“Alexandra T. Vazquez’s bold, brilliant, and refreshingly unconventional meditation on sonic placemaking in Florida is fearless and groundbreaking. Compressing the deep, wide, and volatile politics and poetics of the global South into a focused exploration of the “Sunshine State,” The Florida Room reminds readers of what daring, innovative, and challenging theory looks and sounds like. This luminous book opens up our notions of what counts as theory as well as who gets identified as theorists.” - Daphne A. Brooks, author of (Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound) “Not only does The Florida Room come to us at just the right time in the history of Miami cultures, it arrives from a scholar who is a great interpreter of the interplay between music, performance, and the social. Alexandra T. Vazquez amasses an archive of fascinating materials, listens to them in every sense for what they say about themselves and that which circulates around them, and accounts for that creativity and thought in prose that is virtuosic and open to surprises. This singular book is a true gift.” - Antonio López, author of (Unbecoming Blackness: The Diaspora Cultures of Afro-Cuban America) "As Vazquez identifies unexpected resonances and collaborations-snaking her way through singer Betty Wright, the Indigenous rock group Tiger Tiger, and Miami bass’s Luke Skyywalker Records-her prose is lively and darting, as if refusing to let a central narrative congeal. It's a loving and rich account of somewhere that exists both in real life and the imagination, too abundant to be contained." - Cat Zhang (PItchfork, Best Music Books of 2022) "The Florida Room bears all the marks of a second book written by a scholar unbounded by the limitations of professional precarity and disciplinary convention. Freedom and flexibility accompany the virtuosity of Vazquez’s prose, compelling the reader to reread particular sentences for their sheer beauty. Her descriptions of the many songs she listens to throughout the book offer an inspiring rhetorical model for how to recount the sonic without falling into the trap of rendering it tamable." - Alexander Hardan (Journal of Popular Music Studies)
