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Post by the Scribe on Apr 7, 2020 0:30:17 GMT
A Tribute To Linda Ronstadt & Women In Mariachi Music
THIS EVENT IS IN THE PAST! WHEN Sunday, October 12, 2014 at 1 p.m.
WHERE Market Creek Amphitheatre 310 Euclid Avenue, San Diego, CA 92114 Map
AGES All ages
COST $10
To celebrate Hispanic Heritage Month, Jacobs Presents will have a Mexican Fiesta (to pay “Tribute to Linda Ronstadt and Women in Mariachi Music”), where all-female Mariachi Flor de San Diego and Mariachi Uclatlán de Los Angeles will be playing some of your favorite Lind Ronstadt’s songs.
Enjoy entertainment for the whole family, great Mexican Food and the performance of Ballet Folklorico Nanahuatzin and DanzArts – Sabor Mexico Dance Co.
The acclaimed Mariachi Reyna de Los Angeles will also be part of this magnificent tribute.
As America’s first all-female Mariachi Group, Reyna has been taking on a male-dominated musical tradition and building the popularity of Mariachi music since its founding in 1994.
In this occasion, Mariachi Reyna de Los Angeles will be paying tribute to Grammy-Award winning Linda Ronstadt, whose Mariachi album Canciones De Mi Padre has sold over 10 million copies worldwide.
These canciones are part of Ronstadt’s family tradition and musical roots. On July 28, 2014, President Obama awarded Ronstadt with the National Medal of Arts and Humanities.In addition to the Tribute, an exhibit on History of Women in Mariachi Music will be displayed, including original Trajes Charros (Mariachi Suits) from different time periods.
Come with your whole family for an unforgettable experience full of dance, music, flavor and good times…!Que Vivan Las Mujeres!
Tickets are available at www.jacobspresents.com
For more information on Jacobs Presents please visit www.jacobspresents.com or call 619-450-4080
Location: Market Creek Amphitheatre 310 Euclid Avenue, San Diego, CA 92114 Google Map
Dates and times of events are subject to change without notice. Always check the event organizer's website for the most updated schedule before attending.
2nd Annual Mariachi Women’s Festival – Tribute to Linda Ronstadt
March 21, 2015 @ 7:30 pm
Tribute to Linda Ronstadt at the San Gabriel Mission Playhouse- Mariachi Women's FoundationEnjoy a spectacular evening taking in the talent of 3 all-women mariachi groups who will pay tribute to Linda Ronstadt and celebrate Linda’s place in the history of mariachi women. Our guests will include Mariachi Mariposas who will travel from the Rio Grande Valley in Texas to share their passion for mariachi music and back by popular demand the passionate Mariachi Flor de Toloache from New York City! Starting the evening off will be the newest all-female group in the Los Angeles mariachi, Las Angelitas!
The elegant and charming ladies of MARIACHI MARIPOSAS will travel all the way from South TEXAS to captivate you with their extraordinary mariachi sounds and voices. Experience a revolution not with fire and brimstone but with a phenomenal mariachi performance that will alter your view of South Texas. Mariachi Mariposas will offer a performance marinated in artistic grace and passion and expressed through the heart of a woman. This group is comprised of the top female musicians from across the Rio Grande Valley in South Texas.
MARIACHI FLOR DE TOLOACHE is the first and only established all female mariachi band in NEW YORK. Each member’s cultural background adds even more diversity to their already unique sound and appearance. They are an all women band spanning the globe from Puerto Rico, to Mexico, Singapore, Germany, Cuba, Colombia, the Dominican Republic, and the United States. They performed for 15 minutes in last year’s concert. This year, they are back by popular demand and you get to hear an entire performance!
Be among the first to enjoy the sounds of MARIACHI LAS ANGELITAS, the newest all-female group in LOS ANGELES. They are composed of some of L.A.’s most talented mariachi musicians and have already performed as the accompanying mariachi for a concert by well-known and celebrated Mexican singer, Yolanda del Rio.
