As no work would ever come into being without the support of others, I find it important to acknowledge those people who have directly or indirectly influenced the thoughts in this book. I begin by thanking both sets of my parents, Edward and Mozelle Boyd and Bonnie and Willis Mosley, for providing me with broad exposure to the world at an early age and never allowing me to be satisfied with mediocrity. A special thanks to Daryl Fox and Robert Burgoyne for introducing me to the game. I would also like to reach back and thank Marion Holliday for giving me my first opportunities to speak, write, and think critically in public. Your support in those formative years has not been forgotten.
Special thanks to those readers who read early versions of this manuscript and provided much-needed commentary: Ken Shropshire, Ron Green, Herman Gray, John Sloop, and David James.I would also like to thank my colleagues and the students at the USC School of Cinema‐ Television for giving me the space to do my thing in a supportive environment. I would like to thank the following students for their assistance during various phases of this book: Marla Shelton, Hilary Neroni, Christine Acham, and Karen Voss.In addition, I would like to thank the staff at Indiana University Press, especially Joan Catapano, who, though she probably doesn't remember, expressed interest in my work as early as my first year in graduate school.
A special shout out to Rick Famuyiwa, who, even though he heard much of the same shit over and over again, kept coming back for more. People like you make the gig worthwhile. Continue to blow up the spot. Additional props to Patrick Smith, David Was, and Robert Hurst for helping me understand the intricate nuances of music and the music industry. You provided a direct link to music that has deeply influenced my writing. Stay up!
In closing, I'd like to thank all those who embrace pride and dignity, while continuing to eschew tomming and jeffing as a way of life.
The game is strong!