Listening to Salsa: Gender, Latin popular music, and Puerto Rican cultures

Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures

Volumn , Issue , 2010, Pages 1-290

  Aparicio, Frances R ^a  

^a UNIVERSITY OF MICHIGAN   (United States)

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[No Author keywords available]

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EID: 84906109044     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (516)

1. Deddie Romero "Desde Borinquen" (Latin Beat, September 1994, 10)
2. Likewise, Franz Reynold, in "Ritmo: La música de hoy" (Latin Beat, September 1994, pp. 18-19)
3. Umberto Valverde and Rafael Quintero's recent publication, Abran paso: Historia de las orquestas femeninas de Cali (Cali, Colombia: Universidad del Valle, 1995).
4. Tricia Rose's contribution to "A Symposium on Popular Culture and Political Correctness", with Manthia Diawara, Alexander Doty, Wahneema Lubiano, Tricia Rose, Andrew Ross, Ella Shohat, Lynn Spigel, Robert Stam, and Michele Wallace (Social Text 36 [fall 1993]: 1-39).
5. Adalberto Aguirre Jr., "A Chicano Farmworker in Academe", in The Leaning Ivory Tower: Latino Professors in American Universities, ed. Raymond V. Padilla and Rudolfo Chávez Chávez (Albany: State University of New York Press, 1995), 25-26.
6. Sonia Saldívar-Hull, "Chicana Feminisms: From Ethnic Identity to Global Solidarity", in Feminism on the Border: Contemporary Chicana Writers (Berkeley: University of California Press, in press).
7. Deborah Pacini Hernández, Bachata: A Social History of a Dominican Popular Music (Philadelphia: Temple University Press, 1995), 158-72.
8. Ariel Dorfman and Armand Mattelart, Para leer al Pato Donald (Valparaíso, Chile: Ediciones Universitarias, 1971);
9. Néstor García Canclini, Transforming Modernity: Popular Culture in Mexico, trans. Lidia Lozano (Austin: University of Texas Press, 1993)
10. Hybrid Cultures: Strategies for Entering and Leaving Modernity, trans. Christopher L. Chiappari and Silvia L. López (Minneapolis: University of Minnesota Press, 1995);
11. Jesús Martín-Barbero, Communication, Culture and Hegemony: From the Media to Mediations, trans. Elizabeth Fox and Robert A. White (Newbury Park, Calif.: Sage Publications, 1993);
12. Beatriz Sarlo, El imperio de los sentimientos (Buenos Aires: Catálogos, 1985).
13. In "What's Left of the Intelligentsia? The Uncertain Future of the Printed Word", NACLA 28(September-October 1994):16-21
14. Beatriz Sarlo in her article, "Argentina under Menem: The Aesthetics of Domination", in the same issue of NACLA, 33-37
15. Rosario Ferré in Woman Writers of Latin America: Intimate Histories (Austin: University of Texas Press, 1988), 81-103
16. Juan Gelpí's Literatura y paternalismo en Puerto Rico (San Juan: Editorial de la Universidad de Puerto Rico, 1993), 171-82.
17. "Tradition and Innovation in the Writings of Puerto Rican Women", in Out of the Kumbla: Caribbean Women and Literature, ed. Carole Boyce Davies and Elaine Savory Fido (Trenton, N. J.: Africa World Press, 1990), 84.
18. Rosario Ferré, "¿Por qué quiere Isabel a los hombres?" in El coloquio de las perras (San Juan, P. R.: Editorial Cultural, 1990), 111-15.
19. The Youngest Doll (Lincoln: University of Nebraska Press, 1991), 147-51.
20. Ivette López Jiménez's "Papeles de Pandora: Devastación y ruptura", Sin nombre 14(October-December 1983):41-52
21. Margarite Fernández Olmos's "Luis Rafael Sánchez and Rosario Ferré: Sexual Politics and Contemporary Puerto Rican Narrative", Hispania 70(March 1987):40-46
22. "From a Woman's Perspective: The Short Stories of Rosario Ferré and Ana Lydia Vega", in Contemporary Women Authors of Latin America: New Essays, ed. Doris Meyer and Margarite Fernández Olmos (New York: Brooklyn College Press, 1983), 78-90.
23. María Inés Lago-Pope, "Sumisión y rebeldía: El doble o la representación de la alienación femenina en narraciones de Marta Brunet y Rosario Ferré", Revista Iberoamericana 51(July-December 1985):731-49
24. also focuses on a feminist analysis of both characters. Lorraine Elena Roses, in "Las esperanzas de Pandora: Prototipos femeninos en la obra de Rosario Ferré", Revista Iberoamericana nos. 162-63(January-June 1993):279-87
25. Luz María Umpierre's early article, "Un manifiesto literario: Papeles de Pandora de Rosario Ferré", Bilingual Review 2(May-August 1982):120-26
26. Juan Gelpí, Literatura, 161
27. Lucía Guerra Cunningham, "Tensiones paradójicas de la femineidad en la narrativa de Rosario Ferré", Chasqui 13(1984):13-25.
28. López Jiménez, "Papeles", 43.
29. Gelpí, Literatura, 1-16.
30. Henry Giroux, Border Crossings (New York and London: Routledge, 1992), 119.
31. Dominic Strinati, An Introduction to Theories of Popular Culture (New York: Routledge, 1995), 165-71:
32. Arcadio Díaz Quiñones's introductory essay, "Tomás Blanco: Racismo, historia, esclavitud", in Tomás Blanco, El prejuicio racial en Puerto Rico (Rio Piedras, P. R.: Ediciones Huracán, 1985): 15-91;
33. "Recordando el futuro imaginario: La escritura histórica en la década del treinta", Sin nombre 14, no. 3(1984):16-35;
34. Angel G. Quintero Rivera also has analyzed this phenomenon from a historical perspective in chapter 4 of Patricios y plebeyos: Burgueses, hacendados, artesanos y obreros: Las relaciones de clase en el Puerto Rico de cambio de siglo (Rio Piedras, P. R.: Ediciones Huracán, 1988).
35. Susan McClary, in Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), 3-34
36. Lucía Guerra-Cunningham, "Tensiones paradójicas", 22
37. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York and London: Routledge, 1990), viii-ix.
38. Samuel R. Quiñones, "Otra versión sobre el origen de la danza puertorriqueña", Revista del Instituto de Cultura Puertorriqueña 9, no. 30(1966):5-7
39. Cesáreo Rosa-Nieves, "Los bailes de Puerto Rico", Revista del Instituto de Cultura Puertorriqueña 65(October-December 1974):14-18
40. Marisa Rosado's anthology Ensayos sobre la danza puertorriqueña (San Juan: Instituto de Cultura Puertorriqueña, 1977);
41. Amaury Veray. Peter Manuel, in "Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa", Ethnomusicology 38, no. 2(spring/summer 1994):249-80
42. Amaury Veray, "Vida y desarrollo de la danza puertorriqueñ a", in Rosado, Ensayos, 24.
43. Sander Gilman, Difference and Pathology: Stereotypes of Sexuality, Race and Madness (Ithaca, N. Y.: Cornell University Press, 1985)
44. "Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine and Literature", in Race, Writing and Difference (Chicago: University of Chicago Press, 1985), 223-61.
45. Vera M. Kutzinski's Sugar's Secrets: Race and the Erotics of Cuban Nationalism (Charlottesville: University Press of Virginia, 1993), particularly the first chapter, "Imperfect Bodies", which traces the inscriptions of the mulatta in nineteenthcentury Cuban poetry as an overdetermined site of sexuality.
46. Salvador Brau, "La danza puertorriqueña" in Disquisiciones sociológicas y otros ensayos (Rio Piedras: Ediciones del Instituto de Literatura, University of Puerto Rico, 1956), 189-206.
47. Janos Marothy, Music and the Bourgeois, Music and the Proletarian (Budapest: Akademiai Kiado, 1974)
48. "La música bailable de los carnets: Forma y significado de su repertorio en Puerto Rico (1877-1930)", Revista Musical Puertorriqueña 5(January-June 1990):3-21.
