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History of music and race/Blackness in the Caribbean/LatAm: Some recently-published books

(Originally posted elsewhere on 21 July 2022.)

Just going through some recent notes. Hope these might be interesting to you:

Rude Citizenship: Jamaican Popular Music, Copyright, and the Reverberations of Colonial Power (Larisa Kingston Mann, 2022)

Cartographies of Youth Resistance: Hip-Hop, Funk, and Urban Autonomy in Mexico (Maurice Rafael Magana, 2020)

Chocolate Surrealism: Music, Movement, Memory, and History in the Circum-Caribbean (Njoroge M. Njoroge, 2016)

Bossa Mundo: Brazilian Music in Transnational Media Industries (K.E. Goldschmitt, 2020)

At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris (Rachel Anne Gillett, 2021)

Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeno (Alex E. Chavez, 2017)

Jump Up!: Caribbean Carnival Music in New York City (Ray Allen, 2019)

Remixing Reggaeton: The Cultural Politics of Race in Puerto Rico (Petra Rivera-Rideau, 2015)

Sonic Intimacy: Reggae Sound Systems, Jungle Pirate Radio and Crime YouTube Music Videos (Malcolm James, 2020)

Audible Geographies in Latin America: Sounds of Race and Place (Dylon Lamar Robbins, 2019)

Mexican Waves: Radio Broadcasting along Mexico’s Northern Border, 1930-1950 (Sonia Robles, 2019)

Isles of Noise: Sonic Media in the Caribbean (Alejandra Bronfman, 2016)

Welcome to Fairyland: Queer Miami before 1940 (Julio Capo Jr., 2017)

After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti (Rebecca Hope Dirksen, 2020)

'Insubordinate' women, urban anxiety, and the advent of police photography in Parisian archives, 1870s (and geographical approaches to analyzing 'legibility' municipal archives)

She was a ("suspected") sex worker. The original photo includes a hand-written note, dating it 11 October 1874 and naming her as "de Beyren (La Comtesse)." It was a self-promotional portrait she had taken before it ended up as File 329 in the "

Contemplating legibility and the epistemological convergence of sanitation and policing in municipal archives?

Why contemplate spatiality, wider visual cutlure, the anthropology of photography, transnational migration, and imperial border-making? Considering lineage of governmental thinking on "vagrants," sex workers, political dissidents (like anti-rent strikers), and "migrants." Best not to collapse these into mere "threats to order," as

Greenwashing the cheetah project: Contextualizing the nationalist rhetoric and laundered image of a 'resurrected' cat in Modi's India

Might sound nice at first, on the surface. You might describe it as: "An Indian state is celebrating as a beloved nearly-extinct unique subspecies of lion, the Asiatic/Persian/Indian lion, a charming charismatic creature, has been brought back from the brink. India, with the power of science,

Unruly mangroves and the (un)making of imperial borders in Bengal, Aotearoa, and Brazil, 1825-1945

In December 1928, Benito Mussolini broke ground—quite literally—on a massive development project targeting the “death inducing swamps” of the Pontine Marshes, the substantial wetland region on Rome’s southern edges, which were to be remade into “New Town” settlements whose residents would model ideal standards of productivity. Having

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'Insubordinate' women, urban anxiety, and the advent of police photography in Parisian archives, 1870s (and geographical approaches to analyzing 'legibility' municipal archives)

Contemplating legibility and the epistemological convergence of sanitation and policing in municipal archives?

Greenwashing the cheetah project: Contextualizing the nationalist rhetoric and laundered image of a 'resurrected' cat in Modi's India

Unruly mangroves and the (un)making of imperial borders in Bengal, Aotearoa, and Brazil, 1825-1945