Although a single name appears on the cover, no one ever writes a book
alone. There are many people I want to thank for their support and cama-
raderie as I have journeyed through this project. There was always someone
around to share in my feelings of enchantment, confusion, exhilaration,
and occasional despondence. This long book requires many acknowledg-
ments: I have a lot of pent-up gratitude.
I would like to start by thanking all my teachers, although there are a
few who warrant special distinction. Several teachers at the University of
Illinois made the intellectual and institutional space for me to do this kind
of work. Many of my teachers have also gone on to become trusted friends
and confidants. Larry Grossberg helped me develop an interest in cultural
theory and cultural studies into a facility, and he encouraged my intellec-
tual eclecticism and scholarly imagination in a world that too often values
disciplinarity over creativity. John Nerone almost single-handedly taught
me the craft of historiography and has been a model of intellectual gen-
erosity and pluralism. James Hay taught me to see themes in my writing
that I would not have otherwise seen and always pushed me to take the
next step in interpreting my material. Tom Turino helped me rethink my
approach to the study of sound and music from the ground up and helped
me integrate my experiential knowledge as a musician into my academic
research.
Many other teachers have made essential contributions to my devel-
opment as a scholar. John Archer, Cliff Christians, Richard Leppert, John
Lie, Steve Macek, Lauren Marsh, Cameron McCarthy, Roger Miller, Cary
Acknowledgments
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