49. Braulio Dueño Colón, "Estudio sobre la danza puertorriqueña" in Rosado, Ensayos, 14-22.
50. Díaz Díaz, "La música", 15.
51. Veray, "Vida y desarrollo", 25.
52. Brau, "La danza puertorriqueña", 198.
53. Veray, "Vida y desarrollo", 23.
54. Brau, "La danza puertorriqueña", 199.
55. Colón, "Estudio", 17.
56. Angel Quintero Rivera, Music, Social Classes, and the National Question in Puerto Rico (Rio Piedras: University of Puerto Rico, Centro de Investigaciones Sociales, 1987), 29-39.
57. Mariana Valverde, Sex, Power and Pleasure (Philadelphia: New Society Publishers, 1987), 150.
58. Brau, "La danza puertorriqueña", 205.
59. Quintero Rivera, "Music", 221.
60. Peter Manuel, "Puerto Rican Music", 252.
61. Brau, "La danza puertorriqueña", 204.
62. John Storms Roberts, in The Latin Tinge: The Impact of Latin American Music on the United States (New York and Oxford: Oxford University Press, 1979), considers Louis Moreau Gottschalk (1829-1869) "the most celebrated and welldocumented mid-century example of Latin influence on American music" (27). More recently, Federico A. Cordero reevaluted the influence of Gottschalk on Puerto Rican music in
63. "Sitial de honor de Louis Moreau Gottschalk en la historia de la danza puertorriqueña", Claridad, 7-13 September 1994, 29.
64. Brau, "La danza puertorriqueña", 205.
65. Juan Flores, "Cortijo's Revenge: New Mappings of Puerto Rican Culture", in Divided Borders: Essays on Puerto Rican Identity (Houston: Arte Público Press, 1993), 92;
66. Juan Flores, George Yúdice, and Jean Franco, eds., On Edge: The Crisis of Contemporary Latin American Culture (Minneapolis: University of Minnesota Press, 1992)
67. Centro de estudios Puertorriqueños bulletin 3(spring 1991):8-21.
68. Rivera, Music, 229.
69. José A. Balseiro, "La danza puertorriqueña", in Rosado, Ensayos, 13-14.
70. Margot Arce de Vázquez, Laura Gallego, and Luis de Arrigoitía, eds., Lecturas puertorriqueñas: Poesía (Sharon, Conn.: Troutman Press, 1968), 29-31.
71. Antonio S. Pedreira, Insularismo (San Juan: Biblioteca de Autores Puertorriqueños, 1942), 41-42.
72. Juan Flores's Relectura de Insularismo e ideología burguesa: Nueva lectura de A. S. Pedreira (Rio Piedras, P. R.: Ediciones Huracán, 1979)
73. Juan Angel Silén's Hacia una visión positiva del puertorriqueño (Rio Piedras, P. R.: Editorial Edil, 1970)
74. Juan G. Gelpí's Literatura y paternalismo en Puerto Rico (San Juan: Editorial de la Universidad de Puerto Rico, 1993).
75. John J. Johnson, Latin America in Caricature (Austin: University of Texas Press, 1980)
76. Ruth Glasser, My Music Is My Flag: Puerto Rican Musicians and Their Communities, 1917-1940. (Berkeley: University of California Press, 1995)
77. Peter Manuel, Popular Musics of the Non-Western World: An Introductory Survey (New York and Oxford: Oxford University Press, 1988), 22.
78. Peter Manuel, "Puerto Rican Music", 255.
79. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), 11.
80. Peter Bloch, La-Le-Lo-Lai: Puerto Rican Music and Its Performers (New York: Plus Ultra Publishers, 1973), 41.
81. Ignacio Cervantes's Creole danzas as "feminine" in La música en Cuba (Mexico City: Fondo de Cultura Económica, 1972), 226.
82. Doris Sommer, Foundational Fictions: The National Romances of Latin America (Berkeley: University of California Press, 1991).
83. Adela Rivera Montalvo, San Germán y La Borinqueña: Himno de Puerto Rico (San German, P. R.: Insertco, 1986), 11.
84. "Tradition and Innovation in the Writings of Puerto Rican Women", in Out of the Kumbla: Caribbean Women and Literature, ed. Carole Bryce Davies and Elaine Savory Fido (Trenton, N. J.: African World Press, 1970) 77.
85. Ruth Glasser, My Music, 27
86. Loida Figueroa, "María Dolores Rodríguez y Ponce de León; y Bonocio Tió y Segarra", Claridad, 18-24 November 1994, 16-17.
87. Cypess, "Tradition and Innovation", 77.
88. Rivera Montalvo, San Germán, 5.
89. Quintero Rivera, "Music", 34.
90. Fernando Ortiz, in La música afro-cubana (Madrid: Ediciones Júcar, 1975), 17
91. Top Hits Records and Tapes D-2134, 1981.
92. Edwin Meléndez and Edgardo Meléndez, eds., Colonial Dilemma: Critical Perspectives on Contemporary Puerto Rico (Boston: South End Press, 1993).
93. Mapeyé, Criollo y más, TeleCumbre LP-2002, 1986.
94. Tomás Blanco, "Elogio de la plena", Revista del Ateneo Puertorriqueño 1, no. 1(1935):97-106.
95. Juan Flores, "Bumbún and the Beginnings of la Plena", Centro de estudios Puertorriqueños bulletin 2(spring 1988), 16.
96. Flores, Divided Borders: Essays on Puerto Rican Identity (Houston: Arte Público Press, 1993).
97. Francisco López Cruz, La música folklórica de Puerto Rico (Sharon, Conn.: Troutman Press, 1967).
98. Flores, "Bumbún", 88.
99. Ruth Glasser's account of the origins of the plena in My Music Is My Flag, Puerto Rican Musicians and Their Communities, 1917-1940 (Berkeley: University of California Press, 1995), 171-77.
100. Flores, "Bumbún", 88.
101. Leonardo Acosta, in Música y descolonización (Havana, Cuba: Editorial Arte y Literatura, 1982), 167-75
102. Flores, "Bumbún", 85.
103. Edgardo Rodríguez Juliá, Puertorriqueños: Album de la Sagrada familia puertorriqueña (Madrid: Editorial Playor, 1988), 36.
104. Flores, "Bumbún", 89.
105. "Cortijo's Revenge", Centro de estudios Puertorriqueños bulletin 3(spring 1991), 8-21.
106. Flores, Divided Borders: Essays on Puerto Rican Identity (Houston: Arte Público Press, 1993).
107. Glasser, My Music, 177.
108. (Ruth Glasser, My Music, 175)
109. Rosario Ferré, "Una conciencia musical", in La escritora hispánica, ed. Nora Erro-Orthman and Juan Cruz-Mendizábal (Miami, Fla.: Universal, 1990).
110. Edgardo Rodríguez Juliá, "Llegó el Obispo de Roma" in Una noche con Iris Chacón (San Juan, P. R.: Editorial Antillana, 1986), 11-52.
111. My Music, 177-90.
112. Jorge Pérez Rolón, "La plena puertorriqueña: De la expresión popular a la comercialización musical", in Centro de estudios Puertorriqueños bulletin 3(spring 1991), 52.
113. Flores, "Bumbún", 85-86.
114. Pérez-Rolón, "La plena puertorriqueña", 53.
115. Néstor García Canclini, Las culturas populares en el capitalismo (Mexico: Nueva Imagen, 1982)
116. Transforming Modernity: Popular Culture in Mexico, trans. Lidia Lozano (Austin: Universtiy of Texas Press, 1993).
117. Ruth Glasser, My Music, 186-90.
118. Pérez-Rolón, "La plena puertorriqueña", 54.
119. Flores, "Bumbún", 86.
120. Peter Manuel, Cassette Culture: Popular Music and Technology in North India (Chicago: University of Chicago Press, 1993).
121. Tricia Rose, "Soul Sonic Forces" in Black Noise (Hanover, N. H. and London: University of New England Press, 1994).
122. Edgardo Rodríguez Juliá, El entierro de Cortijo (Rio Piedras, P. R.: Ediciones Huracán, 1983).
123. Flores, "Cortijo's Revenge", 98.
124. José Luis González, "El país de cuatro pisos" in El país de cuatro pisos y otros ensayos (Rio Piedras, P. R.: Ediciones Huracán, 1984), 30.
