ACKNOWLEDGMENTS
This research project has come a long way since its inception as a disserta-
tion for the Program in American Culture at the University of Michigan,
Ann Arbor. Accordingly, I would like to thank my longtime mentor, George
Sánchez, who recruited me, helped me mature intellectually, pushed me to
push myself, and unfailingly encouraged my research. George taught me
much about U.S. and Chicano history and historiography. More important,
he has shown me not only how to survive in the profession, but also how to
succeed in it. Frances Aparicio taught me much about Latin American and
U.S. Latino popular music and culture, and she helped me build my intel-
lectual and professional confidence by giving me perceptive comments on
my work, early conference and publishing opportunities, and friendly ad-
vice. David Scobey improved my writing and expanded my knowledge of,
and critical thinking about, cultural history and the culture industries. He
also taught me to apply myself to the serious intellectual work of academia.
Charles McGovern helped me to better understand the social history of
popular music and consumer culture in postwar America and, at a criti-
cal early juncture, to steel my resolve. María Cotera graciously gave me
eleventh-hour assistance, including fruitful feedback.
I was inspired and encouraged by Cherríe Moraga, Lawrence Levine,
and Cornelia Sears at
uc
Berkeley; Brenda Stevenson at
ucla;
George
Lipsitz during a directed reading; Robin Kelley, Kristin Hass, and Eric
Porter at the University of Michigan; and Michael Roth and Roger Keil at a
Getty Research Institute for the History of Art and the Humanities disser-
tation workshop. My educational achievements have consistently been
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