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Table of Contents
Intro
Cover Page
Half Title
Title Page
Copyright
Contents
Acknowledgments
Introduction: The Globalization of Conjunto
The Processes and Implications of Globalization
A Brief History of Conjunto
Characteristics of Conjunto: "Ay Te Dejo En San Antonio"
Outline of Contents
Part I: The Migration of Conjunto
1. "We love you, Flaco!": Chicken Skin Music, "Mingomania," and the Inter/national Presentation of Conjunto
Globalized Inclusions
Flaco Jiménez: Inter/national Tours and Popular Festivals
Mingo Saldívar: Nationalist Tours and Folkloric Festivals
Steve Jordan: Struggles with Mainstream Recognition
Conclusions
2. "Ladies and gentlemen, Dodge presents Flaco Jiménez!": Arhoolie Records, KEDA Radio Jalapeño, and the Mediated Dispersal of Conjunto
Theoretical Framework: Globalization through Media
Recording Conjunto: Regional Labels
Recording Conjunto: Arhoolie Records
Recording Conjunto: Arista Texas
The Radio Presence of Conjunto: KEDA
Conjunto on Television, in Print Media, and Online
Conclusions
3. "From Texas to Washington and across to Michigan and Illinois…": Nostalgia and Authenticity in the U.S. American Spread of Conjunto
Theoretical Framework: Community and Nostalgia
Conjunto in the Midwest: Jesse Ponce
Conjunto in the Midwest: Jimmy Bejarano Sr.
Conjunto in the Pacific Northwest: Santiago Almeida and Joel Guzman
Conjunto in the Southwest: Max Baca and Los Texmaniacs
Conjunto in California: Conjunto Califas and Conjunto Los Pochos
Conjunto in California: Los Lobos
Conclusions
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
The Ambassador: Hybridity in the Works of Flaco Jiménez.
Collaborative Hybridity: Texas Tornados
Cultural Preservation: Los Super Seven
Conclusions
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
Mingo Saldívar and "Ring of Fire": The Hybridization of Repertory
Mingo Saldívar and "La Margarita": The Hybridization of Sonic Elements
"Conjunto music, to me, is like country-western…": The Correspondence of Genre
Steve Jordan and "My Toot Toot": More Hybridization of Repertory
Steve Jordan and "Grítenme Piedras Del Campo": Further Hybridization of Sonic Elements
"Super Fly" vs. Ranchera: The Generic Signification of Clothing
Analysis: Identities of Hybridization
Conclusions: A Continuum of Genre/Identity
6. "It's jealousy…": Eva Ybarra and the Hybrid Offerings of Women in Conjunto
Women in Conjunto: Eva Ybarra
Women in Conjunto: Susan Torres
The Globalization of Female Vocalists
Conclusions
Part III: The Appropriation of Conjunto
7. "That's my music!": Kenji Katsube, Dwayne Verheyden, and the Worldwide Participation in Conjunto
Theoretical Framework: The Folk-Popular Continuum and Transnational Personae
Japanese Conjunto: Kenji Katsube
Transnationalism and Hybridity in Japanese Conjunto Music
Conjunto in the Netherlands: Dwayne Verheyden
Transnationalism and Hybridity in Dutch Conjunto Music
Conclusions: "We sure got some gritos…"
8. "¡Esto es globalización!": Rowwen Hèze, the Rolling Stones, and the Commercialized Appropriation of Conjunto
"World Music" and a Framework of Exoticism
Flaco Jiménez: Consideration of Collaboration as Exoticism and/or Exploitation
Flaco Jiménez: Socio-Musical Analysis of Cross-Cultural Collaborations
The Dutch/Mexican "Oompah-Rock" Connection between Rowwen Hèze and Los Lobos.
Cultural Assimilation in the Works of Rowwen Hèze
Musical Influences in the Works of Rowwen Hèze
"Families of Resemblance" between Marginalized Cultures
Conclusions
Conclusion: Continuing Considerations
Inclusions and What Remains
Considerations of Genre
Final Thoughts: The Globalization of Conjunto
Notes
Discography
Works Cited
Index.