125. Rodríguez Juliá, El entierro de Cortijo, 70-71.
126. Rodríguez Juliá, Puertorriqueños, 36.
127. Rodríguez Juliá, "Llegó el Obispo de Roma."
128. Michel de Certeau, The Practice of Everyday Life (Berkeley and Los Angeles: University of California Press, 1984), 35-37.
129. Rodríguez Juliá, "Llegó el Obispo de Roma", 13.
130. My Music, 173-77.
131. Flores, "Cortijo's Revenge", 98.
132. Tomás Blanco, El prejuicio racial en Puerto Rico, ed. Arcadio Díaz Quiñones (Rio Piedras, P. R.: Ediciones Huracán, 1985).
133. Blanco, "Elogio de la plena", Revista del Instituto de Cultura Puertorriqueña 22(July-Sepember 1979):39-42.
134. "Cortijo's Revenge", 98.
135. Tomás Blanco, El prejuicio, 63.
136. Cuba in Sugar's Secrets: Race and the Erotics of Cuban Nationalism (Charlottesville: University Press of Virginia, 1993), 147-48
137. Gustavo Urruitia's Sunday Literary Supplement to Diario de la Marina entitled "Ideales de una Raza", and of Urruitia's constant efforts to emphasize "how much better race relations were in Cuba" in contrast to the United States.
138. Blanco, "Elogio de la Plena", 42.
139. Sander Gilman, Difference and Pathology: Stereotypes of Sexuality, Race and Madness (Ithaca, N. Y.: Cornell University Press, 1985), 223.
140. Manuel Moreno Fraginals, "Cultural Contributions and Deculturation", in Africa in Latin America: Essays in History, Culture, and Socialization (New York: Holmes and Meier, 1984), 11-12.
141. Debra Castillo in Talking Back: Toward a Latin American Feminist Literary Criticism (Ithaca, N. Y.: Cornell University Press, 1992), 162.
142. Frantz Fanon, Black Skin, White Masks, trans. Charles Lam Markmann (New York: Grove Press, 1967).
143. Blanco, El prejuicio racial, 130.
144. Alejo Carpentier, La música en Cuba (Mexico City: Fondo de Cultura Económica, 1946), 141.
145. Rosario Ferré, "Cuando las mujeres quieren a los hombres" in Papeles de Pandora (Mexico City: Joaquín Mortiz, 1976), 29;
146. "When Women Love Men", in The Youngest Doll (Lincoln: University of Nebraska Press, 1991), 135.
147. Edgardo Rodríguez Juliá, "Respeten, que hay damas", in Puertorriqueños: Album de la Sagrada familia puertorriqueña (Madrid: Editorial Playor, 1988), 54.
148. Sex, Power and Pleasure (Philadelphia: New Society Publishers, 1987), 157-58:
149. Elizabeth Grosz, Jacques Lacan: A Feminist Introduction (London and New York: Routledge, 1990), 128-29.
150. Rodríguez Juliá, "Respeten", 55.
151. Ferré, "Cuando las mujeres", 26;
152. "When Women Love Men", 133.
153. Ferré, "Cuando las mujeres", 26
154. "When Women Love Men", 133.
155. René Girard's Deceit, Desire and the Novel: Self and Other in Literary Structure, trans. Yvonne Freccero (Baltimore: Johns Hopkins University Press, 1965).
156. Valverde, Sex, 38.
157. Ferré, "When Women Love Men", 143.
158. Lorraine Elena Roses, "Las esperanzas de Pandora: Prototipos femeninos en la obra de Rosario Ferré", Revista Iberoamericana 162-63(January-June, 1993):270-87.
159. Sandra Cypess, "Tradition and Innovation in the Writings of Puerto Rican Women", in Out of the Kumbla: Caribbean Women and Literature, ed. Carole Boyce Davies and Elaine Savory Fido (Trenton, N. J.: Africa World Press, 1990), 84.
160. Debra Castillo, Talking Back: Toward a Latin American Feminist Literary Criticism (Ithaca, N. Y.: Cornell University Press, 1992), 159, 164.
161. Ferré, "When Women Love Men", 138-39.
162. Juan G. Gelpí, Literatura y paternalismo en Puerto Rico (San Juan: Editorial de la Universidad de Puerto Rico, 1993), 157.
163. Elizabeth Grosz, Jacques Lacan, 65.
164. Ferré, "When Women Love Men", 145.
165. Fernando Ortiz, Glosario de afronegrismos (Havana: Imprenta El Siglo XX, 1924), 461.
166. Margarite Fernández Olmos, "Desde una perspectiva femenina: La cuentística de Rosario Ferré y Ana Lydia Vega", Homines, 8, no. 2(1984-85):303-11.
167. Tomás Blanco, El prejuicio racial en Puerto Rico, ed. Arcadio Díaz Quiñones (Rio Piedras, P. R.: Ediciones Huracán, 1985), 40.
168. Vera M. Kutzinski, Sugar's Secrets: Race and the Erotics of Cuban Nationalism (Charlottesville: University Press of Virginia, 1993), 164-68.
169. "Jezebel and Mammy: The Mythology of Female Slavery", in Ar'n't I a Woman? Female Slaves in the Plantation South (New York: W. W. Norton, 1985), 27-61.
170. Zona de carga y descarga and reprinted in El cuento de la mujer del mar (Rio Piedras, P. R: Ediciones Huracán, 1979), 47-68.
171. García Márquez's "Mama grande."
172. Ferré, "Cuando las mujeres", 40.
173. Valverde, Sex, 43.
174. Ferré, "¿Porqué quiere Isabel a los hombres?" in El coloquio de las perras (San Juan: Editorial Cultural, 1990), 150.
175. Castillo, Talking Back, 163.
176. Rafael Falcón, "El tema del negro en el cuento puertorriqueño", Cuadernos hispanoamericanos: Revista mensual de cultura hispánica 451-52(January-February 1988):97-109.
177. Rosario Ferré, "Amalia", in Papeles de Pandora, 65-80.
178. The Youngest Doll, 47-58.
179. Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Noonday Press, 1989), 41-42.
180. Ferré's "La cocina de la escritura", in La sartén por el mango: Encuentro de escritoras latinoamericanas, ed. Patricia Elena González and Eliana Ortega (Rio Piedras, P. R.: Ediciones Huracán, 1985), 137-54.
181. Susan Andrade, "White Skin, Black Masks: Colonialism and Sexual Politics of Oroonoko", Cultural Critique 27(spring 1994), 189-214.
182. Rosario Ferré, "Una conciencia musical", in La escritora hispánica, ed. Nora Erro-Orthman and Juan Cruz-Mendizábal (Miami, Fla.: Universal, 1990).
183. Ferré, "Una conciencia", 8-9.
184. Ngugi Wa Thiong'o, Decolonising the Mind: The Politics of Language in African Literature (Portsmouth, N. H.: Heinemann, 1986), 17.
185. Ferré, "Maquinolandera", in Papeles de Pandora, 204-23.
186. Fernando Ortiz, La música afro-cubana (Madrid: Ediciones Júcar, 1975), 306-8.
187. Barthes, Pleasure of the Text, 61.
188. Kutzinski, Sugar's Secrets, 179, observes how formalist literary criticism has persistently "disguise[d] political choices as purely aesthetic ones";
189. Andreas Huyssen, "Mass Culture as Woman: Modernism's Other", in After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington and Indianapolis: Indiana University Press, 1986), 62.
190. Juan Flores and María Milagros López, "Dossier Puerto Rico", Social Text 38(spring 1994):93-95
191. Leonardo Padura, "Willie Colón: Algo distinto", La gaceta de Cuba, January-February 1992, 12.
192. Demetria Martínez's profile "The Salsa Padre", Vista: Focus on Hispanic Americans, 26 May 1990, 6-7, 12.
193. Lise Waxer, "Appropriation, Ethnicity, and the Negotiation of Insider-Outsider Roles in Latin Popular Music Performance." Paper presented at the 36th Annual Meeting of the Society for Ethnomusicology, Chicago, 10-13 October 1991.
194. Andrea Press and Elizabeth Cole, "Women like Us: Working-Class Women Respond to Television Representations of Abortion", in Viewing, Reading, Listening: Audiences and Cultural Reception, ed. Jon Cruz and Justin Lewis (Boulder, Colo.: Westview Press, 1994), 55-80.
