Frances R. Aparicio - Listening to salsa: gender, Latin popular music, and Puerto Rican cultures

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title	:	Listening to Salsa : Gender, Latin Popular Music, and Puerto Rican Cultures Music/culture
author	:	Aparicio, Frances R.
publisher	:	Wesleyan University Press
isbn10 | asin	:	0819563080
print isbn13	:	9780819563088
ebook isbn13	:	9780585370903
language	:	English
subject	Salsa (Music)--Puerto Rico--History and criticism, Feminism and music.
publication date	:	1998
lcc	:	ML3535.5.A63 1998eb
ddc	:	781.64
subject	:	Salsa (Music)--Puerto Rico--History and criticism, Feminism and music.

Page i Listening to Salsa

Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Upside Your Head! Rhythm and Blues on Central Avenue by Johnny Otis Dissonant Identities: The Rock'n' Roll Scene in Austin, Texas by Barry Shank Black Noise: Rap Music and Black Culture in Contemporary America by Tricia Rose Club Cultures: Music, Media and Subcultural Capital by Sarah Thornton Music, Society, Education by Christopher Small Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures by Frances Aparicio Any Sound You Can Imagine: Making Music/Consuming Technology by Paul Thberge Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater by Edward Herbst A Thousand Honey Creeks Later: My Life in Music from Basie to Motownand Beyond by Preston Love Musicking: The Meanings of Performing and Listening by Christopher Small Music of the Common Tongue: Survival and Celebration in African American Music by Christopher Small Singing Archaeology: Philip Glass's Akhnaten by John Richardson Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience by Harris M. Berger

Page iii Listening to Salsa Gender, Latin Popular Music, and Puerto Rican Cultures Frances R. Aparicio

Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 1998 by Frances R. Aparicio All rights reserved Printed in the United States of America 5 4 3 2 CIP data appear at the end of the book ACKNOWLEDGMENTS Every effort has been made to obtain permission from the copyright holders to reproduce the photograph on page 144. A partial and earlier version of chapters 11 and 12 appeared in "'As Son': Salsa Music, Female Narratives, and Gender (De)Construction in Puerto Rico," Poetics Today, Winter 1994. Lyrics from "Ligia Elena" and "Ella se esconde" reprinted with permission of Rubn Blades Publications. "Lleg de Roma" by Manuel Jimnez Canario, also known as "El Obispo." Copyright 1959 by Peer International Corporation. Copyright Renewed. International Copyright Secured. Used by Permission. "Tintorera del Mar" by Manuel Jimnez Canario. Copyright 1978 by Peer International Corporation. International Copyright Secured. Used by Permission. "Cuando las Mujeres Quieren a los Hombres" by Manuel Jimnez Canario. Copyright 1930 by Peer International Corporation. Copyright Renewed. International Copyright Secured. Used by Permission. "Somos Diferentes" by Pablo Beltrn Ruiz. Copyright 1945 by Editorial Mexicana de Msica Internacional S.A. Administered by Peer International Corporation. Copyright Renewed. International Copyright Secured. Used by Permission. "Obsession" by Pedro Flores. Copyright 1947 by Peer International Corporation. Copyright Renewed. International Copyright Secured. Used by Permission. "Mujer" by Agustn Lara. Copyright 1931 by Peer International Corporation. Copyright Renewed. International Copyright Secured. Used by Permission. "Arrncame la Vida" by Agustn Lara. Copyright 1934 by Promotora Hispano Americana de Msica S.A. Administered by Peer International Corporation. Copyright Renewed. International Copyright Secured. Used by Permission. Continued on page 279

Page v Dedicated to the puertorriqueas in my life, to Mamita, my hermanas Diana and Vivian, to my hijas chicana-riqueas Gabriela and Camila, and to all my Latina compaeras in culture.

Page vii CONTENTS List of Illustrations ix Preface xi Part I The Danza and the Plena: Racializing Women, Feminizing Music 1 A Literary Prelude 3 Chapter 1 A White Lady Called the Danza 8

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