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In this book’s long journey, it and I have incurred many debts of gratitude. I am indebted to Judith Becker for planting the seed for this intellectual engagement in Ann Arbor; to Judy Tsou for her groundbreaking paper at the 1996 conference of the Society for American Music in Washington, DC, which gave the impetus for this project; to Josephine Wright, who took an interest in this project before it had a name; and to the late Him Mark Lai, who helped me with my first inquiry about Chinese American history.
In researching Cantonese opera of the early twentieth century, I have been very lucky to have Sai-Shing Yung and Wing Chung Ng as close companions in our shared pursuit. They offered insight, shared materials, and helped open doors for me; without them, this journey would have been much too lonely. I am indebted to Chan Sau Yan for his interest and support as the director of the Chinese Opera Information Center at the Chinese University of Hong Kong. Bell Yung has been generous with support and critique at crucial points. Yu Sai Wah sent precious materials to help the research along. Helan Hon-Lun Yang was a true academic comrade, making my numerous visits to Hong Kong fun and coming to my rescue in many local matters.
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