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Popular Music and Jazz, 1900–1950
Published online by Cambridge University Press: 10 November 2015
Extract
On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, Marriott Heritage Ballroom (perhaps the whole of Lancaster County). For my own part, I snoozed. But there on the nightstand, my cell phone danced with texts of more energetic colleagues: “Sherrie, you won the Grove! Where the @#! are you?” It seemed I had hit the jackpot in the SAM 2.0 raffle. In (quite literally) the blink of an eye, I had gone from a run-of-the-mill scholar of American music with pretty much the same books on the shelf as others with my particular set of research interests, to one of the few people on the planet to own the entire eight-volume AmeriGrove II. In that same life-changing moment—as I learned the next morning—I had also become the person least able to politely decline John Koegel's invitation to contribute to this multipart review.
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- Copyright © The Society for American Music 2015
References
1 For a situated accounting of another subject-adviser, who, unlike myself, also commissioned and edited entries, see Stimeling's, Travis D. account of country music expansions in AmeriGrove II. “AmeriGrove and American Music Studies in the Twenty-First Century,” American Music Review 44, no. 1 (2014): 25–26Google Scholar.
2 Sadie, Stanley, “Preface to the Revised Edition,” The New Grove Dictionary of Music and Musicians, 2nd. ed. (London: MacMillan, 2001), viiiGoogle Scholar.