast Asia Program (SEAP) at Cornell University. Her writings on former Philippine First Lady Imelda Marcos, Asian American YouTube artists, Bruno Mars, Glee’s karaoke aesthetics, and spree killer Andrew Cunanan have been published in various journals. Balance is the author of Tropical Renditions: Making Musical Scenes in Filipino America (Duke University Press, 2016) and currently is working on a book titled Making Sense of Martial Law that analyzes the 21-year dictatorship of Ferdinand Marcos and how U.S.- and Philippines-based performances and events critique the “Marcosian imaginary.” With Lucy San Pablo Burns (UCLA), she co-edited the recently published artist-scholar collection, California Dreaming: Movement & Place in the Asian American Imaginary (University of Hawai’i Press, 2020).

Erin Bauer is assistant professor of musicology at the University of Wisconsin-Whitewater. Her research examines the construction of sociocultural identity through systems of globalization. In particular, she explores the interconnection between genre and identity as a contemporary implication of global processes (media/migration, hybridization, and appropriation). Her current book project addresses the worldwide spread of Texas-Mexican accordion music, called conjunto, a regional tradition historically forming a symbol of working-class cultural identity. Her writing appears in Rock Music Studies, several essay collections, the Latin American Music Review, and Latino Studies. Bauer holds a Ph.D. in musicology from Claremont Graduate University.

Sophie A. Brady is a Ph.D. candidate in musicology at Princeton University. Her scholarly interests include music and decolonization, twentieth-century experimental composition, global popular music, and the history of sound reproduction technology. Her dissertation examines the history of the musical avant-garde outside of Europe and North America, focusing on experimentation and recording at Radio Dakar and other Francophone African radio stations in the second half of the twentieth century.

Zack Bresler is a Ph.D. Fellow in the Department of Popular Music at the University of Agder, Norway, supervised by Professor Stan Hawkins. Motivated by an obsession with immersive and interactive media, such as surround and 3D sound, virtual reality, and interactive art, Bresler is a popular musicologist whose research focuses primarily on pop music as it is presented in audio-visual new media with an eye towards the aesthetics of music productions, compositional design, listener experience, and staging.

Steacy Easton is a writer and visual artist, living in Hamilton, Ontario. They have been published across North America, in commercial and academic spaces, about what Country means, for the past 15 years.

Julia Ehmann is a post-doctoral researcher at the University of Hamburg and holds a scholarship from the German Research Foundation. Her research interests include the study of popular music histories, cultural heritage, as well as issues in fandom and reception studies.

Natalie Farrell is a Ph.D. student in music history/theory at the University of Chicago. Her work has been published in Music and Letters, The Journal of Popular Music Studies, and The Flutist Quarterly. Her research on neoliberal trauma and musicians’ unions has been funded by grants from the Mellon Foundation and the Eastman School of Music’s Paul R. Judy Center for Innovation and Research. Her other research interests include Northern Irish prison music, affect theory, and popular music. In her free time, she likes to knit and spend time with her dog (who is named after Leonard Bernstein).

Kate Galloway is a faculty member at Rensselaer Polytechnic Institute, where she teaches in the Electronic Arts, Music, Games and Simulation Arts, and Sciences/Critical Game Design programs. Her research and teaching address sonic responses to environmentalism, sound studies, digital culture, sound art, and interactive media.

Eric Harvey is an associate professor in the School of Communications at Grand Valley State University. His book Who Got the Camera? A History of Rap and Reality will be published by the University of Texas Press in October 2021. His scholarship has appeared in Black Camera, The International Journal of Cultural Studies, Cultural Industries Journal, and Convergence; and he has also written about music, media, and culture for Pitchfork, Slate, The New Yorker, Rolling Stone, the Atlantic, the New Republic, and The Village Voice.