195. César Miguel Rondón, El libro de la salsa: Crónica de la música del Caribe urbano (Caracas, Venezuela: Editorial Arte, 1980), 210.
196. Angel Quintero Rivera's Patricios y plebeyos: Burgueses, hacendados, artesanos y obreros (Rio Piedras, P. R.: Ediciones Huracán, 1988): 76-77.
197. "Salseros Jam until Morning", and Jaime Pieras documented the rock concert under "Rockers Give Fans an Earful."
198. Ana Maria García, Cocolos y rockeros documents the musical wars between salsa and rock music in Puerto Rico. Filmed in 1992, it received the Special Jury Award in San Juan's Cinemafest that year.
199. Tony Vega, "Tony Vega: Un salsero", Claridad 12-18(June 1992):20-21
200. Tony Vega, "Busca el ritmo", composed by Johnny Ortiz, in Tony Vega con la Orquesta de Willie Rosario, Rodven Records, TH-2972, 1992.
201. Castro Tirado, "Tony Vega", 20-21.
202. Wayka Pagán Agosto, "Esa humanidad no es casualidad: Andy Montañez", Claridad, 12-18 June 1992, 23.
203. Mark Slobin, "Micromusics of the West: A Comparative Approach", Ethnomusicology, 36(winter 1992):1-87.
204. Leonardo Padura, "Willie Colón: Algo distinto", La gaceta de Cuba, January-February 1992, 11.
205. Paris, "Primer festival de Salsa en París (entre logros y tropiezos)", Claridad, 3-9 March 1995, 24
206. Orquesta de la Luz, Somos diferentes, Sony Discos and BMG Victor, CDZ-80851, 1992.
207. Carmencita Delgado de Rizo, ed., Cancionero: Antología (Bogotá, Colombia: Ediciones Gamma, 1991), 351.
208. Guillermo Cabrera Infante, "El Son: El fantasma que recorre América", El Nuevo Día, 9 September 1984, 8.
209. "Salsa para una ensalada", in Rose S. Minc, ed., Literatures in Transition: The Many Voices of the Caribbean Area (Gaithersburg, Md.: Hispamérica and Montclair State College, 1982), 21-36.
210. Pierrette Hondagneu-Sotelo, "A Cultural History of Salsa, and Some Remarks on the Nature of Musical Creation and Meaning, Ethnic Identity, Hegemony and Resistance", master's thesis, University of California, Berkeley.
211. Rondón, Libro de la salsa, 182.
212. John Fiske, "The Jeaning of America", in Understanding Popular Culture (Boston: Unwin Hyman, 1989), 1-23.
213. Richard Middleton, Studying Popular Music (Milton Keynes, U. K., and Philadelphia: Open University Press, 1990), 7-11
214. Jeremy Marre and Hannah Charlton, Beats of the Heart: Popular Music of the World (London: Pluto Press, 1985), 73.
215. Leonardo Acosta, Música y descolonización (Havana: Editorial Arte y Literatura, 1982), 213.
216. Rondón's El libro de la salsa
217. Peter Manuel, Popular Musics of the Non-Western World: An Introductory Survey (New York and Oxford: Oxford University Press, 1988), 24-50;
218. Jorge Duany, "Popular Music in Puerto Rico: Toward an Anthropology of Salsa", Latin American Music Review 5(fall/winter 1984):186-216;
219. Hondagneu-Sotelo, "A Cultural History of Salsa";
220. Sue Steward, "Cuba and the Roots of Salsa", in Rhythms of the World, ed. Francis Hanly and Tim May (London: BBC Books, 1989), 24-37.
221. Rondón, El libro de la salsa, 20.
222. Sergio Santana in ¿ Qué es la salsa? Buscando la melodía (Medellín, Colombia: Ediciones Salsa y Cultura, 1992).
223. Peter Manuel, in "Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa", Ethnomusicology 38, no. 2 (spring-summer 1994)
224. Santana, ¿Qué es la salsa?, 76.
225. Félix M. Padilla, "Salsa: Puerto Rican and Latino Music", Journal of Popular Culture 24(Summer 1990):87-104.
226. Duany, "Popular Music in Puerto Rico", 187.
227. Steve Loza, in "The Origins of the Son", Aztlán 15, no. 1(1984), 107
228. Popular Musics, 30.
229. Cabrera Infante, "El Son: El fantasma que recorre América" and "Salsa para una ensalada." César Miguel Rondón honors Piñeiro's coining of the term salsa by using his song as an epigraph to his book.
230. Cabrera Infante, "Salsa para una ensalada", 35.
231. Leonardo Padura, "Willie Colón", 12.
232. Rondón, El libro de la salsa, 25.
233. Peter Manuel, "Puerto Rican Music", 270.
234. Hondagneau-Sotelo, "Cultural History of Salsa", 1-10.
235. Duany, "Popular Music in Puerto Rico", 195-97.
236. Hondagneau-Sotelo, "Cultural History of Salsa", 14-25.
237. Angel Quintero Rivera, Music, Social Classes, and the National Question in Puerto Rico (Rio Piedras: University of Puerto Rico, Centro de Investigaciones Sociales, 1987), 12, 31.
238. Angel Quintero Rivera, Music, Social Classes, and the National Question in Puerto Rico (Rio Piedras: University of Puerto Rico, Centro de Investigaciones Sociales, 1987), 6.
239. Víctor Hernández Cruz, Snaps (New York: Vintage Books, 1969), 77.
240. Quintero Rivera, Music, 8-9.
241. Theodor Adorno, "On Popular Music", in Studies in Philosophy and Social Science, vol. 9(New York: Institute for Social Research, 1941), 24-26.
242. Roberta L. Singer, "Tradition and Innovation in Contemporary Latin Popular Music in New York City", Latin American Music Review 4(fall-winter 1983), 194.
243. Ana Lydia Vega and Carmen Lugo Filippi, Vírgenes y mártires (Rio Piedras: Editorial Antillana, 1983), 81-88.
244. Jorge Duany, "Popular Music in Puerto Rico: Toward an Anthropology of Salsa", Latin American Music Review 5(fall-winter 1984):201
245. Manuel Cachán's analysis of this song as "a musical" version of the testimonio in Latin American literature, in "Bailando salsa con el super en Harlem: El testimonio caribeño del barrio", Apuntes postmodernos/Postmodern Notes, fall 1993, 59-64.
246. La verdadera historia de Pedro Navaja, produced by Teatro del Sesenta, is now considered a legend; it probably was the most popular dramatic piece ever performed in Puerto Rico.
247. "La verdadera historia de Pedro Navaja: Leyenda y actualidad", Claridad 26(August-1 September 1994), 16-17.
248. Vega, "Letra para salsa", in Vega and Lugo Filippi, Vírgenes y mártires, 88.
249. Juan G. Gelpí, Literatura y paternalismo en Puerto Rico (San Juan: University of Puerto Rico Press, 1993), 188-91.
250. "Discourse in the Novel", in The Dialogic Imagination: Four Essays by M. M. Bakhtin, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), 259-422.
251. Charley Gerard and Marty Sheller, SALSA! The Rhythm of Latin Music (Crown Point, Ind.: White Cliffs Media, 1989), 15.
252. Adorno, "On Popular Music", 41.
253. Richard Middleton, in Studying Popular Music (Milton Keynes, U. K., and Philadelphia: Open University Press, 1990), 34-63
254. Janos Marothy, Music of the Bourgeois, Music of the Proletariat (Budapest: Akademiai Kiado, 1974).
255. Adorno, "On Popular Music", 21-24.
256. George Lipsitz, Time Passages: Collective Memory and American Popular Culture (Minneapolis: University of Minnesota Press, 1990).
257. Middleton, Studying Popular Music, 268.
258. Peter Manuel, in his introduction to Popular Musics of the Non-Western World: An Introductory Survey (New York and Oxford: Oxford University Press, 1988), 2-3
259. Duany, "Popular Music in Puerto Rico", 187.
260. César Miguel Rondón, El libro de la salsa: crónica de la música del Caribe urbano (Caracus, Venezuela: Editorial Arte, 1980), 102.
