Flaco's Legacy

Acknowledgements Introduction: The Globalization of Conjunto

Part I: The Migration of Conjunto

1. "We love you, Flaco!": Chicken Skin Music, "Mingomania," and the Inter/national Presentation of Conjunto

2. "Ladies and gentlemen, Dodge presents Flaco JimEnez!": Arhoolie Records, KEDA Radio JalapeNo, and the Mediated Dispersal of Conjunto

3. "From Texas to Washington and across to Michigan and Illinois...": Los Cuatro Vientos, Los Texmaniacs, Los Lobos, and the U.S American Spread of Conjunto

Part II: The Hybridization of Conjunto

4. "You have to mix it up!": "Seguro Que Hell Yes," the Texas Tornados, Los Super Seven, and the Cultural Hybridity of Flaco JimEnez

5. "I play the jazz accordion!": "Rueda de Fuego (Ring of Fire)," "My Toot Toot," and the Country/Zydeco Influences of Mingo SaldIvar and Steve Jordan

6. "It's jealousy...": Eva Ybarra and the Hybrid Offerings of Women in Conjunto

Part III: The Appropriation of Conjunto

7. "That's my music!": Kenji Katsube, Dwayne Verheyden, and the Worldwide Participation in Conjunto

8. "!Esto es globalizaciOn!": Rowwen HEze, the Rolling Stones, and the Commercialized Appropriation of Conjunto

Conclusion

Notes

Discography

Works Cited

Index

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• Teoria da música e musicologia
• História social e cultural
• Música mundial
• Estudos étnicos
• Estudos Hispânicos e Latino

Texas-Mexican conjunto music; identity; genre; globalization; media; migration; hybridization; hybridity; appropriation; U.S.-Mexico border; Flaco Jiménez; Mingo Saldívar; Steve Jordan; accordion; Arhoolie Records; Arista Texas; nostalgia; authenticity; heritage; folklore; Texas Tornados; Los Super Seven; Eva Ybarra; Kenji Katsube; Dwayne Verheyden; Rowwen Hèze; performative persona; world music movement; San Antonio; Rio Grande Valley; Texas; Mexico; borderland