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Among the experts who contributed to drawing up the final version of this book, I would like to warmly thank: British researcher Tony Russell and Australian “information finder” and internet magician Bob Eagle, who were repeatedly bothered by my desperate questions, which they invariably and swiftly answered with the common sense, expertise, and humility they are appreciated for in music circles all over the world; Dutch blues and gospel historian Guido van Rijn, whose vision and dedication inspired me to follow his lead of dealing with topical songs’ lyrics; American author and editor Edward Komara, for publishing my first tentative research on disaster songs, the longest of the twenty-nine items I contributed to the two-volume Encyclopedia of the Blues he edited; English researcher and compiler Rob Ford for providing rare information and material; Craig Gill, Jackson Watson, Will Rigby, and the staff at the University Press of Mississippi for believing in an unknown researcher’s project and for patiently accepting its irritatingly slow progress; and Norm Cohen, for reading and making enlightening remarks on the whole manuscript. Finally, I want to acknowledge two people without whom this book would not even be in your hands: my brightest beacon, music scholar and ethnomusicologist David Evans, and British researcher Chris Smith. Evans is the editor of my book as well as a friend. He was a supporter and motivator in times of difficulty, a wise and sympathetic advisor, and a regular supplier of research material. He also put me in contact with informants and experts in different fields, and was instrumental in helping me transcribe parts of the song lyrics analyzed in the book. I know I must consider myself very lucky to have met him and to have worked with him on several other projects and publications. Besides being another victim pestered by my continuous questions while I was in the process of writing the book, Smith was brave enough to accept the grueling task of reading the whole manuscript, making constructive criticism and meticulous remarks on my approach, and providing not only insightful suggestions but what it is altogether accurate to define as “second editing.”
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