261. John Shepherd, "Value and Power in Music: An English Canadian Perspective", in Relocating Cultural Studies: Developments in Theory and Research, ed. Valda Blundell, John Shepherd, and Ian Taylor (London and New York: Routledge, 1993), 175.
262. Manuel Cachán, "Bailando salsa", 60
263. Félix M. Padilla, "Salsa: Puerto Rican and Latino Music", Journal of Popular Culture 24(summer 1990):88.
264. Leonardo Padura, "Willie Colón: Algo distinto", La gaceta de Cuba, January-February 1992, 12.
265. Leonardo Acosta, Música y descolonización (Havana, Cuba: Editorial Arte y Literatura, 1982), 74
266. Peter Manuel, "Latin Music in the United States: Salsa and the Mass Media", Journal of Communication 41(winter 1991):110.
267. Jeremy Marre and Hannah Charlton, Beats of the Heart: Popular Music of the World (London: Pluto Press, 1985), 81.
268. Iain Chambers, Popular Culture: The Metropolitan Experience (London and New York: Methuen, 1986), 135.
269. Edgardo Díaz Díaz, "El repertorio de salsa en dos perspectivas genéricas", paper presented at the first meeting of Iberoamerican ethnomusicologists, Lisbon, Portugal, March 1994.
270. Revista musical puertorriqueña 5(January-June 1990):3-21.
271. Manuel Peña, "Ritual Structure in a Chicano Dance", Latin American Music Review 1, no. 47-73 (spring 1980);
272. José Limón's discussion about dancing as "a site of contestation" within the very dance itself, "at the point of dance production", in Dancing with the Devil: Society and Cultural Poetics in Mexican-American South Texas (Madison: University of Wisconsin Press, 1994), 164.
273. Díaz Díaz, "Repertorio de salsa", 37.
274. Limón, Dancing with the Devil, 49.
275. Edgardo Díaz Díaz, in "Repertorio de salsa", clearly documents through interviews with both men and women that men ascribe an exclusively physical and erotic meaning to dancing boleros (35), whereas women tend to be more wary of whom they choose to dance boleros with because they consider this intimate dance an expression of a serious emotional commitment (33-34).
276. Limón, Dancing with the Devil, 164.
277. Randy Martin, "Dance as a Social Movement" in Social Text 12:54-70.
278. Leslie Gotfrit, "Women Dancing Back: Disruption and the Politics of Pleasure", in Postmodernism, Feminism, and Cultural Politics: Redrawing Educational Boundaries, ed. Henry A. Giroux (Albany: State University of New York Press, 1991), 174-95.
279. Willie Colón, "The Rhythms", in The Portable Lower East Side (New York: The Portable Lower East Side, 1988), 9-12.
280. Adorno, "On Popular Music", 37-39.
281. Gotfrit, "Women Dancing Back", 176.
282. Limón, Dancing with the Devil, 165.
283. Gotfrit, "Women Dancing Back", 176.
284. Luis Rafael Sánchez, La importancia de llamarse Daniel Santos (Hanover, N. H.: Ediciones del Norte, 1988), 104.
285. Frances R. Aparicio, "Salsa, maracas, and baile: Latin popular music in the poetry of Víctor Hernández Cruz", MELUS 16(spring 1989-90):43-58.
286. Leslie Gotfrit, "Women Dancing Back: Disruption and the Politics of Pleasure", in Henry A. Giroux, ed., Postmodernism, Feminism, and Cultural Politics: Redrawing Educational Boundaries (Albany: State University of New York Press, 1993), 84.
287. Tim Padgett, Peter Katel, and Niko Price, "Crossover Dreamers", in Newsweek 4(November 1991), 75.
288. Leonardo Acosta, Música y descolonización (Havana, Cuba: Editorial Arte y Literatura, 1982), 31.
289. Cristóbal Díaz Ayala, Música cubana del Areyto a la Nueva Trova, 2nd ed. (San Juan, P. R.: Editorial Cubanacán, 1981), 127, 137.
290. Don Michael Randel, "Crossing Over with Rubén Blades", Journal of the American Musicological Society 44(summer 1991):301-23.
291. Acosta, Música y descolonización, 45.
292. "Other: From Noun to Verb", Representations 39(summer 1992):51-70.
293. Carlos Agudelo, "Latin Notas", Billboard (23 September 1989): 69.
294. George Lipsitz, Time Passages: Collective Memory and American Popular Culture (Minneapolis: University of Minnesota Press, 1990);
295. Jon Cruz, "Testimonies and Artifacts: Elite Appropriations of African American Music in the Nineteenth Century", in Viewing, Reading, Listening: Audiences and Cultural Reception, ed. Jon Cruz and Justin Lewis (Boulder: Westview Press, 1994): 125-41;
296. Nathaniel Mackey, "Other";
297. Acosta, Música y descolonización.
298. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place (New York and London: Verso, 1994)
299. Middleton, Studying Popular Music (Milton Keynes, U. K., and Philadelphia: Open University Press, 1990), 8-11.
300. Agudelo, "Latin Notas", 69.
301. Mackey, "Other", 64.
302. Jonathan Culler, "Reading Woman", in On Deconstruction: Theory and Criticism after Structuralism (Ithaca, N. Y.: Cornell University Press, 1982), 43-64;
303. Mary Jacobus, Reading Woman: Essays in Feminist Criticism (New York: Columbia University Press, 1986);
304. Pamela L. Caughie, "Women Reading/Reading Women: A Review of Some Recent Books on Gender and Reading", Papers in Language and Literature 24(summer 1988), 317-35;
305. Janice A. Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984, 1991).
306. Culler, "Reading Woman", 46.
307. Jane S. Jaquette, "Literary Archetypes and Female Role Alternatives: The Woman and the Novel in Latin America", in Female and Male in Latin America, ed. Ann Pescattello (Pittsburgh, Pa.: University of Pittsburgh Press, 1973), 3-27.
308. Neyssa Palmer, Las mujeres en los cuentos de René Marqués (Rio Piedras, P. R.: Editorial de la Universidad de Puerto Rico, 1988), 27.
309. Toril Moi, Sexual/Textual Politics: Feminist Literary Theory (1985; reprint London and New York: Routledge, 1990), 45.
310. Caughie, "Women Reading", 328.
311. Cathy Schwichtenberg, "Reconceptualizing Gender: New Sites for Feminist Audience Research", in Viewing, Reading, Listening: Audiences and Cultural Reception, ed. Jon Cruz and Justin Lewis (Boulder, Colo.: Westview Press, 1994), 171.
312. ("Reading Woman", 54).
313. Frances Aparicio", 'Así son': Salsa Music, Female Narratives, and Gender (De) Construction in Puerto Rico", Poetics Today 15(December 1994):659-84.
314. Mary Ellison, Lyrical Protest: Black Music's Struggle against Discrimination (New York: Praeger, 1989)
315. "Salsa y violencia: una aproximación sonoro- histórica", Revista Musical Puertorriqueña 4(July-December 1988):20-33
316. Iris M. Zavala, "De héroes y heroínas en lo imaginario social: El discurso amoroso del bolero", Casa de las Américas 30(March-April 1990):123-29.
317. René A. Campos, "The Poetics of the Bolero in the Novels of Manuel Puig", in World Literature Today 65(autumn 1991):637-42.
318. Un siglo de bolero (Mexico City: EDUSA, n. d.), vol. 5.
319. Cancionero: Antología, ed. Carmencita Delgado de Rizo (Bogotá, Colombia: Ediciones Gamma, 1991), 245
320. Zavala, "De héroes y heroínas", 124.
321. Luis Rafael Sánchez's La importancia de llamarse Daniel Santos (Hanover, N. H.: Ediciones del Norte, 1988), 104
322. Héctor Madera Ferrón in "El bolero es eterno", Un siglo de bolero, 3-5
323. Luis Rafael Sánchez, La importancia, 3.
324. Zavala, "De héroes y heroínas", 124.
325. Luis Miguel, Romance, Warner Music Netherlands CPXI-7150, 1991.
326. Zavala, "De héroes y heroínas", 125
327. Madera Ferrón, "El bolero es eterno", 4.
328. Chuíto y La Calandria, Siempre peleando, Ansonia Records ACS 1520.
329. Bachata: A Social History of a Dominican Popular Music (Philadelphia: Temple University Press, 1995), 164.
330. Daniel Santos y su conjunto, El retrato, Seeco Records SCLP-92870.
331. Sylvia Rexach, "Es tarde ya", in Alma adentro: Poemario de las más bellas canciones románticas de Sylvia Rexach, collected by Tutti Umpierre (San Juan, P. R.: Ramallo Brothers, 1987), 15.