Arrive early and enjoy the outdoor a free pre-concert performance by the beautiful fountain in front of the Playhouse from 5:30-7:00pm given by the youth group Mariachi Rosas del Valle from Central California. If you are a mariachi woman or mariachi girl, wear your traje and be recognized! If you’re not but want to wear a mariachi suit, this is your chance! Mariachi Women are welcome to bring their instruments and play along for the closing grande finale performance of “La Negra.”
The Mariachi Women’s Foundation prohibits photography & video
Tickets range from $35-$75. To purchase tickets online, click here. To purchase tickets over the phone call (800) 838-3006. For more information, visit The Mariachi Women’s Foundation website.
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Post by the Scribe on Apr 7, 2020 0:32:03 GMT
Quote by ronstadtfanaz:
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Post by the Scribe on Apr 7, 2020 0:34:02 GMT
Op-Ed Linda Ronstadt's 'Canciones de mi Padre' changed my life, and my culture
Linda Ronstadt with Jesus "Chuy" Guzman, left, at the Orange County Performing Arts Center in Costa Mesa on Dec. 7, 2005. (Los Angeles Times) By Gustavo Arellano
November 21, 2017, 11:15 AM
Whenever I hear the opening of Linda Ronstadt’s “La Charreada” I think back to the winter of 1987, when I was 8 years old. That’s when my mom bought Ronstadt’s latest release: “Canciones de mi Padre” (“Songs of My Father”), a Spanish-language cover album that remains a milestone of American music and Mexican American history. A rush of brash mariachi strings, and male yelps that mimic the excitement of a Mexican-style rodeo, followed by Ronstadt’s mighty voice that holds a note for seconds before she launches into rapid-fire verses — and it all comes to me again.
Its national success — it sold over 2.5 million units, the biggest-selling foreign-language album ever in the United States — was a crucial moment to my peers and me. Our generation would become the first group of Mexican Americans to grow up comfortable with both sides of that term. Seeing Ronstadt sing in Spanish on national television, her album cover published in newspapers, taught us that it was OK to be unapologetically Mexican, no matter how assimilated we may be. Any time you hear one of us say “Doyers,” or wear a splendid guayabera, it’s because of her.
“Canciones” was the coda to a banner year for Mexicans in popular entertainment. “La Bamba” and “Born in East L.A.” told stories of the Los Angeles Chicano experience on the big screen. The Los Lobos-fronted soundtrack to the former had played across the Southland that summer. (My dad bought our cassette from a street vendor in front of a King Taco.)
“Previous generations of American entertainment giants downplayed their ethnic heritage to appeal to as wide an audience as possible.
Ronstadt was the biggest deal of them all. She had used Español before in her career: a Latin American version of “Blue Bayou,” her own composition, on the 1976 LP “Hasten Down the Wind,” and a duet with salsa legend Rubén Blades in 1985. But with “Canciones” she did something revolutionary. Previous generations of American entertainment giants downplayed their ethnic heritage to appeal to as wide an audience as possible. Now came Ronstadt, deep into her career, with a bold announcement: I’m Mexican, and what of it?
The album isn’t perfect. In “La Charreada,” you can tell Ronstadt’s primary language isn’t Spanish because she pronounces words too exactly and doesn’t elide like a native speaker. Sometimes, she offers despair when the right tone for a song is melancholy, subtle differences that Mexicans raised on mariachi noted then and now.
But 30 years later, “Canciones” remains a classic. It’s an education, as songs span genres from huapangos to sones huastecos, corridos to rancheras, feminine confessions to macho boasts. The three mariachis that backed Ronstadt — Mariachi Vargas de Tecatitlán, Los Camperos de Nati Cano and Mariachi Sol de México —remain the most prominent in the world and ensured that every song sparkled. Ronstadt’s mastery was such that standards such as “Y Ándale” (“Get on With It”) became permanently associated with her.
