Rhythms of the Pachakuti: Indigenous Uprising and State Power in Bolivia by Raquel Gutiérrez Aguilar (review)
and Sara Gómez; the historical segmentations that render Cuban jazz as derivative of African-American jazz, in the chapter on Alfredo Rodrı́guez; and the experiences of the children of Cold War refugees shared by Cubans, Vietnamese, and Koreans, all create meaningful contexts from which to understand the author’s claims regarding the social, racial, gendered, and (trans)national meanings of Cuban musical performances and texts. Vázquez’s explorations of listening as a critical act are intimately tied to the rich heterogeneity of texts that she embraces in the book. Having grappled in my own scholarship with the complexities, limitations, and potentialities of “listening” as a metaphor for engaging in the study of Latino popular music, I have found Professor Vázquez’s incursions into “listening” to be both invigorating and expanding.