I would like to warmly recognize the assistance of many people who made this project possible. I was greatly assisted by Xochitl and Rogelio Agrasánchez, Jr. whose company supplied me with the films of Juan Charrasqueado and Yo Maté a Rosita Alvírez. In addition, Xochitl Agrasánchez went out of her way to supply me with newspaper sources, anecdotal data and tremendous personal and scholarly support during our phone conversations, emails and personal meetings.
I would not be writing this were it not for the gracious support of Dr. Catherine Surra, Chair of the Department of Human Ecology, The University of Texas at Austin, and the Chair's office staff, Carolyn Miller and Linde Soderquist, who have allowed me to pursue my studies and have never failed to create a warm and helpful environment at my job.
I also wish to acknowledge the great contribution of Michael Montague for his editorial assistance. His brave slog through my problematic first drafts - correcting grammar, rhetorical structure and inchoate, run-on sentences - provided a tremendous service to both me and to the reader.
Also, great assistance was provided by the College of Liberal Arts Media Laboratory in the transfer and encryption of the video into viewable digitized files, and kudos to Keith Wagner at the Lab who did the transfers in a prompt and very professional manner.
I would be remiss not to acknowledge the warm and ever-present assistance of Alfonso Huerta, whose artwork has always contributed to the aesthetic look of my websites, whose interest in and understanding of his native Mexican culture is a constant and ongoing resource for me in my studies, and whose presence in my life is a wonderful gift, day after day.
And most of all, I wish to offer a heartfelt thanks to Dr. James (don Jaime) Nicolopulos, Associate Professor in the Department of Spanish and Portuguese, The University of Texas at Austin, who was the supervisor of this project. Dr. Nicolopulos is a marvel in the depth and breadth of his cultural knowledge and is one of the great scholars of the corrido and Mexican culture. His infectious enthusiasm for all things Mexican, his love of the corrido, his brilliant analysis and insight into this popular cultural artifact has been the foundation upon which this project has been built.
Thanks to you all.
Agrasanchez, Jr., Rogelio with an introduction by Charles Ramirez-Berg. Carteles de la epoca de oro del cine mexicano, Poster Art from the Golden Age of Mexican Cinema. Harlingen, Texas : Archivo Filmico Agrasanchez, 1997.
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Mendoza, Vicente, T. El corrido mexicano; antología, introducción y notas. México, D.F. Fondo de Cultura Economica, 1954.
Mora, Carl J. Mexican cinema : Reflections of a Society, 1896-1980. Berkeley : University of California Press, 1982.
Paredes, Américo. "The Ancestry of Mexico's Corridos: A Matter of Definitions." Journal of American Folklore 76.301 (1963): 231-35.
Paredes, Américo. "The Mexican Corrido: Its Rise and Fall," Folklore and Culture on The Texas-Mexican Border, editor and introduction by Richard Bauman. Austin, Center for Mexican American Studies, 1993. (Originally published in 1958).
Paz, Octavio. The Labyrinth of Solitude, trans. Lysander Kemp. New York: Grove Press, Inc. 1961.
Yañez, Lorenzo. "Galindo habla de su 'Juan Charrasquedo.'" Cinema Reporter, México, D.F. February, 14, 1948. pp. 18-19.