Critics at the time couldn’t understand the album. Multiple interviewers asked Ronstadt if it was a cheap ploy to capitalize on her distant heritage at a time when “Hispanics” were hot. Rolling Stone dismissed “Canciones” as “the party-gag album of the year,” and complained that the cover art “makes her look like an El Torrito [sic] waitress who's been nibbling at the guacamole.” (The Times, to its credit, praised the “purity of spirit” in her efforts.)
Ronstadt was unapologetic. “I wanted [fans] to know,” she told a newspaper in 2008, “that they had something that really was strong and it was pure Mexican and that they should feel proud of that and they don't have to sell [their culture] down the river.”
To promote the album, Ronstadt appeared in all tiers of American pop life: the hip (“Saturday Night Live,” where she performed two tracks with Mariachi Vargas), the august (PBS’ “Great Performances,” for which she recorded a special), and the muy mainstream “Today” and “Good Morning America.” Her best performance was on “Sesame Street,” where she sang “La Charreada” in English to Elmo backed by a Muppet mariachi that nailed it. That appearance, in particular, stuck with me: Nothing normalized seemingly foreign concepts in the 1980s more than “Sesame Street,” so seeing a Mexican on it taught my child’s mind that we were really, truly cool.
“Canciones” won a Grammy for best Mexican American performance in 1989, and an Emmy for the PBS special. But the album did much more than help Ronstadt’s career, or my sense of place.
She was there in 1990 when Mariachi USA hit the Hollywood Bowl for the first time; every summer since, the largest such festival in the U.S. has drawn crowds to the most L.A. of concert venues. Ronstadt “revive[d] the mariachi tradition for both old and new audiences,” wrote UCLA musicology professor Steven Loza in his 1993 book, “Barrio Rhythm: Mexican American Music in Los Angeles.” She also “brought to [mariachi] an even larger, international level of commercial recognition and diffusion.”
My mom still has Ronstadt’s CD, although she now listens to songs on her iPad. It doesn’t matter: The chills that “La Charreada” and the other tracks create remain the same. So gracias, Linda, for showing the world mexicanidad at its best. Now, can you hook me up with an original vinyl?
Gustavo Arellano is the author of "Taco USA" and is a longstanding contributor to Opinion.
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Post by the Scribe on Apr 7, 2020 0:35:58 GMT
CORRIDOS: Tales of Passion and Revolution
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Post by the Scribe on Apr 7, 2020 0:38:09 GMT
Quote by ronstadtfanaz: Just for the record, the pic is from the May 3, 1969 edition of Billboard Magazine, at a time when she was just beginning to pioneer the art of C&W/rock for women. I’ve mentioned this a number of times, but the kind of album, perhaps just a concept album of sorts, that I wished Linda had made before Parkinson’s gradually ate away at her ability to sing was an album that combined aspects of her country, rock, and Mexican musical roots, utilizing instrumentation from each of the three forms (including occasional mariachi brass), with some songs in English and some in Spanish. She has combined the three before, in both versions (English and Spanish) of “Blue Bayou”; on “Lo Siento Mi Vida”; “Adonde Voy”; “Carmelita”; and “The Dreams Of The San Joaquin”; and a full-length album of this kind with all-new material would seem an ability to show how those three aspects of her Southwestern upbringing helped make her the legendary and hugely influential female singer that we all know and appreciate.
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Post by the Scribe on Apr 7, 2020 1:42:54 GMT
CULTURE: Linda Ronstadt and Parkinson’sLinda Ronstadt says that Parkinson’s Disease has robbed her of her singing voice.
This is such sad news. Linda Ronstadt is one of America’s greatest pop singers and has been since the 1970s.
Heart Like a Wheel was a profound album, with enormous impact, I always thought. (Dark End of the Street just kills)
It was huge in the guitar twangin’ country rock scene of my hometown of Claremont, California in the 1970s and we played the hell out of it at my house when I was growing up. It contained one of my favorite songs from that genre, Willin’, by the master, Lowell George.
The album was the first inkling, too, of a talent Linda Ronstadt displayed throughout her career of finding good songs and songwriters.
