Acknowledgments
Anthologies notoriously take longer than anyone anticipates. Our first
debt of gratitude is to our contributors who not only gave us their
writing but worked closely with us over a four-year period on revisions.
Their scholarship within and beyond the essays profoundly shaped the
collection as a whole. Lara, Jeff, Monica, Christina, Tracy, Jayna, Julie,
Eric, Ingrid, Ursel, Joao, Farah, and Kristen: you are awesome.
We would like to thank the photographers and archivists, who pro-
duced and provided the images that help to illuminate the theoretical
insights of the collection: Cynthia Sesso at CTS Images and the family
of Paul Hoeffler, Mark Miller, S. Victor Burgos at Photofest, Nick
Morgan at Getty Images, Stephanie Hubbard at Yale, Tad Hershorn at
the Institute of Jazz Studies, Peter Bastian, Karlheinz Klueter, Zoran
Sinobad at the Library of Congress, Katja von Schuttenbach, and Silke
Mehrwald.
The team at Duke is simply fantastic. Their commitment to helping
us produce the best possible book was phenomenal. Ken Wissoker and
Ron Radano kept us on track with encouragement and thoughtful crit-
icism. Our anonymous readers helped us to shape and refine the book
with engaged analysis of each of the essays. Their work was key to our
success. Fred Kameny, Courtney Berger, Cherie Westmoreland, Katy
Clove, and Lori Harris have been a pleasure to work with every step of
the way. Thanks to Ron Radano, Josh Kun, and Charles McGovern for
having ‘‘big’’ enough ears to hear a need for gender analysis in jazz
studies within the critical paradigm of ‘‘Refiguring American Music.’’
We are so proud to be a part of this series and the intellectual project it
represents.
We owe a special thanks to Bernard Gendron for the inspirational
dialogues during the year of our conference ‘‘road show’’ that led to this
collection
Many thanks to Krin Gabbard for assistance in locating film stills,
and to Nicole Ishikawa and Kelly Ishikawa for heroic assistance with
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