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members to co-teach a course to a small seminar audience. It was that generosity of university resources, release time, and a commitment to diversity initiatives that helped us to shape the beginning structures of this text. It was that time period (2002–2004) that enabled us to outline a text that we wished had been available for us to use in the classroom. Terry always supported our conference presentations to the Association of Black Sociologists, the National, Southeastern, and Mid-Atlantic Women's Studies Associations, and the Association of American Colleges and Universities. The AAC&U's Diversity Digest published one of our sessions in an article entitled “Drop It Like It's Hot! Hip Hop in the Twenty-First Century Classroom.” That article helped shape our thinking about the everyday student whom we mention in Chapter One. The NWSA (National Women's Studies Association) and the American Sociological Association both published essays on our critical pedagogy and hip hop.
We are thankful to Susquehanna University for the various funding support that they made available to us. We also wish to thank the valiant reference librarians of Blough-Weis Library—Ms. Kathy Dalton and Dr. Rebecca Wilson, as well as the director of the library, Ms. Kathleen Gunning and the Media Center. Their search for materials, obscure references and an assemblage of music genres made all the difference to the quality of our teaching and the research that we could do for this book. Kathy Dalton was faithful to the end! Samantha Hertzler, a student in the Department of Sociology and Anthropology and the Honors Program, reviewed countless drafts of the chapters as our special editorial assistant. We express our thanks to student participants in our focus groups.
We truly appreciate Dr. Eric Hinton's magnanimous gesture of introducing us to Cambria Press, especially to Toni Tan the director. Toni believed