acknowledgments
An anthology like this one is by definition a collective endeavor, but in addi-
tion to the contributors, many other people and institutions were crucial to its
development, and we would like to thank them. Tufts University’s Mellon
Postdoctoral Fellows Program can take credit for creating the intellectual con-
text for an interdisciplinary approach to reggaeton. While Raquel Z. Rivera
was at Tufts in 2004–6 as a Mellon Post-Doc, she co-taught with Deborah
Pacini Hernandez a course entitled Music, Blackness and Caribbean Latinos
that generated so much excitement from the students when the conversation
turned to reggaeton, that the need for a volume like this one became apparent.
Tufts’s Mellon Program also provided Rivera with the funds for a symposium
on reggaeton, which brought Wayne Marshall into the discussion, and even-
tually into the editorial collective. Rivera later received generous support from
the Center for Puerto Rican Studies at Hunter College through a research
fellowship as well as funding and logistical assistance in securing images and
permissions. Tufts University also provided publication support via a Faculty
Research Award to Pacini Hernandez.
We were also fortunate to find exceptional translators for the articles sub-
mitted in Spanish and German: Juan Flores, Héctor Fernández L’Hoeste, Noah
Dauber, and Maritza Fernández. Marisol Rodríguez and Melinda González
provided valuable assistance by compiling the bibliography. Cambridge Uni-
versity Press, Riddim magazine, Editorial Isla Negra, and the New York Post also
contributed by granting us permission to reprint articles.
Each of us also benefited individually from the support and generosity of
friends and collaborators. Raquel Z. Rivera would like to thank Bryan Vargas
of Mofongo Music & Media, Jorge ‘‘Georgie’’ Vázquez and Jonathan ‘‘J-Blak’’
Troncoso, for the many, many musical consultations, and Anabellie Rivera,
Sabrina Rivera, and Marisol Rodríguez for research assistance. Wayne Mar-
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