Brian Fauteux (PhD, Concordia) is Assistant Professor of Popular Music and Media Studies at the University of Alberta and the author of Music in Range: The Culture of Canadian Campus Radio (Wilfrid Laurier University Press, 2015). His most recent publications are on the perceived value of Canadian independent music in the satellite radio industry in the International Journal of Cultural Policy (2015), on intermedia and Arcade Fire’s promotion of music in the Journal of Popular Music Studies (2015), and on public media’s relationship to independent music in the digital age in The Radio Journal: International Studies in Broadcast & Audio Media (2017). You can follow his work at and @brianfauteux.

Brianne Selman (MA & MLIS) is the Scholarly Communications and Copyright Librarian at the University of Winnipeg. Her work focuses on the balance of copyrights in creative works and involves ongoing education of the University community on Author’s Rights, creative commons, and all things Open. She regularly gives workshops to Faculty on OA publishing, predatory publishing, and knowledge mobilization. Her past graduate work concerned music cultures and piracy, including an MA Thesis (prepared for a Masters in Culture, Globalisation, and the City at Goldsmiths University) on the subject of Bataille’s Base Materialism and Puerile Punk Rock.

Ian Dahlman (MA, B.C.L., LL.B.) is Manager, Creative Marketplace Lab on Data, Skills and Technology for Canadian Heritage. He holds a law degree from McGill University and a Master of Arts in Communication and Culture from the joint programme at York University and Ryerson University.  His thesis work, “‘A Big, Beautiful Mess’: Collectivity, Capitalism, Arts & Crafts and Broken Social Scene,” explored collective approaches to creating and selling music through an ethnographic study of the Toronto-based band Broken Social Scene and their record label Arts & Crafts.

Andrew deWaard (PhD, University of California, Los Angeles) is Assistant Professor of Media and Popular Culture at the University of California, San Diego. He is the co-author of The Cinema of Steven Soderbergh: indie sex, corporate lies and digital videotape (Wallflower/Columbia University Press, 2013). His most recent publications concern Spike Lee and cinematic authorship, Radiohead and the digital music industry, and melodrama and the ‘hood film. His recently completed dissertation is entitled “Derivative Media: The Financialization of Film, Television, and Popular Music, 2004 – 2016.” You can follow his work at and @dewaard.