Thanks

First, thanks to the last residents of the Christine building who generously allowed me into their lives for a few tough weeks in July 2016 and to varying degrees since. Of particular note is John D. Monteith whose willingness to make available his time, unique perspective, and his art was incalculably important. Sitting for a video interview is never cool, but sitting for an interview as you’re being evicted is just shitty. To that end, a special thanks goes to John, Sammi Allen, Pat Mitchum, Kipp Shives, and Ted Munch. Also, thanks go to the other residents who put up with me hanging around with a camera during an especially vulnerable time. Will Pittman, Byron Chitty, Wesley Joyner, Ryan Shah, Phillippe Herndon, Heyward Sims, and Will Mason were instrumental in helping me understand the musicality of the Christine.

Robin Waites, executive director at Historic Columbia, gave a hapless graduate student who was out of funding a chance outside academia. This project would absolutely not exist without her trust and support. John Sherrer, the staff at Historic Columbia, and the rest of the preservation community in Columbia have also been crucial partners. Thanks also to the staff at the Richland Library, the Moving Image Research Collection, and the South Caroliniana Library for valuable help navigating Columbia’s archives. Particularly helpful were Lydia Pappas at MIRC, Margaret Dunlap at Richland Library, and Edward Blessing at the Caroliniana. Invaluable production assistance came from Barry Wheeler and Gordon Humphries.­

Byron Hawk deserves a huge thanks for encouraging a visual, documentary style engagement back in 2016. His trust in me with his own project out at Sonic Dropper Studios in Dallas (during research that would be presented in Resounding the Rhetorical: Composition as a Quasi-Object) was largely responsible for me getting entangled diffractively with the Christine, and his persistence in pushing me to finish and guiding me in that effort was extraordinary. I was also incredibly fortunate to enjoy the patience and flexibility of an outstanding committee including, Mindy Fenske, John Muckelbauer, and Lydia Brandt, each of whom brought a unique perspective and insight over many years, and to each I give my great appreciation. Thanks also to the members of my cohort who encouraged and supported this work – especially Mary Fratini and Nathaniel Street.

My parents never heard of Dwight Conquergood, but I learned dialogic performance through them. As such, they are truly the foundation of this work and its earliest architects. Mom and Dad, thank you, and I love you. Thanks also to the Sims and Allen families who, by entertaining a precocious toddler, created the space for me to work. To Rachel and Sylvie, I love you both, and cannot wait to make up for time I missed.

Finally, thanks to Grace Hagood Downs who would kick my ass if I didn’t finish.