Sherrie Tucker (Ph.D History of Consciousness, UC Santa Cruz 1999) is a Professor in American Studies at University of Kansas. She is the author of Dance Floor Democracy: the Social Geography of Memory at the Hollywood Canteen (Duke 2014) and  Swing Shift: “All-Girl” Bands of the 1940s (Duke, 2000), and co-editor, with Nichole T. Rustin, of Big Ears:  Listening for Gender in Jazz Studies (Duke, 2008). Most recently, she is a member of the editorial collective and contributing author for Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (University of Michigan Press, Music and Social Justice Series, 2024). Her articles on jazz and gender have appeared in journals, including American Music, Black Music Research Journal, Critical Studies in Improvisation, Current Musicology, Jazz Perspectives, and Women and Music: a Journal of Gender and Culture, and edited volumes, including Mellonee V. Burnim and Portia K. Maultsby (eds), African American Music: A History (Routledge, 2006); Ajay Heble and Daniel Fischlin (eds), The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue (Wesleyan, 2004); Sophie Fuller and Lloyd Whitesell (eds), Queer Episodes in Music and Modern Identity (University of Illinois, 2002); and Vicki L. Ruiz and Ellen Carol DuBois (eds), Unequal Sisters:  A Multicultural Reader in U.S. Women’s History (Routledge, 2000). She is a member of the “Improvisation, Gender, and the Body” team for Ajay Heble’s Collaborative Research Initiative funded by the Social Sciences and Humanities Research Council of Canada, entitled, “Improvisation, Community, and Social Practice.”  For nearly 20 years, she was co-editor of the journal American Studies. With Deborah Wong and Jeremy Wallach, she is coeditor of the Music/Culture Series at Wesleyan University Press.  She was the 2004-2005 Louis Armstrong Professor at the Center for Jazz Studies, Columbia University.