Antoine Haywood is a doctoral student and Presidential Fellow at the University of Pennsylvania’s Annenberg School for Communication. A scholar of media, Antoine’s research focuses on understanding the contemporary relevance of public, educational, and governmental (PEG) access media. Using ethnographic methods and drawing on his 15 years of experience working in community media, he evaluates how local governments, nonprofit organizations, and citizens use geographically defined communication infrastructures to enhance civic participation, democratic communication, collective learning, and care. Haywood’s current projects focus on understanding how social impact occurs when Black, Indigenous, and People of Color (BIPOC) communities in Philadelphia use community-based info hubs to access digital platforms and tell stories about local issues. He is also a musician, vinyl record collector, video maker, and a proud native of Palm Beach County, Florida.

Stephanie Hernandez is a Ph.D. student of English literature and music at the University of Liverpool. Using an interdisciplinary approach, she is researching the echoes of Romanticism in the popular music of the 1960s and 1970s. While completing her Bachelor’s and Master’s degrees in English literature, she worked at both The Beatles Story and Handel & Hendrix in London, which fostered her interest in the cultural legacy of historically musical spaces. Stephanie is also a music journalist, whose recent publications include Ultimate Classic Rock, Warner Music UK, Rhino Entertainment, and others.

Kristina Jacobsen is an ethnographer, singer-songwriter and cultural anthropologist. An associate professor of ethnomusicology and anthropology (ethnology) at the University of New Mexico and a faculty affiliate in American studies, her research focuses on language reclamation, expressive culture, popular music, and arts-based research methodologies. Her first book, The Sound of Navajo Country: Music, Language and Diné Belonging (UNC Press, 2017), is based on two and one-half years of singing and playing lapsteel guitar with Navajo (Diné) country western bands on the Navajo Nation and was the winner of the 2018 IASPM-US Woody Guthrie Award for Outstanding Book on Popular Music. Jacobsen is a touring singer-songwriter, fronts the all-female honky-tonk band Merlettes, and is the founder and co-facilitator of the UNM Honky-Tonk Ensemble. Supported by the US-Italy Fulbright Commission and the Wenner-Gren Foundation for Anthropological Research, she recently completed one year of ethnographic fieldwork on the Mediterranean island of Sardinia for the book project, “Sing Me Back Home: Ethnographic Songwriting and Language Reclamation in Sardinia, Italy.” While in Sardinia, she also recorded an album (her fourth) of original songs collaboratively written with Sardinian songwriters and language activists, House on Swallow Street (released in spring 2021) with the Sardinian label, Talk About Records.

Vincent Jenewein is graduate student in philosophy at Freie Universität Berlin. He is also a music journalist and a DJ/producer of electronic dance music.

Steve Jones is UIC distinguished professor of communication, research associate in the UIC Electronic Visualization Laboratory and adjunct professor of computer science at the University of Illinois—Chicago, as well as adjunct research professor in the Institute of Communications Research at the University of Illinois at Urbana-Champaign. He was founding editor in 1987 of Tracking: Popular Music Studies, later renamed The Journal of Popular Music Studies. He is currently editor of New Media & Society, an international journal of research on new media, technology, and culture, and co-editor of Mobile Media & Communication, a peer-reviewed forum for international, interdisciplinary academic research on the dynamic field of mobile media and communication.

Maria Kouvarou holds a Ph.D. in music from Durham University. Her research interests include popular music and society and critical theory, among others. As independent researcher she has published articles in Popular Music and Society, Historia Critica and Popular Music. She is also a creative writer and a performer.

Jonathan Leal is a scholar-musician and post-doctoral fellow in the Society of Fellows in the Humanities (and in Fall 2022, assistant professor of English) at the University of Southern California. He is the co-creator of Wild Tongue, an album of original music by nine Latinx bands from South Texas, and Futuro Conjunto, a Chicanx transmedia album named one of the best Latinx music releases of 2020 by Pitchfork, Texas Highways, and Raymus Media magazines. His arts and culture writing has appeared in The Los Angeles Times, The Boston Globe, Air/Light Magazine, The Los Angeles Review of Books, The Rumpus, The San Francisco Classical Voice, and elsewhere. He is currently completing his first book, Dreams in Double Time, on music, race, and interiority.