Cover Page
Half Title
Title Page
Copyright
Contents
Acknowledgments
Introduction: The Globalization of Conjunto
The Processes and Implications of Globalization
A Brief History of Conjunto
Characteristics of Conjunto: "Ay Te Dejo En San Antonio"
Outline of Contents
Part I: The Migration of Conjunto
1. "We love you, Flaco!": Chicken Skin Music, "Mingomania," and the Inter/national Presentation of Conjunto
Globalized Inclusions
Flaco Jiménez: Inter/national Tours and Popular Festivals
Mingo Saldívar: Nationalist Tours and Folkloric Festivals
Steve Jordan: Struggles with Mainstream Recognition
Conclusions
2. "Ladies and gentlemen, Dodge presents Flaco Jiménez!": Arhoolie Records, KEDA Radio Jalapeño, and the Mediated Dispersal of Conjunto
Theoretical Framework: Globalization through Media
Recording Conjunto: Regional Labels
Recording Conjunto: Arhoolie Records
Recording Conjunto: Arista Texas
The Radio Presence of Conjunto: KEDA
Conjunto on Television, in Print Media, and Online
Conclusions
3. "From Texas to Washington and across to Michigan and Illinois…": Nostalgia and Authenticity in the U.S. American Spread of Conjunto
Theoretical Framework: Community and Nostalgia
Conjunto in the Midwest: Jesse Ponce
Conjunto in the Midwest: Jimmy Bejarano Sr.
Conjunto in the Pacific Northwest: Santiago Almeida and Joel Guzman
Conjunto in the Southwest: Max Baca and Los Texmaniacs
Conjunto in California: Conjunto Califas and Conjunto Los Pochos
Conjunto in California: Los Lobos
Conclusions
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
The Ambassador: Hybridity in the Works of Flaco Jiménez.
Collaborative Hybridity: Texas Tornados
Cultural Preservation: Los Super Seven
Conclusions
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
Mingo Saldívar and "Ring of Fire": The Hybridization of Repertory
Mingo Saldívar and "La Margarita": The Hybridization of Sonic Elements
"Conjunto music, to me, is like country-western…": The Correspondence of Genre
Steve Jordan and "My Toot Toot": More Hybridization of Repertory
Steve Jordan and "Grítenme Piedras Del Campo": Further Hybridization of Sonic Elements
"Super Fly" vs. Ranchera: The Generic Signification of Clothing
Analysis: Identities of Hybridization
Conclusions: A Continuum of Genre/Identity
6. "It's jealousy…": Eva Ybarra and the Hybrid Offerings of Women in Conjunto
Women in Conjunto: Eva Ybarra
Women in Conjunto: Susan Torres
The Globalization of Female Vocalists
Conclusions
Part III: The Appropriation of Conjunto
7. "That's my music!": Kenji Katsube, Dwayne Verheyden, and the Worldwide Participation in Conjunto
Theoretical Framework: The Folk-Popular Continuum and Transnational Personae
Japanese Conjunto: Kenji Katsube
Transnationalism and Hybridity in Japanese Conjunto Music
Conjunto in the Netherlands: Dwayne Verheyden
Transnationalism and Hybridity in Dutch Conjunto Music
Conclusions: "We sure got some gritos…"
8. "¡Esto es globalización!": Rowwen Hèze, the Rolling Stones, and the Commercialized Appropriation of Conjunto
"World Music" and a Framework of Exoticism
Flaco Jiménez: Consideration of Collaboration as Exoticism and/or Exploitation
Flaco Jiménez: Socio-Musical Analysis of Cross-Cultural Collaborations
The Dutch/Mexican "Oompah-Rock" Connection between Rowwen Hèze and Los Lobos.
Cultural Assimilation in the Works of Rowwen Hèze
Musical Influences in the Works of Rowwen Hèze
"Families of Resemblance" between Marginalized Cultures
Conclusions
Conclusion: Continuing Considerations
Inclusions and What Remains
Considerations of Genre
Final Thoughts: The Globalization of Conjunto
Notes
Discography
Works Cited
Index.