For their feedback and proving questions I thank students, colleagues, and participants at the “Burning the Sea: Clandestine Migrations During the writing of this book, the following universities invited me to discuss my research on Spanish pop music, race, migration, and borders. Siobhan McMenemy was instrumental in my signing with the University of Toronto Press, and Toronto Iberic – thank you. At the University of Toronto Press I thank Mark Thompson and Frances Mundy for their guidance. For their steadfast assistance with the manuscript and around the manuscript I thank Amber Workman and Ana Requena, who also has become a dear friend. For their help with chords and musical analysis I am indebted to Eduardo Viñuela and David Thurmaier. My gratitude to Lorena Barret, interpreter extraordinaire, for suggesting more nuanced translations of some of the songs. Special thanks to Hakim Abderrezak for his intellectual largesse and commitment to locating sources. I am also most grateful to José Colmeiro, musicologist Eduardo Viñuela, and Jonathan Mayhew for insightful comments and suggestions. And that Tony Geist’s munificence worked its magic in the securing of permits when nothing else did. I especially appreciate that in the final stages of producing Rocking the Boat, Roberta Johnson brought her scholarly acumen and generosity to see me through the last hurdles. My deepest and sincerest gratitude goes to the following friends and colleagues for helping me rethink and polish sections of the research, but above all for their many and varied acts of kindness over the years, in particular, during the writing of this book: Jorge Pérez, Roberta Johnson, Mary Coffey, Robert Pavich, Juan Pablo Lupi, Jorge Olivares, Parissa Tadrissi, Eyda Merediz, Bill Nichols, Roberto Strongman, and Tony Geist. 105 Madrid’s Tirso de Molina Metro Station. 93 Madrid’s Plaza de España (Spain’s Square). 16 Serrat at Palau dels Esports de Barcelona (Barcelona Sports’ Palace). List of Illustrations ix Acknowledgments Permissionsġ The Roaring 1980s: From La Movida to Racial Naming, Slavery, and Muslims in the Catalan Maresme 26 s, Take One: Fortress Europe, Racism, Apologies, and Contestation 64 s, Take Two: The Racial Profiling of Black and Maghrebi Migrant Subjects 99 4 Twenty-First Century Musical Landscapes in Spain: From Ska and Música mestiza to Singing, Chilling, and Rapping against Racism 122 Conclusion NotesĮastern European migrant musicians in Madrid. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the Government of Ontario.įunded by the Financé par le Government gouvernement du Canada of Canadaįor Salvador Bermúdez Escalante, Sandra Bermúdez Rosell, and Sergio Bermúdez Rosell, in memoriam This book has been published with the assistance of the University of California, Santa Barbara. Popular music − Spain − History and criticism. Songs, Spanish – Spain − History and criticism. Spain − Emigration and immigration – Songs and music.
#Cancion de la novela porque el amor manda tribal series#
(Toronto Iberic series 29) Includes bibliographical references and index. Library and Archives Canada Cataloguing in Publication Bermúdez, Silvia, author Rocking the boat : migration and race in contemporary Spanish music / Silvia Bermudez. Printed on acid-free, 100% post-consumer recycled paper with vegetable-based inks. © University of Toronto Press 2018 Toronto Buffalo London Printed in the U.S.A.
UNIVERSITY OF TORONTO PRESS Toronto Buffalo London Rocking the Boat Migration and Race in Contemporary Spanish Music ROCKING THE BOAT Migration and Race in Contemporary Spanish Music S, Take Two: The Racial Profiling of Black and Maghrebi Migrant Subjects.Ĥ Twenty-First Century Musical Landscapes in Spain: From Ska and Música mestiza to Singing, Chilling, and Rapping against Racism. S, Take One: Fortress Europe, Racism, Apologies, and Contestation. 1 The Roaring 1980s: From La Movida to Racial Naming, Slavery, and Muslims in the Catalan Maresme.
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