Dr. Lisa Amanda Palmer serves as Deputy Director of the Stephen Lawrence Research Centre at De Montfort University (Leicester) and holds a Senior Lecturer position in Sociology. She previously directed the Black Studies undergraduate program at Birmingham City University and has extensive experience with local archives, including the Vanley Burke Archive at Birmingham Libraries. Her research focuses on Black feminism, cultural politics, and intersections of race, gender, and sexuality. She co-authored Blackness in Britain (2016) and is writing a book on Black women in the UK’s lover’s rock reggae scene. Education : PhD in American & Canadian Studies (University of Birmingham) MA Film & Television Studies (University of Warwick) BA(Hons) Media Studies & Performing Arts (De Montfort University) Her work critically examines topics like misogynoir, community archives, and Black cultural production. She is affiliated with the Media Discourse Centre (MDC) and contributes to public discourse via articles on Black Studies’ relevance and representations of Black women in media.
David Aarons is an Assistant Professor of Ethnomusicology at the University of North Carolina at Greensboro (UNCG), affiliated with the School of Music. He joined UNCG's faculty in 2018 and teaches courses such as American Music, Music of the Black Atlantic, and Music Cultures of the World. His research focuses on vernacular music in the Anglophone Caribbean, particularly Rastafari communities in Ethiopia who use reggae music to navigate cultural identity and challenges in their repatriation. Education: PhD in Ethnomusicology, University of Washington (2017) Master of Music (Steelpan Performance), Northern Illinois University (2012) Bachelor of Music, University of the West Indies, St. Augustine (2008) His research examines music's role in constructing cultural identity, with a focus on Rastafari repatriation to Ethiopia and reggae's sociocultural functions. Publications appear in Caribbean Quarterly and The Journal of Popular Music and Society .
Effie Toumazides Katchis is a Lecturer and Course Leader in Graphic Design at the University of Central Lancashire Cyprus (UCLan Cyprus), within the School of Arts, Media and Communication. She leads the BA (Hons) Graphic Design and MA Graphic Design programs. Her academic journey includes a Master of Arts in Graphic Design (University of Wales, 2008), a Bachelor of Arts in Graphic Design (University of Central Lancashire, 2005), and a BTEC HND in Graphic Design (Dewsbury College, 1991). Her research focuses on Design Technology, Design Ethics, Visual and Emerging Technology Theories, and Sustainable Design Practices. She has contributed to projects such as 'Education and Design Learning – Recovering from COVID-19 Isolation' (2021) and 'The challenges and opportunities as a graphic designer' (2020). Additionally, she has organized and participated in international exhibitions like 'Graphic Stories' (Cyprus, 2019–2022), 'I Love Graphics' (Cyprus, 2022), and 'International Reggae' (Greece, 2021). Effie holds administrative roles, including membership on the Teaching and Learning Enhancement Committee (TLEC) since 2024. Her teaching spans courses like Typography Fundamentals, Advertising Campaigns, Branding, and Web Design.
Tim Wall is Professor of Radio and Popular Music Studies at the Birmingham Centre for Media and Cultural Research , Birmingham City University. His career spans academic research, editorial leadership, and collaborative industry work with the BBC and independent music enterprises. Research areas: Popular music history, media theory, radio broadcasting, and cultural representation Key projects: Global Reggae Research Project, social media citizen journalism studies in Middle Eastern and North African contexts His publications and projects reveal a focus on media historiography , musical subcultures , and transnational broadcasting . Recent work examines Caribbean diasporic podcasts, early BBC jazz programming, and the political economy of digital media. Scientific Recognition : AHRC Knowledge Transfer Fellowship Editorial leadership: The Radio Journal Foundational work on Northern Soul and Reggae studies
Matt Jenson is a Professor in the Piano Department at Berklee College of Music, where he teaches private piano lessons, Hammond organ labs, Afro-Cuban piano labs, and the innovative course The Music and Life of Bob Marley . He is also the creator of the Art of Reggae online educational platform and leads experiential music trips to Jamaica. His work bridges performance, education, and cultural immersion. Educational Background: Master of Music (MM) in Jazz Studies, New England Conservatory of Music (1992) Bachelor of Arts (BA) in Psychology, University of New Hampshire (1987) Matt's research and teaching interests revolve around jazz, reggae, improvisation, ensemble groove, and the sociopolitical dimensions of music, especially as expressed through the life and work of Bob Marley. He emphasizes the connection between music and social justice, encouraging students to use their art for truth, healing, and activism. His pedagogical approach is highly personalized, integrating theory, technique, songwriting, arranging, and cross-genre improvisation. Though no formal publications are listed, his creative output includes leading multiple performance ensembles—such as The Liquid Revolution, Rebel-Tumbao, and the Berklee Bob Marley Ensemble—and producing original music under the new ambient project Unmarked Routes , set for release in Fall 2025. This project explores sonic hypnogogy, blending piano, string quartet, woodwinds, and experimental electronics in a contemplative, hypnotic soundscape. Matt is a vocal advocate for fair compensation for musicians. He highlights systemic inequities in music streaming platforms like Spotify and supports legislative efforts such as Congresswoman Rashida Tlaib’s Living Wage for Musicians Act . His advocacy underscores the importance of artists in shaping cultural and existential realities. He has performed and collaborated with notable artists including Judy Mowatt, Rita Marley, Chinna Smith, Ronnie Earl, and Eddie Palmieri. He studied with jazz luminaries Geri Allen, Dave Holland, Ran Blake, and Eddie Palmieri, further grounding his artistic and educational philosophy. He conducts clinics and masterclasses across the U.S. and Jamaica, expanding his influence as a music educator and cultural ambassador. Matt leads the Unmarked Routes ensemble, which features cellist Catherine Bent, violinist/violist Bengisu Gokce, woodwind player Stan Strickland, and engineer John Escobar. The group recorded at Guilford Sound in Vermont, aiming to create emotionally resonant, genre-blurring music that invites deep listening and reflection.
