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 Pro­gress, 91
Alma Latina (journal), 127
Almenas, Gilberto, 157, 250n11, 254n32,
257n60
Almenas, Egberto, 257n60
Almorzando con Ruth Fernández (tele­vi­
sion show), 70
Álvarez Curbelo, Silvia, 81, 91, 101, 116,
133, 243n30
“Ambición al dinero” (song), 154–57, 170
American Bandstand (tele­vi­sion show),
173
Anderson, Marian, 92–93, 94
androgyny, Silva’s link to, 33
Angelitos negros (film), 5
Ansonia Rec­ords, 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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