John Macintosh is a lecturer in English at the University of Maryland, College Park, where he completed his Ph.D. in 2019.

Kimberly Mack is an associate professor of African American literature and culture at the University of Toledo. She’s the author of Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White (University of Massachusetts Press, 2020). Mack is writing her second book, The Untold History of Early American Rock Criticism (under contract with Bloomsbury Academic), about the Black, Indigenous, and People of Color, and white women who helped develop American rock criticism and journalism during the 1960s and 1970s. She has contributed her work to various music publications, including Music Connection, Relix, No Depression, PopMatters, and Hot Press.

Andrew Mall is an avid record collector and associate professor of music at Northeastern University in Boston, where he teaches courses in ethnomusicology, popular music, and music industry studies. He is the author of God Rock, Inc.: The Business of Niche Music (University of California Press, 2021) and co-editor of Studying Congregational Music: Key Issues, Methods, and Theoretical Perspectives (Routledge, 2021). He is also book review co-editor of the journal Ethnomusicology, and vice president of IASPM-US.

Jennifer Messelink is a Ph.D. candidate in musicology at McGill University. Her research focuses on race and gender in postwar easy-listening music. In particular, she examines generic formations, stylistic differences, and the historical significance of mood music and exotica—distinct types of popular instrumental music of the 1950s. Her research is supported by the Social Sciences and Research Council of Canada.

José Vicente Neglia is a lecturer in the Department of Music at the University of Hong Kong. An ethnomusicologist by training, his current research concerns the politics of memory in popular music, for which he has conducted extensive research in Japan and North America on a genre of rock called garage rock. He is currently working on a project funded by the Research Grants Council (RGC) of Hong Kong on reissue recordings as a distinct form of media in rock music.

Ryan H. Nelson is clinical ethics fellow at Baylor College of Medicine. He completed his Ph.D. in philosophy at the University of Utah in 2019.

Matthew T. Phillips is a writer and artist based in Melbourne Australia. He has completed a Ph.D. in anthropology at Deakin University. He writes about the intersections of music, technology and consciousness.

Elliott H. Powell is Beverly and Richard Fink Professor in Liberal Arts and associate professor of American studies and Asian American studies at the University of Minnesota. His work sits at the intersections of race, sexuality, and popular music. He is the author of Sounds from the Other Side: Afro-South Asian Collaborations in Black Popular Music (University of Minnesota Press, 2020). His work can also be found in many journals and edited volume, such as GLQ: A Journal of Lesbian and Gay Studies, The Routledge History of American Sexuality, Jazz Research Journal, and The Black Scholar.

Emmett G. Price III is executive editor of the Encyclopedia of African American Music (Greenwood, 2010) and editor of The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide (Scarecrow, 2011). He Dean of Africana Studies at Berklee College of Music and is the founding executive director of the Institute for the Study of the Black Christian Experience (ISBCE).

Francisco E. Robles is an assistant professor of English, Latino studies, and gender studies at the University of Notre Dame. His work appears in Latino Studies; MELUS: Multi-Ethnic Literature of the United States; Post45: Peer Reviewed; Post45: Contemporaries; ASAP/J; sxsalon; Killing the Buddha; and in Decolonizing Latinx Masculinities (University of Arizona Press, 2020).

Jonathan Sterne teaches in the Department of Art History and Communication Studies at McGill University. He is author of Diminished Faculties: A Political Phenomenology of Impairment (Duke, 2021); MP3: The Meaning of a Format (Duke 2012), The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003); and numerous articles on media, technologies and the politics of culture. He is also editor of The Sound Studies Reader (Routledge, 2012) and co-editor of The Participatory Condition in the Digital Age (Minnesota, 2016). With co-author Mara Mills, he is working on Tuning Time: Histories of Sound and Speed. He also has a new project cooking on artificial intelligence and culture. Visit his website at http://sterneworks.org.