Tony Peebles (He/Him) is a saxophonist, educator, and performer affiliated with the San Francisco Conservatory of Music (SFCM) in the Roots, Jazz, and American Music program. He holds a Master of Music in Jazz Studies from the University of the Arts in Philadelphia and a BA in Music Theory from the University of Pennsylvania, where he also taught the 'Jazz: Style and History' course. MM Jazz Studies, University of the Arts, Philadelphia BA Music, University of Pennsylvania His performance career spans diverse genres and collaborations with artists such as Fred Wesley, Pacific Mambo Orchestra, Karl Denson, Don Carlos, and Katchafire, with global tours across Europe, Africa, and the Americas. In the SF Bay Area, he performs at venues like Yoshi's, The Fillmore, and Mama Kin, where he hosts a weekly jazz jam session. Scientific awards include: Featured soloist on Pacific Mambo Orchestra's 2014 Grammy Award-winning album
Alex O. Otieno is Professor and Interim Provost at Arcadia University, where he has taught since 2001. He holds a Master's Degree from Temple University and is completing doctoral studies at the University of South Africa. Fluent in Dholuo, English, and Kiswahili, Professor Otieno's administrative leadership includes previous service as Associate Dean of the College of Arts and Sciences. Research Focus His scholarship centers on interdisciplinary explorations of human rights, migration, and social transformation, with particular emphasis on discursive responses to systemic inequalities. Research clusters include: Health rights advocacy and refugee protection frameworks Peacebuilding through religious/cultural practices (especially African contexts) Critical analyses of disaster capitalism and neoliberal policies Transformative justice through narrative reconstruction and identity politics Decolonial approaches to higher education and public intellectualism Recent work examines hope and joy as resistance methodologies and restorative practices in conflict zones. Publication Trends Otieno's publications demonstrate consistent focus on human rights praxis, African peacebuilding, and refugee agency across 40+ scholarly works. Recent articles (2019-2022) show increased engagement with: Health justice in displacement contexts Counterhegemonic narratives in education Arts-based refugee advocacy Religious peacebuilding models Methodologically, he employs discourse analysis, case studies (Kenya, Liberia, Tanzania), and transdisciplinary theoretical frameworks.
Thales Alecrim is a researcher affiliated with the Center for Communication and Culture Studies (CECC) , focusing on interdisciplinary cultural and music studies. His work bridges arts, humanities, and sociopolitical critique. His research interests include: Metal Music Studies : Analyzing neoliberalism’s impact on metal music (e.g., Sepultura’s discography). Cultural History : Reinterpreting national myths post-Carnation Revolution and during Brazil’s military regime. Political Movements : Exploring war representations in reggae (Bob Marley) and metal music. Recent publications highlight his engagement with neoliberalism , memory , and cross-cultural narratives . Collaborations with Garcia, Iyer, and Murphy underscore his role in academic networks. Alecrim co-organized the XIII Graduate Conference in Culture Studies (2025), emphasizing his active participation in scholarly communities.
