1Acosta, L. (1996(1988)). "El bolero y el kitsch". In Radam6s Gir6 (Ed.), Panorama de la musica cubana (pp. 269-284). Havana: Editorial Letras Cubanas.
2Aparicio, F. R. (1998). Listening to Salsa." gender, Latin popular music, and Puerto Riean cultures. Middletown: Wesleyan University Press.
3Aparicio, F. R., & Candida, F. J. (2003). Musical migration vol 1: Transnationalism and cultural hybridity in Latino America. New York: Palgrave Macmillan.
4Aullcmo, J. (200/). Me parece: el coalgo secreto ae algunas tetras, tlarm.com lcetneveo August , ZUll, from http://edant.clarin.com/suplementos/cultura/2007/O3/O3/u-O1373136.htm.
5Boyarin, D. (1997). Unheroic conduct: The rise of heterosexuality and the invention of the Jewish man. Berkeley, Los Angeles and Oxford: University of California Press.
6Boym, S. (2002). The future of nostalgia. New York: Basic Books.
7Butler, J. (1999(1990)). Gender trouble." Feminism and the subversion of identity. New York and London: Routledge.
8Campos, R. A. (1991). The poetics of the bolero in the novels of Manuel Puig. World Literature Today, 65, 637-643.
9Chaney, D. (1997). Authenticity and suburbia. In S. Westwood & J. Williams (Eds.), Imagining cities: Scripts, signs, memory (pp. 140-151). New York: Routledge.
10Connell, J., & Chris, G. (2003). Sound tracks: Popular music, identity, andplace. London and New York: Routledge.
