Eliding the conceptualization of gender as a social construct, scholarship on Latino/a popular music continues to ignore female participation in the salsa musical industry and focuses only on male musicians, producers, and interpreters, naturalizing the unmarked mas culine privilege underlying the selection of their objects of study. This gender ideology is less clearly at work, yet equally embedded, in the pol itics of citation as well as in the logic behind academic and cultural events on popular music, for which female scholars are invited “ to take care of the gender thing.” 1 I do not question the need-which still looms large-to study and unearth the participation of women in the Latin music industry, a task that necessitates further collaborative work and that, indeed, fuels my own approaches to music scholarship. This area deserves our serious scholarly analysis precisely because it has been neg lected by masculinist writings on popular music. Yet the logic that defines gender exclusively as “women” leaves masculinity-as a gen dered ideology and social construct-untouched by analysis. It also rel egates women to an exceptional category in the musical industry, as if their presence and participation were the exclusive result of a feminist politics of inclusion on the part of scholars.