Sarah Brindell is an Associate Professor of Songwriting at Berklee College of Music, where she teaches courses in songwriting, harmony, ear training, arranging, and stage performance. She is also affiliated with Piano and Keyboard, Arranging, and Music Production departments. She earned her Bachelor of Fine Arts in Musical Theater from The New School and a Master's degree in Music Education summa cum laude from Boston University. Her educational background combines performance training with formal music education methodology. Professor Brindell's creative and pedagogical interests focus on songwriting techniques, music education methodologies, and genre fusion including jazz, reggae, soul, and bossa nova. She emphasizes improvisation and collaborative creation in her teaching approach, drawing from her theater background and extensive performing experience. Her methodology incorporates action-based teaching where students actively create in class using voices, hands, feet, and everyday objects alongside traditional instruments. Brindell's creative output demonstrates a progression from traditional jazz and soul influences toward more contemporary and globally-inspired works, with recent releases exploring Brazilian musical forms like samba. Her work consistently showcases strong vocal performance, sophisticated songwriting, and cross-cultural musical elements. VH-1's Save the Music Foundation's Song of the Year Contest (Finalist) Billboard World Song Contest (Honorable Mention) Professor Brindell has mentored numerous successful musicians and songwriters including St. Vincent, Amy Allen (who has written for Harry Styles, Selena Gomez, and Halsey), Jake Torrey (who has written for Charlie Puth, John Legend, and Maroon 5), and Nikki Glaspie (drummer for Beyonce and Maceo Parker). She conducts songwriting clinics nationwide and internationally, helping thousands of students reach their full potential as professional musicians. Her teaching philosophy centers on bringing joy, community, inspiration, and creative freedom to her students. As a performing artist, Brindell leads the Sarah Brindell Quintet and has performed with various bands including Naya Rockers, Pressure Cooker, and Duppy Conquerors. Her touring credits include performances worldwide with renowned artists such as Norah Jones, Carole King, George Clinton and Parliament Funkadelic, Ivan Neville, and Raul Midon.
Dr. Benjamin Burkhart is an Acting Professor for the History and Theory of Popular Music at the Institute of Musicology and Music Education, Justus Liebig University Giessen, since summer semester 2024. His research bridges media studies, music technology, and sociomateriality of popular music. University: Justus Liebig University Giessen Department: Institute of Musicology and Music Education Academic Rank: Professor His work focuses on auditory media cultures, digital platforms, and qualitative music research. He explores jazz production cultures on TikTok, historical music devices, and discourse analysis of reggae/dancehall. Articles highlight his expertise in music-technology intersections, postwar audio design, and sociopolitical commentary in music videos. Key Projects: Habilitation on jazz on TikTok Editorial Role: Co-editing "Creative Music Practice Across Platforms" (2025) He has examined music journalism, media analysis, and material culture since 2015.
Hugh Hodges is an Associate Professor in the Department of English and Cultural Studies at Trent University, where he also serves as Chair of Cultural Studies. He is affiliated with Traill College and serves on the Graduate Faculty for both the M.A. English Literature (Public Texts) program and the PhD Cultural Studies program. His academic journey began with a B.A. from Queen's University, followed by M.A. and Ph.D. degrees from the University of Toronto. Dr. Hodges' research focuses on the dynamic intersections between popular music and postcolonial literature, with special attention to African and West Indian cultural production. His work examines how musical forms like reggae, calypso, and Afrobeat interact with literary traditions from these regions. He has published extensively on Bob Marley, Fela Kuti, Lord Kitchener, and various Caribbean and African writers including Wole Soyinka, Chinua Achebe, Chimamanda Ngozi Adichie, and Chris Abani. His most recent publication, The Fascist Groove Thing: A History of Thatcher's Britain in 21 Mixtapes (2023), explores how popular music responded to the political turbulence of 1980s Britain. This work has been praised for capturing 'both the noises and the feel of a tumultuous 1980s' and demonstrating 'how music can offer hope, express outrage, inspire action, or provide moments of escape in bleak, frightening times.' His earlier book Soon Come examined Jamaican spirituality and poetics. Dr. Hodges teaches courses in African and West Indian literature with an integrated approach that incorporates musical elements, reflecting his belief that 'you can't separate West Indian literature from reggae, calypso and soca, or Nigerian literature from highlife, juju and Afro-beat.' He also co-teaches a class on Music & Politics with Dr. Ihor Junyk, exploring the connections between musical expression and political movements.
Florian Conzetti serves as Assistant Professor of Music and Director of Instrumental Activities at Linfield University's Department of Music. He is timpanist of the Vancouver Symphony Orchestra and founded the nationally recognized Linfield Collaborative Music Ensemble, a 2024 American Prize finalist. His educational credentials include: Konservatorium für Musik in Bern, Switzerland M.M. from Eastman School of Music D.M.A. from Peabody Conservatory of Johns Hopkins University Conzetti's research integrates performance practice with cultural studies, focusing on global music traditions, percussion pedagogy, and innovative ensemble models. His work examines how diverse musical expressions—from Swiss reggae scenes to liberal arts ensembles—challenge cultural identities and reshape educational frameworks. His conference presentations reveal consistent themes in music education reform and cross-cultural dialogue, emphasizing student agency in ensemble settings and the political dimensions of musical hybridity. These investigations bridge performance practice with critical cultural analysis. Key recognition includes: The American Prize, Ernst Bacon Memorial Award for American Music Performance (Chamber Division, 2024 National Finalist) As Director of Instrumental Activities, Conzetti mentors students through performance ensembles and developed the Composer Readings mentorship program. His leadership in the Linfield Collaborative Music Ensemble creates professional development pathways while advancing chamber music repertoire. He directs both the Instrumental Performance Ensemble and the professional Linfield Collaborative Music Ensemble, which achieves national prominence through innovative programming that connects academic study with professional performance standards.
