Patoski, Joe Nick2007-02-272012-02-242001-031535-7104https://hdl.handle.net/10877/2733That count-off introduction to "Wooly Bully," the song that forever etched Sam Samudio into the institutional memory of pop as Sam the Sham, the turbaned hepcat who led his Pharoahs out of the east Dallas barrio to the big time, holds the key to understanding Tex-Mex and where it fits in the cosmos of all things rock and roll. The rest of the modern world may have perceived the bilingual enumeration as some kind of exotic confection, an unconventional beginning to a giddy rhythm ride of insane craziness. For Samudio, though, screaming "uno, dos, one, two, tres, cuatro" was just doing what comes naturally to a teenager growing up in two cultures in a place not far from the Rio Grande where the First World meets the Third World, and where the Tex meets the Mex.Text3 pages1 file (.pdf)enTexasMusicHistoryCountry musicWooly bullyTex-MexArticle