Pop Music and Culture: CuBop, Up-Rock, Boogaloo and Banda. Latinos Making Music in the United States

Pop Music and Culture: CuBop, Up-Rock, Boogaloo and Banda. Latinos Making Music in the United States

CFA MH333/433 A1

MWF 12-1 CFA (855 Commonwealth) B36

Prof. Michael Birenbaum Quintero

Surveys the musical styles of Latinos in the US. Discusses the role of these musics in articulating race, class, gender and sexual identities for US Latinos, their circulation along migration routes, their role in identity politics and ethnic marketing, their commercial crossover to Anglo audiences, and Latin/o contributions to jazz, funk, doo-wop, disco and hip hop. Case studies may include Mexican-American/Chicano, Puerto Rican/Nuyorican and Cuban-American musics; Latin music in golden age Hollywood; Latin dance crazes from mambo to the Macarena; rock en español; the early 2000s boom of Latin artists like Shakira, Enrique Iglesias, and Jennifer López; reggaetón, race politics, and the creation of the “Hurban” market; and the transnational Latin music industries of Los Angeles, New York, and Miami.

Tuesday, January 28, 2020

Conjunto and Orquesta

Please read Manuel Peña on conjunto and orquesta. Here is some amazing music to accompany your reading. Spend some time with this great music, listen carefully with headphones on. In general, embedded videoclips are more important than examples that are just linked.
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Conjunto, the pre-war generation

Narciso Martínez, again, El Huracán del Valle, letting the bajo sexto do what an acordion's left hand usually does, the better to go bananas with the right hand.


Pedro Ayala, with tololoche joining the accordion and bajo sexto on the schottische.


Bruno Villareal, the first to record: here
Lolo Cavazos, ripping it up as an old guy: here
Santiago "El Flaco" Jiménez, Sr., with tololoche,  here

Conjunto, the post-war generation

Valerio Longoria sings and plays a ranchera, with drum set.

Valerio Longoria again, performing a bolero (called, "Baby, Don't Smoke in Bed") - note the guitar, drum kit, and more complicated minor chord progression


Tony de la Rosa, a great song here

El Conjunto Bernal had a very professional sound - great tenor voice (Gerardo Reyes), harmony singing, Eloy Bernal's agile bajo sexto, and not one but two sick virtuoso chromatic, rather than diatonic, accordions (more buttons, more ways for your polka to go horribly wrong) played by Óscar Hernández and Paulino Bernal:



(Here they are many years later, after going Christian, doing a cumbia against horoscopes and other forms of "witchcraft")

And then, after the 1960s...
.. conjunto music went back to older, more conservative styles

Orquesta music
The early, conjunto-infused orquesta of Beto Villa


(Here are links to excerpts from Villa's earliest recordings, the local mega-hits "Por que te ríes" and "Las delicias")

And then BV in the '50s, doing his mambo/tropical thing:


Jaitón smoothie Balde González and his orquesta: "Amor vencida"
More orquesta (on the ranchero side) - Isidro López's "texachi." Notice the accordion alongside the big band:


Little Joe and the Latinaires:


Little Joe again, here in English singing rock/rhythm & blues:



In a similar vein, Sunny and the Sunliners more Tejano here and below, singing straight-up Sam Cooke-style Rhythm & Blues :



On the jaitón side of orquesta, Sunny and the Sunliners (above), Latin Breed, and Jimmy Edwards.
On the ranchero side, Isidro López (above), Agustín RamírezFreddie Martínez, and Joe Bravo

Peña's post-Chicano orquesta experimentation: Little Joe y La Familia's "Las nubes" (here in English) - (love the prog-rock lick at 0:31):

Extra bonus video - Little Joe's 1986 "Redneck Meskin Boy" here

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