332. Leonor García, in "Déjalo que se vaya", Cancionero, 101
333. Lolita de la Colina, "Ahora no", Cancionero, 18.
334. Sandra Lee Bartky, Femininity and Domination: Studies in the Phenomenology of Oppression (New York and London: Routledge, 1990), 67-68.
335. Don Fabián, "Infortunio", Cancionero, 178.
336. P. Galindo and E. Ramírez, "Malagueña", Cancionero, 247.
337. María Greever, "Maldición Gitana", Cancionero, 246.
338. "Un cigarrillo, la lluvia y tú", composed by Alberto Cortez and interpreted by Tito Rodríguez in Los grandes éxitos de Tito Rodríguez, West Side Latino, Th Rodven, CD-117, 1987.
339. Zavala, "De héroes y heroínas", 125.
340. Madera Ferrón, "El bolero", 3
341. Cancionero, 154.
342. Rafael Roncallo, Cancionero, 178 and 179, respectively.
343. René Touzet, "Conversación en tiempo de bolero", Cancionero, 78.
344. José Alfredo Jiménez, "Amanecí en tus brazos", Cancionero, 4.
345. That Cuban Cha-chachá: Orquesta Aragón, BMG Music 2446-2-RL, 1956.
346. "Flores negras" by Sergio De Carlo, Cancionero, 157.
347. Agustín Lara, "Arráncame la vida", Cancionero, 10.
348. Campos, "Poetics of the Bolero", 638.
349. Bartky, Femininity and Domination, 26.
350. Campos, "Poetics of the Bolero", 638.
351. "Nuestro balance", composed by C. Novarro and interpreted by Tito Rodríguez in Los grandes éxitos de Tito Rodríguez.
352. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura Económica, 1959).
353. Daniel Santos, "El que canta", Cancionero, 136.
354. "Is There a Fan in the House? The Affective Sensibility of Fandom", in The Adoring Audience: Fan Culture and Popular Media, ed. Lisa A. Lewis (London and New York: Routledge, 1992), 54
355. Hélène Cixous, "The Laugh of the Medusa", in New French Feminisms, ed. Elaine Marks and Isabel de Courtivron (New York: Schocken Books, 1981), 245-64.
356. Campos, "Poetics of the Bolero", 638.
357. Julia Kristeva, in "Don Juan, or Loving to Be Able To", in Tales of Love, trans. Leon S. Roudiez (New York: Columbia University Press, 1987), 191-208
358. Luis Rafael Sánchez, La importancia, 205.
359. Zavala, "De héroes y heroínas", 125.
360. Jorge A. Morales, Baladas de vellonera y otras consideraciones (San Juan, P. R.: Editorial Easymoving Co., 1981), 1.
361. Caracas Boy, "Las muchachas" was included in the Sonora Matancera's recording celebrating its sixtieth anniversary: Sexagésimo Aniversario de la Sonora Matancera, Discos Peerless, MC-TV 4003-9, 1984.
362. Edgardo Rodríguez Juliá, "El veranazo en que mangaron a Junior", in El cruce de la Bahía de Guánica (Rio Piedras, P. R.: Editorial Cultural, 1989), 99-130.
363. Edgardo Rodríguez Juliá, "Una noche con Iris Chacón", in Una noche con Iris Chacón (San Juan, P. R.: Editorial Antillana, 1986), 102-49.
364. Juliá's historical novel, La noche oscura del Niño Avilés (Rio Piedras, P. R.: Ediciones Huracán, 1984).
365. Orquesta Aragón, "Tan Sabrosona", BMG Music, 2446-2-RL, 1956.
366. Vera Kutzinski, Sugar's Secrets: Race and the Erotics of Cuban Nationalism (Charlottesville: University of Virginia Press, 1993), 172.
367. Fernando Ortiz, La música afro-cubana (Madrid: Biblioteca Júcar, 1975), 35.
368. Enrique Fernández, "Salsa × 2", in Currents from the Dancing River: Contemporary Latino Fiction, Nonfiction, and Poetry, ed. Ray González (New York: Harcourt Brace and Co., 1994), 1-10.
369. Antonio Benítez Rojo's The Repeating Island, trans. James E. Maraniss (Durham, N. C.: Duke University Press, 1992)
370. Fernández, "Salsa × 2", 1.
371. Sandra Lee Bartky's "Feeding Egos and Tending Wounds: Deference and Disaffection in Women's Emotional Labor", in Femininity and Domination: Studies in the Phenomenology of Oppression (New York and London: Routledge, 1990), 99-119.
372. Female Desires: How They Are Sought, Bought and Packaged (New York: Grove Weidenfeld, 1985)
373. Catherine Guzmán, "Pónmelo ahí que te lo voy a partir: Sex and Violence in the Merengue", in Popular Culture and Literature in the Hispanic World: A Symposium, ed. Rose Minc (Gaithersburg, Md.: Hispamérica, 1981), 173-83.
374. Gerardo, "Rico Suave", Mo'Ritmo, Interscope Records 7-91619-4, 1991;
375. El General, "Te ves buena", Meren-Rap, Prime Entertainment, 3229-4-RL, 1991;
376. "Las mujeres de San Diego", lyrics by Lucho Bermúdez and Ramón de Zubiría, Cancionero, 225.
377. Deborah Pacini Hernández, Bachata: A Social History of a Dominican Popular Music (Philadelphia: Temple University Press, 1995), 173-78.
378. Rodríguez Juliá, "El veranazo", 108.
379. Robin Roberts, "Music Videos, Performance and Resistance: Feminist Rappers", Journal of Popular Culture 25(fall 1991):149.
380. Fransheska, Menéalo, New York, Prime Records, 3207-4-RL, 1991.
381. Ortiz, La música afro-cubana, 36.
382. Lisa M, "Taste the Flavor of the Latin", Flavor of the Latin, Sony Discos DCC 80687, 1991.
383. Sylvia Walby, Theorizing Patriarchy (Oxford and Cambridge: Basil Blackwell, 1990), 107.
384. Bartky, Femininity and Domination, 74.
385. Judith Ortiz Cofer, "So Much for Mañana", in Terms of Survival (Houston: Arte Público Press, 1987), 37.
386. Santi y sus Duendes, "La gordita", Meren-Rap.
387. Toña La Negra, "La Negrita Concepción", Toña la Negra: La sensación jarocha, Discos Peerless MCP 2519-7, 1991.
388. Alba Nydia Rivera Ramos, ed., La mujer puertorriqueña: Investigaciones psicosociales (Rio Piedras, P. R.: Editorial Edil, 1991)
389. La mujer en Puerto Rico, ed. Yamila Azize Vargas (Rio Piedras, P. R.: Ediciones Huracán, 1987);
390. La mujer en la sociedad puertorriqueña, ed. Edna Acosta Belén (Rio Piedras: Ediciones Huracán, 1980);
391. Margarita Ostolaza Rey, Política sexual en Puerto Rico (Rio Piedras, P. R.: Ediciones Huracán, 1989).
392. Rivera Ramos and Acevedo, "Actitudes", 15.
393. Carmencita Delgado de Rizo, ed., Cancionero: Antología (Bogotá, Colombia: Ediciones Gamma, 1991), 399
394. María Herrera-Sobek, The Mexican Corrido: A Feminist Analysis (Bloomington: Indiana University Press, 1990)
395. Anna M. Fernández Poncela, in "La constitución del género a través de la cultura popular: Cuentos y leyendas", paper presented at the third Coloquio del Programa Interdisciplinario de Estudios de la Mujer (PIEM), at the Colegio de México, Mexico City, November 1993, arrives at similar conclusions regarding the negative textualization of women who disobey and the concomitant idealization of the figures of the mother and the virgin.
396. Sander Gilman, Difference and Pathology: Stereotypes of Sexuality, Race and Madness (Ithaca, N. Y.: Cornell University Press, 1985), 17-18.