She was an early adopter of Warren Zevon, for one. Zevon’s Carmelita is one of the most evocative songs ever of Los Angeles; in this case, the 1970s street junkie scene in Echo Park. Simple, succinct, image-based songwriting, and thus great storytelling.
The other fine thing about Linda Ronstadt the singer is how she started out in California country rock, but early on refused to be pigeon-holed. That can’t have been easy for a woman in the music industry.
Instead, she recorded big band music, oldies, Mexican rancheros and just a lot of solid straight pop music.
Through Canciones de mi Padre I discovered Cuco Sanchez, with Gritenme Piedras del Campo – a Mexican blues if ever there was one. (Cuco Sanchez is, btw, a singer not to be missed.)
Her work with Emmylou Harris and Dolly Parton is some of the best stuff any of those ladies have done. Check out For a Dancer, the song by Jackson Browne, that she recorded with Emmylou.
We’ll not be hearing her likes around here for a while, I believe.
On a personal note, Linda Ronstadt has always been so supportive of my writing and reporting. I can’t say how wonderful it is to have spoken to one of the icons of my musical generation and have her tell me how much she loved my books.
I appreciated it enormously and lived on it like food for a few days.
My Claremont High School pal, Janet Stark, her assistant, put us in touch. Thanks Janet and thanks very much to you, Linda. Here’s wishing you the best.
journalist Sam Quinones samquinones.com/reporters-blog/2013/08/24/culture-linda-ronstadt-and-parkinsons/
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Post by the Scribe on Apr 7, 2020 1:43:50 GMT
Linda Ronstadt on Music and Culture A pop performer discusses the San Jose Mariachi and Mexican Heritage Festival.
By Ben Fong-Torres
Linda Ronstadt performs at a 2007 concert, image
Linda Ronstadt sings from the heart at a 2007 concert.
Singer Linda Ronstadt is a musical groundbreaker, an early blender of country and rock who has also excelled with pop standards and light opera—even Cajun music. In recent years she has championed mariachi as artistic director of the annual San Jose Mariachi and Mexican Heritage Festival, now in its 19th year. September 15 to 26. sjmariachifestival.com.
Q Your connection? A My grandfather was a German-Mexican rancher and engineer who settled in Tucson, Ariz. He had a mariachi band that played in town. My 1987 album, Canciones de Mi Padre, celebrates those musical roots.
Q So you’re passionate about mariachi? A I love the music; there’s nothing like it. It’s folk orchestra with deep roots in tradition that has projected itself into a pop form, just as rock and roll has.
Q How’d you get to be artistic director? A I played in the festival for a couple of years, and they asked if I could come up with ideas for the gala concerts. The first was with Los Lobos and the story of “La Bamba,” originally a song of rebellion. Second was a tribute to three divas of ranchera music. And the third was Mariachi Goes to the Movies.
Q And this year’s gala? A The theme is Adelita! The Women of the Mexican Revolution.
Q Why is the festival crucial right now? A Mexicans are making such enormous economic and cultural contributions, and for second- and third-generation Mexican Americans it’s important to connect them back to their heritage. You have to have the roots, and then the branches will take care of themselves.
Photography by Kevin Martin
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Post by the Scribe on Apr 7, 2020 1:44:44 GMT
Quote by ronstadtfanaz: Just for the record here, the above quote was taken from an article posted on the Saving Country Music website on the weekend that Linda make her announcement about her contracting Parkinson's: www.savingcountrymusic.com/we-lose-linda-ronstadts-voice/As one person on some of the other forums I visit pointed out to me, the only actual branch of the music world that hasn't yet honored Linda is the mainstream country music world, even though her impact on that genre, even if from well outside, has been, how shall we say, staggering. Apart from a lot of female artists in country music covering her songs over the years in concerts and on record, plus her collaborations with Dolly and Emmy of course, it's really only been Carrie Underwood (at the 2014 Rock and Roll Hall of Fame induction of Linda) and Brandy Clark (at last year's Parkinson's benefit at the Ace Hotel in L.A.) that have really paid any direct tribute. There really hasn't been any mass honoring of Linda from that part of the music industry. It may have a lot to do with the fact that the country music industry is by and large centered around Nashville, and Linda's left-of-center, West Coast-based approach to country was anathema to that town's industry higher-ups. Still, Linda is a big reason why there are a lot more women in that sector than there were 40 years ago.
