Flaco’s Legacy

Erin E. Bauer is chair of the Music Department and an associate professor of musicology at Muskingum University.

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 Jiménez!”: Arhoolie Records, KEDA Radio Jalapeño, 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 Jiménez

5. “I play the jazz accordion!”: “Rueda de Fuego (Ring of Fire),” “My Toot Toot,” and the Country/Zydeco Influences of Mingo Saldívar 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 globalización!”: Rowwen Hèze, the Rolling Stones, and the Commercialized Appropriation of Conjunto

Conclusion

Notes

Discography

Works Cited

Index