Marco Swiniartzki is associated lecturer at the professorship for Western European History, Institute for History, Friedrich Schiller University of Jena. He has written the book The German Metalworker’s Union 1891-1933 (2017; translation) and many articles exploring the history of work, workers, industry and capitalism in Germany and Europe. Currently he works on his project Glocal Metal. Metal Communities in International Comparison and Transfer (1978-1995), supported by the Gerda Henkel foundation. In 2021/22 he will become fellow of the Historisches Kolleg, Institute for Advanced Study in History, in Munich. He was executive secretary of the Historical Commission for Thuringia, worked as an editor and reader, and has organized the thematic year 2018 about social movements for the Free State of Thuringia.

Karen Tongson is the author of Why Karen Carpenter Matters (2019), and Relocations: Queer Suburban Imaginaries (2011). In 2019, she received Lambda Literary’s Jeanne Córdova Award for Lesbian/Queer Nonfiction for her body of work to date. She is chair and professor of gender and sexuality studies at USC. Her contributions have appeared in NPR, LARB (Los Angeles Review of Books), The Los Angeles Times, The AV Club, Entertainment Weekly, L.A. Weekly, BuzzFeed Reader, Süddeutsche Zeitung and Public Books, among other public and scholarly venues. She co-hosts and executive produces the podcasts Waiting to X-Hale with Wynter Mitchell-Rohrbaugh, and the limited series, The Gaymazing Race with Nicole J. Georges.

Mikkel Vad is a musicologist, specializing in jazz and popular music history. He is a Ph.D. candidate in the Department of Cultural Studies and Comparative Literature at the University of Minnesota, where he is wrapping up a dissertation titled April in Paris, Autumn in New York: European Jazz in the US, 1945-1970s. He teaches problem-based courses on historiography, cultural theory, and sound, where students learn to think critically about music across genres, time periods, and cultures. His research and publications revolve around the themes of history (especially reception history and historiography), space and place (especially cultural geography and transnational music), technology and media (especially theory and analysis of the recording), and race and ethnicity (especially whiteness studies).

Melissa A. Weber is a writer, researcher, and educator whose areas of interest include twentieth-century Black popular music, New Orleans music, and histories of hip hop and Washington D.C. go-go. She currently teaches history of urban music at Loyola University New Orleans and serves as curator of the Hogan Archive of New Orleans Music and New Orleans Jazz with Tulane University Special Collections. She has written for Red Bull Music Academy, Wax Poetics, and liner notes projects for labels such as Vinyl Me, Please; and has presented papers at Pop Conference and annual meetings for IASPM; the National Council for Black Studies; the Society for Ethnomusicology, Southeast and Caribbean Chapter; and the Dayton Funk Symposium at University of Dayton. Weber continues to host her Soul Power radio show at WWOZ FM New Orleans, as she has for the past 25 years.

Eric Weisbard is professor of American studies at the University of Alabama and co-editor of The Journal of Popular Music Studies. His books include Songbooks: The Literature of American Popular Music; Top 40 Democracy: The Rival Mainstreams of American Music; and Use Your Illusion I and II (2007) in the 33 and 1/3 series. He organized the Pop Conference from its inception in 2002 through 2018, editing three books of conference writing: This Is Pop, Listen Again, and Pop When the World Falls Apart. Before that, he was a rock critic: music editor of the Village Voice, record reviews editor for Spin, editor of the Spin Alternative Record Guide, and a writer for Spin, the Voice, and other alt-weeklies—some of that work is collected on Rock’s Backpages.

Clinton Bryce Williamson is a Ph.D. candidate in English at the University of Pennsylvania, specializing in nineteenth- and twentieth-century American literature. His dissertation, Nebulous Figures: A Cultural History of an American Riotocracy, 1848-1929, explores the ways in which a so-called lumpenproletariat crafted refusals to work as strategies for restaging value and assembling improvisatory commons in America during the latter half of the nineteenth century. Assembling a broad, multi-genre cultural archive, it argues that representations of and from those living on the margins of the wage modeled potential worlds rooted in wage labor’s absence.