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Post by the Scribe on Apr 7, 2020 1:45:40 GMT
excerpts From Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Chicano_rockChicano rockChicano rock is rock music performed by Mexican American (Chicano) groups or music with themes derived from Chicano culture. Chicano Rock, to a great extent, does not refer to any single style or approach. Some of these groups do not sing in Spanish at all, or use many specific Latin instruments or sounds. The main unifying factor, whether or not any explicitly Latin American music is heard, is a strong R&B influence, and a rather independent and rebellious approach to making music that comes from outside the music industry.
Chicano rock is the distinctive style of rock and roll music performed by Mexican Americans from East L.A. and Southern California that contains themes of their cultural experiences. Although the genre is broad and diverse, encompassing a variety of styles and subjects, the overarching theme of Chicano rock is its R&B influence and incorporation of brass instruments like the saxophone and trumpet, Farfisa or Hammond B3 organ, funky basslines, and its blending of Mexican vocal styling sung in English.
There are two undercurrents in Chicano rock. One is a devotion to the original rhythm and blues and country roots of Rock and roll. Ritchie Valens, Sunny & the Sunglows, The Sir Douglas Quintet, Thee Midniters, Los Lobos, Malo, War, Tierra, and El Chicano all have made music that is heavily based on 1950s R&B, even when general trends moved away from the original sound of rock as time went by.
Chicano rock 'n' roll star Ritchie Valens, was a Mexican-American singer and songwriter influential in the Chicano rock movement. He recorded numerous hits during his short career, most notably the 1958 hit "La Bamba." Valens died at age 17 in a plane crash with fellow musicians Buddy Holly and the Big Bopper on February 3, 1959. The tragedy was later immortalized as "the day the music died" in the song "American Pie."
Another characteristic is the openness to Latin American sounds and influences. Trini Lopez, Santana, Malo, and other Chicano 'Latin Rock' groups follow this approach with their fusions of R&B, Jazz, and Caribbean sounds; but all of the groups and performers have some of these influences. Los Lobos in particular alternates between R&B/roots rock and the Tex-Mex/Latin rock style.
In places such as Los Angeles, the San Francisco Bay area, and Dallas and Houston, Texas, the African-American audience was very important to aspiring Latino musicians, and this kept their music wedded to authentic R&B. Undoubtedly, many listeners in the 1960s heard Sunny and the Sunglows "Talk to Me", or Thee Midniters' and more famously, Cannibal and the Headhunters' "Land of a Thousand Dances" and assumed that the groups were black. Dick Hugg (aka Huggie Boy) and KRLA 1110 played a big role in promoting this music. Chicano rock music was also influenced by the Doo-wop genre, an example being the song "Angel Baby" by the Chicana fronted group Rosie and the Originals.
The roots of Chicano rock are found in the music of Don Tosti and Lalo Guerrero, "The Father of Chicano Music"[citation needed] Tosti's Pachuco Boogie, recorded in 1949, was the first Chicano million-selling record, a swing tune featuring a Spanish rap, using hipster slang called Calo. Lalo Guerrero arrived in Los Angeles in the late 1930s and found that L.A is "bursting with ambition". Lalo and his friend captured their spirit in music by mixing swing and boogie woogie in a cross-cultural, dialog between African American, Anglo, and Mexican American influences. Guerrero also adapted swing and "jump" styles to Spanish language recordings—all this as rhythm and blues was beginning to emerge as a forerunner to rock 'n' roll. In the 60s there was an explosion of Chicano rock bands in East Los Angeles. One of the first to have a local hit, and even appear on Dick Clark, was The Premiers, who covered a Don and Dewey song called "Farmer John." It featured the beat from the popular hit, Louie, Louie, which was in turn based on a Latino song, Loco Cha Cha.
