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
