INDEX
acoustic mirror (Silverman), 31
Adorno, Theodor, 78
Afro- Cuban music, 85
Agamben, Giorgio, 5–6, 195, 229–30
“Ahora seremos felices” (song), 19–20
Aida (opera), 94
Alabanza en la Torre de Ciales (Cor-
retjer), 214
Albizu Campos, Pedro, 249n3
“Alcapurria” (song), 60–61
Alegres navidades borincanas ( album),
167–71
Alegrías campesinas (radio program), 123
Alfonso, Miguel (Clavelito), 123
“All- Alike Music in Latin Locations Is
Loco” (Brack), 151
Alliance for Pro gress, 91
Alma Latina (journal), 127
Almenas, Gilberto, 157, 250n11, 254n32,
257n60
Almenas, Egberto, 257n60
Almorzando con Ruth Fernández (tele vi-
sion show), 70
Álvarez Curbelo, Silvia, 81, 91, 101, 116,
133, 243n30
“Ambición al dinero” (song), 154–57, 170
American Bandstand (tele vision show),
173
Anderson, Marian, 92–93, 94
androgyny, Silva’s link to, 33
Angelitos negros (film), 5
Ansonia Rec ords, 42, 145, 151
Arce, Inés, 123
arkhé: Agamben’s concept of, 5–6,
119–20; Benítez’s gender identity and,
184
artistic class, Fernández’s championing
of, 101–5, 118
“A- Tisket, A- Tasket” (song), 94
Audiotopia (Kun), 233n6
Auslander, Philip, 236n22
avant- garde, Kahn’s discussion of,
265n78
Aventurera (film), 183
“Ayer y hoy” (song), 143
Babín, María Luisa, 193, 242n23
balada, 6, 182, 217, 222, 227, 265n73
Barthes, Roland, 50, 139, 230
Baudrillard, Jean, 65, 198, 241n77
Benítez, Lucecita, 1–4, 14; Afromoder-
nity of, 205–6; and the “Afro look,”
186–89; as artiste, 186–99; as auteur,
180–86; and black identity, assump-
tion of, 186–99, 204–5; blacklisting of,
207–16, 261n19; body as assemblage,
183; during Cold War era, 6; as diva,
216–25; Festival de la Canción Latina
won by, 180, 182; fugitivity of, 199–216;
hyperfemininity adopted by, 217–25;
industrialization in Puerto Rico and
emergence of, 172–73; microphone,
relationship to, 211–12, 219, 264n64;
multiple artistic personas of, 205–16;
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