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Title
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The Influence of Mexican Music on San José, WWII to 1960
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Description
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In 1942, the U.S. government instituted the Emergency Farm Labor Program, known as The Bracero Program, bringing in a new group of immigrants from the border regions along with a new style of music called Norteño or Tejano. The musical traditions of the Tejanos of South Texas and Norteños of Northern Mexico have been influenced not only by the mother country, México, but also by their Anglo American, African American, and immigrant neighbors like the Czechs, Bohemians, and Moravians as well as the Germans and Italians. From these influences came the polkas and accordion music that are so closely associated with this style.
Many of these Mexican immigrants were from rural areas, and more familiar with the Mexican orquesta tipica, or string band, and regional music from their homelands, such as the conjunto. The conjunto mixed the folksy storytelling corrido, the dance form huapangos, and the traditional ranchera with European instruments such as the accordion. In the borderlands of the American Southwest, the orquesta Tejana was patterned after the big bands of this period and appealed to an acculturated Mexican American audience. A fusion of these styles with mariachi and rock-n-roll in the late 1950s would result in a new style referred to as Tejano or Tex-Mex.
Mexican corridos, a popular music genre of the late 1920s to the mid 1940s, provided a way for ethnic Mexicans to document their immigration, migration, work and day-to-day living experiences. Frontera music curator Juan Antonio Cuellar notes that corridos were a form of oral history documentation adapted to music. News headlines became corridos stories. Cuellar describes corridos as “the newspapers of the Mexican working class”.
During the 1920s, Latin American music and performers became popular among elites of all continents, who often preferred simplified romantic ballads and Latinized American pop music. Both this “society rumba” and Afro-Cuban influenced Latin American music such as mambos, were popular with local Latino audiences for the next several decades. Out of the big band era arising in the mid 1930s through the 1940s, Mexican musicians added a Mexican twist and created Pachuco Boogie.
The largest events in San José were often held at the Municipal Auditorium, with performers such as Tito Puente, Desi Arnaz, and Lalo Guerrero playing for dances. Other ballrooms included The Balconades and The Palomar/Starlight ballrooms. During the war years, big bands–such as Benny Goodman, Glen Miller, Xavier Cugat, Jimmy Dorsey, and Artie Shaw–all featured Latin songs. In the early 1950s, American bands playing the Latin rumba, including nightclub performers such as Xavier Cugat, Desi Arnaz, and Carmen Miranda, were often featured in movies and television.
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Identifier
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B4SV Exhibit Topic Four: Slide 018
