Robert Fink is assistant professor in musicology at the University of California, Los Angeles. He focuses on music after 1965, with a special interest in minimalism, postmodernism, and the intersection of cultural and music-analytical theory. His current project is a book on minimalism, media, and advertising in the 1960s for University of California Press, and his work has appeared in the Journal of the American Musicological Society, 19th-Century Music, American Music, Modernism/Modernity, and the collection Rethinking Music. In 1998-99 he was the recipient of a resident fellowship at the Stanford Humanities Center.

Ivan Raykoff is earning a Ph.D. at the University of California at San Diego, funded by an AMS 50 fellowship. His dissertation addresses the mythology of the Romantic pianist in twentieth-century popular culture. He studied piano at the Eastman School of Music and at the Liszt Academy in Budapest on a Fulbright scholarship. Aside from performing, he also pursues research and teaching interests in contemporary music and film studies. He is spending the current year in Berlin on an unhealthy diet of techno and Schlagermusik.

Elizabeth A. Wells is a doctoral candidate at the Eastman School of Music, working on a dissertation on West Side Story funded by an AMS 50 fellowship. She began her studies at the Royal Conservatory of Music in Toronto and graduated with honors from the University of Toronto's Faculty of Music before pursuing a career in public radio. She has acted as Production Stage Manager for Eastman Opera Theater for the past three seasons.


Dale Chapman is a doctoral student in the department of musicology at UCLA. His principal areas of interest include jazz, electronic dance music and hip hop. He is presently working on a dissertation that will be devoted to recent appropriations of jazz in contemporary American culture.

Andrew Berish is a graduate student in musicology at UCLA. A drummer/percussionist and aspiring guitarist, Andrew is primarily interested in American music, particularly jazz. By exploring the rich panoply of American music and musical experiences, he hopes to illuminate new aspects of American life and culture. His research interests also include topics in 19th-century Romanticism.


Tim Anderson received his Ph.D. from Northwestern University's Department of Radio/Television/Film and is working on a book on recorded music and sound in post-World War II America. His work has appeared in a variety of journals and, most recently, he has accepted a position at Denison University in their Department of Communications.

Ralph Eastman is a professor of theater and humanities at Mt. San Antonio College, Walnut, CA, where he has also taught the history of American popular music. A former N.E.H. fellow at the Center for Black Music Research, Columbia College, Chicago, his articles on the history of music in South Central Los Angeles have appeared in Black Music Research Journal and in California Soul.

Derek Kompare is an assistant professor in the Department of Radio/TV/Film at Texas Christian University, Fort Worth. An unabashed retro-phile, his primary research interests include rerun syndication, pop music revivals, and versioning.

Phillip Serrato is a Ph.D. student in the English department at the University of California, Riverside. He is presently completing his dissertation on representations of Latino masculinity in U.S. Latino literature, film, and performance.

Ian Spiby is Head of the Division of Performance Studies at University College Northampton, in which Judith Ackroyd is a Senior Lecturer. Both have broadcast and published widely in the area of performance. They are currently collaborating on a book about performances of Shakespeare in the Restoration.


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