ac know ledg ments
This book was immeasurably improved by the many friends and colleagues
who read chapter drafts, discussed theoretical issues, made crucial suggestions,
wrote letters of support, and in a few cases, shared source material. I am particu-
larly grateful to Ezequiel Adamovsky, Jeremy Adelman, Paulina Alberto, Paula
Alonso, Jason Borge, Alejandra Bronfman, Lila Caimari, Illa Carrillo Rodríguez,
Oscar Chamosa, Chris Ehrick, Eduardo Elena, Sandra Gayol, Danny James, Deb-
orah Kaplan, Valeria Manzano, Andrea Matallana, Michael O’Malley, Fabiola
Orquera, Silvana Palermo, Pablo Palomino, Fernando Ríos, Karin Rosemblatt,
Jessica Stites Mor, John Tutino, Barbara Weinstein, and Eric Zolov. Kip Hanra-
han and Gustavo Santaolalla both agreed to let me interview them, and their
memories and insights proved enormously helpful. At Duke University Press,
Gisela Fosado, Lydia Rose Rappaport- Hankins, and Sara Leone were as efficient
and supportive as any author could want. In Mark Healey and Bryan McCann,
Gisela found two terrific readers; they provided generous, insightful, and illu-
minating critiques.
I am grateful as well for the support of several institutions. A fellowship
from the National Endowment for the Humanities freed me from my teach-
ing obligations for a year, while the History and Art History Department and
the Provost’s Office at George Mason University funded several research trips
to Argentina. The chapter on Oscar Alemán appeared previously in Eduardo
Elena and Paulina Alberto, eds., Rethinking Race in Modern Argentina (Cam-
bridge: Cambridge University Press, 2016). Likewise, the material on Gato
Barbieri in chapter 2 appeared in the Journal of Latin American Cultural Studies.
I am grateful for permission to republish.
In dif er ent ways, my children, Eli and Leah, are both music lovers. Their
enthusiasm for talking about and listening to music— even the strange, old
music I make them listen to—is contagious and helped make working on this
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