397. César Miguel Rondón, El libro de la salsa: Crónica de la música del Caribe urbano (Caracas, Venezuela: Editorial Arte, 1980), 32.
398. John Fiske, Understanding Popular Culture (Boston: Unwin Hyman, 1989), 168
399. Jessica Benjamin, "The Bonds of Love: Rational Violence and Erotic Domination" in The Future of Difference, ed. Hester Eisenstein and Alice Jardine (New Brunswick, N. J.: Rutgers University Press, 1990), 41-70
400. José Arteaga Rodríguez's article, "Salsa y violencia: Una aproximación sonoro-histórica", Revista Musical Puertorriqueña 4(July-December 1988):20-33
401. Peter Manuel's historical summary of salsa, "The Soul of the Barrio: 30 Years of Salsa", NACLA: Report on the Americas 28(September/October 1994):22-26, 28-29
402. "La salsa, ¿en contra de la mujer?" El nuevo día, 7 March 1979, pp. 21, 22
403. Virginia W. Cooper, "Women in Popular Music: A Quantitative Analysis of Feminine Images over Time", Sex Roles 13, nos. 9-10(1985):499-506
404. Timothy E. Scheurer, "Goddesses and Golddiggers: Images of Women in Popular Music of the 1930s", Journal of Popular Culture 24(summer 1990):23-38.
405. Robin D. G. Kelley, "Kickin' Reality, Kickin' Ballistics: Gangsta Rap and Postindustrial Los Angeles", in Race Rebels: Culture, Politics, and the Black Working Class (New York: The Free Press, 1994), 183-227;
406. Tricia Rose, "Never Trust a Big Butt and a Smile", Camera Obscura 23(1991):109-31.
407. "Kickin' Reality", p. 4.
408. "Feminist Movement to End Violence", Feminist Theory: From Margin to Center (Boston: South End Press, 1984), 121.
409. Ostolaza Rey, "Política sexual", 43.
410. Septeto Nacional de Ignacio Piñeiro, Sones cubanos, Seeco SCCA-9278, 1992.
411. Sonia López y su combo, "Castígalo", Sonia López PDC-8701.
412. Daniel Santos, "Yo la mato", guaracha included in Daniel Santos y su conjunto de sociedad, vol. 2, Ansonia ALP 1234
413. Lisa M's "Ingrato", Flavor of the Latin, Sony Discos DCC 80687, 1991.
414. Las Chicas del Can, Explosivo, Rodven Records, 2970, 1992.
415. Delgado de Rizo, ed., Cancionero, 126.
416. Comisión para los Asuntos de la Mujer, Ley para la prevención e intervención con la violencia doméstica (No. 54, 15 August 1989, San Juan, Puerto Rico), 1.
417. Doris Knudson", 'Que nadie se entere': La esposa maltratada en Puerto Rico", in Yamila Azize Vargas, ed., La mujer en Puerto Rico (Rio Piedras, P. R.: Ediciones Huracán, 1987), 148.
418. Bienvenido Benes, "La cárcel de Sing-Sing", Cancionero, 189.
419. Latin America, El hombre cuando es hombre
420. Benjamin, "The Bonds of Love", 49.
421. "How to Tame a Wild Tongue" in Borderlands/La Frontera (San Francisco: Spinsters/Aunt Lute, 1987): 53-64.
422. Rivera Ramos and Acevedo, "Actitudes", 13-16.
423. El Gran Combo de Puerto Rico, "Oprobio", Aquí no se sienta nadie, Combo, Rico Record Productions RCSLP 2013, 1979.
424. Héctor Lavoe, "Bandolera", Comedia, Fania Records JM-00522, 1978.
425. Scheurer in "Goddesses and Golddiggers", 23-38
426. Kelley, "Kickin' Reality", 217.
427. Galician legends in Bandolerismo, Romerías y jergas gallegas (La Coruña, Spain: Editorial La Voz de Galicia, 1980).
428. "Pepa A Loba, figura cumbre del bandolerismo gallego" (29-43).
429. Constancio Bernaldo de Quiros y Pérez and Luis Ardila, El bandolerismo andaluz (Madrid: Ediciones Turner, 1973), 213-14.
430. Pedro Conga y su Orquesta Internacional, "Ladrona de amor", No te quites la ropa, Discos Musart CMPI 8008;
431. Rubén Blades, "Ella se esconde", Caminando, Sony Records International DCC 80593, 1991.
432. "Ladrona de besos", a bolero composed by Ramón Inclán, in Siglo de bolero (Mexico City: EDUSA), 57.
433. Son de Azúcar, "Devoradora", Más dulce!, Sony Discos DIC-80681, 1991. Copyright © 1991 Sony/ATV Music Publishing LLC.
434. Milly y los vecinos, "Ese hombre", 14 Grandes Exitos Originales, Capital Records H4F-42486, 1991.
435. La India, "Ese hombre", in Dicen que soy, Sony Records CDZ-81373, 1994. La India appeared performing this song as the closing cut in the television series New York Undercover.
436. Celia Cruz and Johnny Pacheco, "Las divorciadas", De nuevo, Música Latina Internacional, Vaya Records 4XT JMVS-106, 1985.
437. Celia Cruz, "Que le den candela", in Irrepetible, Sony Discos CDZ-81452, 1994.
438. Lisa M and Santy y sus Duendes, "Tu Pum Pum", Meren-Rap, Prime Entertainment, 3229-4-RL, 1991.
439. El Gran Combo de Puerto Rico, "Psicología", Treinta años de sabor: Gracias!, Combo Records RCSA-2090, 1992.
440. Sandra Lee Bartky, "Foucault, Femininity, and the Modernization of Patriarchal Power", in Femininity and Domination: Studies in the Phenomenology of Oppression (New York and London: Routledge, 1990), 63-82.
441. Karen E. Petersen, "An Investigation into Women-Identified Music in the United States", in Women and Music in Cross-Cultural Perspective, ed. Ellen Koskoff (Urbana and Chicago: University of Illinois Press, 1989), 203-12.
442. Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington and Indianapolis: Indiana University Press, 1986), 62.
443. Cristóbal Díaz Ayala, Música cubana, del Areyto a la Nueva Trova, 2nd ed. (San Juan, P. R.: Editorial Cubanacán, 1981);
444. Pedro Malavet Vega, La vellonera está directa: Felipe Rodríguez (La Voz) y los años 50, 3rd ed. (Rio Piedras, P. R.: Ediciones Huracán, 1987), and Del bolero a la Nueva Canción (Ponce, P. R.: Editora Corripio, 1988);
445. Un siglo de bolero [author unknown] (Mexico: EDUSA, n. d.).
446. Díaz Ayala, Música cubana, 152-54
447. Umberto Valverde and Rafael Quintero, Abran paso: Historia de las orquestas femeninas de Cali (Cali, Colombia: Universidad del Valle, 1995), 37-49.
448. Rayda Cotto, "La mujer negra en la música folklórica y popular en Puerto Rico", Claridad, 25 September-1 October 1992, 25.
449. "Somos un solo pueblo." Albita, whose CD No se parece a nada (Sony Music Entertainment, EK66966, 1995)
450. Taken from Quince éxitos de Toña La Negra: Versiones originales, RCA/Ariola Internacional, CSC-1270, 1986.
451. Coqui Santaliz, "Bolero de mujer", Claridad, 16-22 April 1993, 21.
452. Malavet Vega, La vellonera está directa, 196
453. Díaz Ayala, Música cubana, 228-57.
454. Díaz Ayala, Música cubana, 274
455. Jon Pareles, "La Lupe, a Singer, Is Dead at 53; Known as 'Queen of Latin Soul'", New York Times Obituaries, 7 March 1992.
456. Pareles, "La Lupe", 11.
457. Díaz Ayala, Música cubana, 274.
458. César Miguel Rondón, El libro de la salsa: Crónica de la música del Caribe urbano (Caracas, Venezula: Editorial Arte, 1980), 208.
459. Héctor Monclova Vázquez, "La Lupe más allá del mismo cuento", Claridad, 23-29 September 1994, 24
460. "La Tirana", La Lupe: The Best, Sony Discos CDZ-81108, 1993.