The 1950s brought rhythm and blues and the roots of rock 'n' roll. Mexican American were among first to catch the beat and introduced a Latin flair to early rock music.
In the early to mid-1960s, the American audience was probably more open to Latin sounds than even today because of the popularity of bossa nova, bugalú, mambo, and other forms. Also, musicians who didn't conform to the rather limited range of early rock could find success as folk performers.
In the late 1960s and 1970s, when civil rights and the Vietnam War were compelling issues, young Mexican American proudly called themselves Chicanos—which once considered as a derogatory term—and many took to the streets to stand up for their rights. Bands like Tierra and El Chicano, created new music that "said something" about Chicano heritage and their struggles for equality and justice.[9] In the midst of these events, Mexican-American immigrants of East L.A. were being exposed to cultural identity problems and struggles with assimilation. Chicano rock emerged as a musical art-form with the power to cross over to the mainstream. With aims to pay homage to their native culture and capture the unique Chicano experience. Chicano rockers unified both the Mexican and American roots that lived within their oppressed cultural spheres.
The trend of Chicano rock mirrored what was happening on college campuses as well. The rise of Chicano Studies departments, which offered courses in Chicano literature, politics and culture, affected college students and musicians tremendously. Musicians rebels against the "old world" and adopt the Mexican and Latin American styles in their own music.
Along with visual artists, activists, and audiences, the musicians of the East Los Angeles chicano rock scene form an emergent cultural movement that speaks powerfully to present conditions. The chicano rock scene of East Los Angeles serves as a form of unity for radical Chicanos who wish to bring forth a call to action and a site for resistance through their art. By claiming the musical style of the "old world", Chicanos are reclaiming their indigenous identity and undoing Spanish colonialism.
The Eastside scene's story of formation, the diversity of its origins, and its commitment to political activism and coalition building illuminate the relations between culture and politics in the present. The musical practices of the East L.A. scene bring to the discussion the dislocations and displacements of people of color in urban California, but they also reflect the emergence of new forms of resistance that find counterhegemonic possibilities within contradictions.
Linda Ronstadt, once hailed as the "First Lady of Rock," is a versatile singer who traversed multiple genres en route to massive national success in pop music in the 1970s and '80s. Ronstadt was nurtured by her Mexican American family whose musical roots run deep in the Mexican border region of Tucson, Arizona. Ronstadt holds dear the memory of childhood serenades by "The Father of Chicano Rock," Lalo Guerrero, a close family friend. Ronstadt's great-aunt Luisa Espinel gained international popularity interpreting Spanish and Mexican song and dance in the 1930s. Among the most popular female pop singers, Ronstadt is one of the most influential Chicana musicians ever, as evident in her extensive discography and four-decades long career.
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Post by the Scribe on Apr 7, 2020 1:46:28 GMT
Selected list of career achievements•As of 2013, Linda Ronstadt has earned three No. 1 Pop albums, ten Top 10 Pop albums and 36 charting Pop albums on the Billboard Pop Album Charts. On Billboard's Top Country Albums chart, she has charted 15 albums including four that hit No. 1. •Also—as of 2013—Ronstadt's singles have earned her a No. 1 hit and three No. 2 hits on the Billboard Hot 100 (with ten Top 10 Pop singles and twenty-one reaching the 'Top 40' overall). Additionally she has scored two No. 1 hits on the Billboard Hot Country Songs chart, and two No. 1 hits and on Billboard's Adult Contemporary chart. •Linda has recorded and released well over 30 studio albums and has made guest appearances on an estimated 120 other albums. Her guest appearances included the classical minimalist Philip Glass's album Songs from Liquid Days, a hit Classical record with other major Pop stars either singing or writing lyrics, she also appeared on Glass's follow up recording; 1000 Airplanes on the Roof, an appearance on Paul Simon's Graceland, where she sang second voice beautifully on a wonderful song of Paul Simon's called "Under African Skies," a song which it appears has a verse dedicated to Ms. Ronstadt, to her amazing voice and harmonies, and to her birth in Tucson, Arizona, she voiced herself in The Simpsons episode "Mr. Plow" and sang a duet "Funny How Time Slips Away" with Homer Simpson