When І began this project about five years ago, I had no intention ofconducting a survey of Led Zeppelin fans and incorporating their observations into the book. It was Rob Walser's inclusion of a fan survey in Running with the Devil that suggested to me the value of ethnography in the kind of study of the band's music that I wanted to make. Without the fans' voices, this book would be considerably poorer—in fact, several of the points I argue would have been impossible to make without the evidence I gathered from fans—and so I would first like to thank those who responded to my survey for their time and effort in completing it and for their thoughtful comments, many of which are found throughout the book. Their enthusiasm for this project has been heartwarming: I received many offers from them to answer follow-up questions, and several fans offered me bootleg recordings and access to their collections of memorabilia; one fan sent an original watercolor painting of the band on their 1980 tour. Rick Barrett, owner of Merit Adventures in Houston, which specializes in Led Zeppelin memorabilia, sent me a package of magazines and other collectibles. I am very thankful for all of these gestures. I would also like to thank Hugh Jones for running the survey in an issue of his fanzine, Proximity, and for putting me in touch with photographer Marty Perez, who generously sent me his precious slides of Led Zeppelin in concert in Chicago in 1977; some of these appear in this book, and I wish to thank Marty for allowing me to use them. Jeremy Mixer graciously offered to post the fan survey on his Web site, zoso.net, and I wish to express my thanks to him for that. Another fan (and professional photographer), Wendy Annibell, offered me her photograph of Robert Plant in concert at Madison Square Garden in 1973 and went to considerable lengths to improve the quality of that photograph so that I could use it here; thank you, Wendy.