461. La Lupe: One of a Kind/Unica en su clase, Tico Records TSLP-1416, 1977
462. La Lupe: En algo nuevo, Música Latina Internacional JMTS-1438, 1980;
463. Tito Puente, Tito Puente and La Lupe: La Pareja, Tico Records JMTS-1430, 1978.
464. Rondón, El libro de la salsa, 211-13, 221-23.
465. In La Lupe: The Best.
466. Marty Sheller, in La Lupe: One of a Kind.
467. "Dueña del cantar", in La Lupe: One of a Kind.
468. El Gran Combo de Puerto Rico, Aquí no se sienta nadie, Combo Records RCLSP-2013, 1979.
469. Jean Franco, "What's Left of the Intelligentsia? The Uncertain Future of the Printed Word", NACLA 28(September-October 1994):21.
470. José-Luis González, El país de cuatro pisos y otros ensayos (Rio Piedras: Ediciones Huracán, 1983), p. 21
471. John Fiske, "productive pleasure" is that "pleasure which results from [a] mix of productivity, relevance, and functionality, which is to say that the meanings I make from a text are pleasurable when I feel that they are my meanings and that they relate to my everyday life in a practical, direct way" (Understanding Popular Culture [Boston: Unwin Hyman, 1989]), 57.
472. Lawrence Grossberg, "Is There a Fan in the House? The Affective Sensibility of Fandom", in The Adoring Audience: Fan Culture and Popular Media, ed. Lisa A. Lewis (London and New York: Routledge, 1992), 50-65.
473. Jon Cruz and Justin Lewis, eds., Viewing, Reading, Listening: Audiences and Cultural Reception (Boulder, Colo.: Westview Press, 1994), 15.
474. Andreas Huyssen, "Mass Culture as Woman: Modernism's Other", in After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington and Indianapolis: Indiana University Press, 1986), 62.
475. (Iris M. Zavala, in "Las formas y funciones de una teoría crítica feminista: Feminismo dialógico", in Breve historia feminista de la literatura española [en lengua castellana] [Barcelona: Anthropos; San Juan: Editorial de la Universidad de Puerto Rico, 1993], 74).
476. Tania Modleski, "Femininity as Mas (s) querade", in Feminism without Women: Culture and Criticism in a "Postfeminist" Age (New York: Routledge, 1991), 32.
477. Fiske, Understanding Popular Culture, 121-22.
478. Pierre Bourdieu's previous discussion of the "disgust at the facile" in Distinction: A Social Critique of the Judgement of Taste (Cambridge, Mass.: Harvard University Press, 1984), 486-88.
479. Pedro Malavet Vega, La vellonera está directa: Felipe Rodríguez (La Voz) y los años 50, 3rd ed. (Rio Piedras, P. R.: Ediciones Huracán, 1987), 393-409.
480. Ana Lydia Vega and Carmen Lugo Filippi, "Cuatro selecciones por una peseta", in Vírgenes y mártires, 127-37.
481. Mayra Muñoz Vázquez, "Matrimonio y divorcio en Puerto Rico", in La mujer en la sociedad puertorriqueña, ed. Edna Acosta-Belén (Rio Piedras, P. R.: Ediciones Huracán, 1980), 211-25.
482. "La experiencia del divorcio desde la perspectiva de un grupo de mujeres puertorriqueñas", in La mujer en Puerto Rico: Ensayos de investigación, ed. Yamila Azize Vargas (Rio Piedras, P. R.: Ediciones Huracán, 1987), 155-70
483. Vega and Lugo Filippi, "Cuatro selecciones", 132, 134.
484. Adorno, "On Popular Music", in Studies in Philosophy and Social Science, vol. 9(New York: Institute for Social Research, 1941), 42.
485. Vega and Lugo Filippi, "Cuatro selecciones", 137.
486. Federico Subervi-Vélez and Nitza M. Hernández-López, "Mass Media in Puerto Rico" (with the assistance of Aline Frambes-Buxeda), Centro de Estudios Puertorriqueños Bulletin 3(winter 1990-91):17-31.
487. Vega and Lugo Filippi, "Cuatro selecciones", 129.
488. Cathy Schwichtenberg, "Reconceptualizing Gender: New Sites for Feminist Audience Research", in Viewing, Reading, Listening: Audiences and Cultural Reception, ed. Jon Cruz and Justin Lewis (Boulder, Colo.: Westview Press, 1994), 171.
489. Manthia Diawara et al., "A Symposium on Popular Culture and Political Correctness", Social Text 36(fall 1993):1-39.
490. John Fiske, Understanding Popular Culture (Boston: Unwin Hyman, 1989), 168.
491. Grossberg, in "Is There a Fan in the House? The Affective Sensibility of Fandom", in The Audience: Fan Culture and Popular Media, ed. Lisa A. Lewis (London and New York: Routledge, 1992)
492. Janice Radway, "Interpretive Communities and Variable Literacies: The Function of Romance Reading", in Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies, ed. Chandra Mukerji and Michael Schudson (Los Angeles and Berkeley: University of California Press, 1991), 465-86.
493. Daedalus 113(summer 1974), 3.
494. Tania Modleski, "Some Functions of Feminist Criticism; Or, the Scandal of the Mute Body", in Feminism without Women: Culture and Criticism in a "Postfeminist" Age (New York: Routledge, 1991), 38.
495. "Las formas y funciones de una teoría crítica feminista. Feminismo dialógico", in Breve historia feminista de la literatura española (en lenqua castellana) (Barcelona: Anthropos; San Juan: Editorial de la Universidad de Puerto Rico, 1993), 54.
496. Willie Colón, "Cuando fuiste mujer", in Legal Alien/Top Secrets, WAC Productions JM655, 1989.
497. Hélène Cixous, "The Laugh of the Medusa", in New French Feminisms, ed. Elaine Marks and Isabel de Courtivron (New York: Schocken Books, 1981) 249.
498. Judith Ortiz Cofer, "Quinceañera", in Silent Dancing (Houston: Arte Público Press, 1990), 132-40.
499. Silent Dancing, 47
500. Terms of Survival (Houston: Arte Público Press, 1987), 9.
501. Angela McRobbie and Jenny Garber, "Girls and Subcultures", in Resistance through Rituals: Youth Subcultures in Post-War Britain, ed. Stuart Hall and Tony Jefferson (London: Hutchinson, 1976), 216.
502. Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984), 211-12
503. Henry A. Giroux and Roger I. Simon, "Popular Culture as a Pedagogy of Pleasure and Meaning: Decolonizing the Body", in Henry A. Giroux, Border Crossings: Cultural Workers and the Politics of Education (New York: Routledge, 1993), 192
504. Giroux and Simon, "Popular Culture", 189.
505. G. Tuchman, et al., eds. Hearth and Home: Images of Women in the Mass Media (New York: Oxford University Press), 1988.
506. Dominic Strinati, An Introduction to Theories of Popular Culture (London and New York: Routledge, 1995), 178-89.
507. Wild Mango, Made in Mango, Redwood Records RR9402CD, 1994.
508. Olga Tañón, Siente el amor, WEA Latina W2-97881-2, 1994.
509. Celia Cruz, Irrepetible, RMM Records CDZ-81452, 1994.
510. Willie Colón, Hecho en Puerto Rico, Sony Discos CDZ-81040, 1993.
511. Wilson Valentín, "Memorializing Héctor Lavoe: Cultural Heroes and Popular Music in the Puerto Rican Community." Paper presented at the Second Puerto Rican Studies Association Conference, San Juan, September 26-29, 1996.
512. Néstor García Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity, trans. Christopher L. Chiappari and Silvia L. López (Minneapolis: University of Minnesota Press, 1995), 229.
513. Sara del Valle, "Salsa Sinfónica: Un concierto balanceado", Claridad, 7-13 June 1996, 30.
514. Jeremy Marre and Hannah Charlton, Beats of the Heart: Popular Music of the World (London: Pluto Press, 1985), 80.
515. Néstor García Canclini, Hybrid Cultures, 93.
516. Jesús Martín Barbero, Communication, Culture and Hegemony: From the Media to Mediations, trans. Elizabeth Fox and Robert A. White (London: Sage Publications, 1993), 222-23.