on The Yellow Album. Ronstadt has also recorded on albums with artists as diverse as Billy Eckstine, Emmylou Harris, The Chieftains, Dolly Parton, Neil Young, J. D. Souther, Gram Parsons, Bette Midler, Nitty Gritty Dirt Band, Earl Scruggs, The Eagles, Andrew Gold, Wendy Waldman, Hoyt Axton, Kate and Anna McGarrigle, Ann Savoy, Karla Bonoff, James Taylor, Valerie Carter, Warren Zevon, Maria Muldaur, Randy Newman, Nicolette Larson, the Seldom Scene, Rosemary Clooney, Aaron Neville, Rodney Crowell, Hearts and Flowers, Laurie Lewis and Flaco Jiménez. •Her three biggest-selling studio albums to date are her 1977 release Simple Dreams, 1983's What's New, and 1989's Cry Like A Rainstorm, Howl Like The Wind, each one certified by the Recording Industry Association of America for over 3 million copies sold. Her highest-selling album to date is the 1976 compilation, Greatest Hits, certified for over 7 million units sold in 2001. •Linda Ronstadt became music's first major touring female artist, selling out major venues, and she also became the top-grossing solo female concert artist for the 1970s. Ronstadt remained a highly successful touring artist into the 1990s at which time she decided to 'scale back' to smaller venues. •Cashbox magazine – fierce competition to Billboard in the 1970s – named Linda Ronstadt the '#1 Female Artist of the Decade'. •Linda's RIAA certification (audits paid for by record companies or artist for promotion) tally as of 2001, totaled 19 Gold, 14 Platinum and 7 Multi-Platinum albums. •Ronstadt's album sales have not been certified since 2001, and at the time, Ronstadt's U.S. album sales were certified by the Recording Industry Association of America at over 30 million albums sold while Peter Asher, her former producer and manager, placed her total U.S. album sales at over 45 million. Likewise, her worldwide albums sales are in excess of 60 million albums sold, according to Verve Music. Verve Music Group •She was the first female in music history to score three consecutive platinum albums and ultimately racked up a total of eight consecutive platinum albums. •Her album Living in the USA was the first album by any recording act in U.S. music history to ship double platinum (over 2 million advanced copies). •Her first Latin release, the all-Spanish 1987 album, Canciones De Mi Padre stands as the best-selling non-English-language album in U.S. music history. As of 2013, it has sold over 2½ million U.S. copies. •Ronstadt has served as record producer on various albums from musicians such as her cousin David Lindley and Aaron Neville to singer-songwriter Jimmy Webb. She produced Cristal – Glass Music Through the Ages, an album of classical music using glass instruments with Dennis James, and Ronstadt singing on several of the arrangements. In 1999, Ronstadt also produced the Grammy Award winning Trio II. •She has received a total of 27 Grammy Award nominations in various fields from rock, country, and pop, to Tropical Latin, and has won 11 Grammy Awards in fields including Pop, Country, Tropical Latin, Musical Album for Children, and Mexican-American. •In 2011, Linda was again honored by NARAS (the National Academy of Recording Arts & Sciences) with the Lifetime Achievement Grammy. •Ronstadt was the first female solo artist to have two Top 40 singles simultaneously on Billboard magazine's Hot 100: "Blue Bayou" and "It's So Easy" (October 1977). By December, both "Blue Bayou" and "It's So Easy" had climbed into Billboard's Top 5 and remained there for the entire month.The Book of Singles—Top 20 Charts 1984 to present Day: Dave McAleer: 2001: ISBN 0-87930-666-1: •As a singer-songwriter Ronstadt has also written songs covered by several artists, such as "Try Me Again" covered by Trisha Yearwood and "Winter Light" which was co-written and composed with Zbigniew Preisner and Eric Kaz, and covered by Sarah Brightman. •Ronstadt recorded songs written by a diverse group of artist including Lowell George, Zevon, Costello, Souther, Anna McGarrigle, Newman, Karla Bonoff, Patty Griffin, Sinéad O'Connor, Julie Miller, Mel Tillis, Tom Petty & the Heartbreakers, John Hiatt, Joe Melson, Seldom Scene, Bruce Springsteen, George Jones, Tracy Nelson, the Flying Burrito Brothers, Little Feat, Neil Young, Bob Dylan, Chuck Berry, the Everly Brothers, Brian Wilson, the Rolling Stones, the Miracles, Oscar Hammerstein II, Roy Orbison and Buddy Holly and the Crickets. •Rolling Stone writes, a whole generation "but for her, might never have heard the work of Buddy Holly, Chuck Berry, or Elvis Costello." •"Rolling Stone's 500 Greatest Albums of All Time" included Heart Like A Wheel (1974) at No. 164 and The Very Best Of Linda Ronstadt (2002) at No. 324. •In 1999, Ronstadt ranked No. 21 in VH1's 100 Greatest Women of Rock & Roll. Three years later, she ranked No. 40 in CMT's 40 Greatest Women in Country Music.
