The documents that I chose represent four main perspectives: recordings U.S. performers made in the U.S, recordings of Latin American performers made in the U.S., recordings of Latin American performers made in Latin America, and U.S. phonograph trade publications. These sources represent a small variety of different views—those of the U.S. as a performer with itself as the audience; of Latin America musicians play for their own and possibly the United States’ cultures; and of figures in positions of power in the U.S. phonograph and music industries, who might exercise some influence in Latin America. While these sources do demonstrate a number of different perspectives, they serve more as a sample than an exhaustive list; perhaps the greatest limitation is that all are either in English or non-verbal, so the Latin American perspectives must be conjectured.