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Notes to Pages xii–xviii / 247 Notes Preface 1. Elmer González’s article on Deddie Romero “Desde Borinquen” (Latin Beat, September 1994, 10), begins precisely by discussing women’s lack of visibility in the circulation of salsa music, particularly in radio programming. Likewise, Franz Reynold, in “Ritmo: La música de hoy” (Latin Beat, September 1994, pp. 18–19) initially frames his article by denouncing how “the nurturing of quality female singers and songwriters appears to be a low, or no, priority” (18) and how Latinas still remain “musically enshrined in boleros, bachatas, and baladas,” that is, as inspiration rather than as authors. 2. This gender-marked invisibility does not reside exclusively in the symbolic realm but affects the economic circulation of women’s musical productions. That is, practices of distribution and marketing for women’s CDs are much more limited than for men’s, as my own research experience revealed. I want to thank the staff at Schooolkid’s Records in Ann Arbor, Michigan, for their help in locating many of the Latina women’s CDs. 3. A similar representational tension is played out in Umberto Valverde and Rafael Quintero’s recent publication, Abran paso: Historia de las orquestas femeninas de Cali (Cali, Colombia: Universidad del Valle, 1995). While this book constitutes a first and important ethnographic documentation on the phenomenon of women’s salsa bands in Cali, the male gaze behind the photographic texts subtly (and not so subtly) undermines the authorship and subjectivity of the women’s voices as they are articulated throughout the interviews. 4. Ibid., 6. 5. I analyze these difficulties in more detail in Part Three of this study. 6. See 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). 7. 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. See also 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). 8. See Deborah Pacini Hernández, Bachata: A Social History of a Dominican Popular Music (Philadelphia: Temple University Press, 1995), 158–72. 9. See Ariel Dorfman and Armand Mattelart, Para leer al Pato Donald (Valparaíso, Chile: Ediciones Universitarias, 1971); Néstor García Canclini, Transforming Modernity: Popular Culture in Mexico, trans. Lidia Lozano (Austin: University of Texas Press, 1993), and Hybrid Cultures: Strategies for Entering and Leaving Modernity, trans. Christopher L. Chiappari and Silvia L. López (Minneapolis: University of Minnesota Press, 1995); 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); and Beatriz Sarlo, El imperio de los sentimientos (Buenos Aires: Catálogos, 1985). 10. In “What’s Left of the Intelligentsia? The Uncertain Future of the Printed Word,” NACLA 28 (September–October 1994): 16–21, Jean Franco traces how the literary intelligentsia in the past had acted as the “voice of the oppressed,” mediating for the popular sectors and acting as “advocates of social change.” Now, with the advent of mass culture and new technologies of communication, and with the ascendancy of the visual image and of popular music over the printed word, writers and intellectuals are forced to redefine their aesthetics, forms and genres in order to reach a larger public. A more nostalgic and troubled defense is posited by Beatriz Sarlo in her article, “Argentina under Menem: The Aesthetics of Domination,” in the same issue of NACLA, 33–37, in which she analyzes how Carlos Menem’s image and politics have in fact been mediated and controlled by what could be called a televisual ethos. In her analysis, she concludes with an exhortation for the return of the intelligentsia in defining nation: “Intellectuals—especially Left intellectuals —can play a decisive role in producing new ideas about how the media can be used in a democratic, reflexive, imaginative and transparent manner. Certainly, these new ideas would confront an enormously concentrated power” (37). However , what she fails to note in this programmatic call is the power of the intelligentsia itself (in which she clearly participates), to exclude nonacademic Others from processes of cultural...