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Post by the Scribe on Apr 7, 2020 1:47:21 GMT
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Post by the Scribe on Apr 7, 2020 1:48:34 GMT
How Ranchera Music Helped 1 Woman Fall In Love With Her Mexican Culture Listen· 5:04 ondemand.npr.org/anon.npr-mp3/npr/atc/2018/02/20180213_atc_how_ranchera_music_helped_1_woman_fall_in_love_with_her_mexican_culture.mp3? February 13, 2018·4:24 PM ET
Heard on All Things Considered Adrian Florido
Before Valentine's Day, love is in the air. But sometimes, love hurts. It's a harsh reality that many Mexicans deal with by listening to rancheras, traditional songs from Mexico's countryside that you can put on when you need a good cry. One young woman found a connection to her ancestors through the sounds of guitars and tears.
A longer version of this story originally aired on NPR's Latino USA.
MARY LOUISE KELLY, HOST:
On this day before Valentine's Day, love is in the air. And for some, so is heartache. Listening to music can be a way to deal with it. In Mexico, when you have had a couple of tequilas and you need a good cry, the music you put on is rancheras. NPR's Adrian Florido brings us the story of a woman who fell in love with her culture through this music.
ADRIAN FLORIDO, BYLINE: When Beatrice Garcia Meade was 13, her family moved from a working-class Mexican neighborhood in San Antonio, Texas, to a mostly white neighborhood with a country club.
BEATRICE GARCIA MEADE: And in my quest to fit in, I guess I aligned myself with all the people that I was surrounded by and so was very disconnected from being a Garcia, if you will.
FLORIDO: She didn't speak Spanish. Sometimes she hid the fact that she was Mexican.
(SOUNDBITE OF SONG, "POR TU MALDITO AMOR")
VICENTE FERNANDEZ: (Singing in Spanish).
FLORIDO: But her parents were like many Mexican parents. And during Sunday chores or at parties, they would blast ranchera songs.
(SOUNDBITE OF SONG, "POR TU MALDITO AMOR")
FERNANDEZ: (Singing in Spanish).
FLORIDO: Rancheras are traditional songs from Mexico's countryside. Garcia remembers how emotional her parents would get when they played them.
GARCIA: I hate to say this, but it was kind of embarrassing. It was just so over-the-top.
(SOUNDBITE OF SONG, "POR TU MALDITO AMOR")
FERNANDEZ: (Singing in Spanish).
(SOUNDBITE OF LINDA RONSTADT SONG, "YOU'RE NO GOOD")
FLORIDO: As a kid, Garcia was listening to rock and pop. She liked singers like Linda Ronstadt
(SOUNDBITE OF SONG, "YOU'RE NO GOOD")
LINDA RONSTADT: (Singing) I'm going to say it again. You're no good. You're no good. You're no good. Baby, you're no good.
FLORIDO: What Garcia didn't know was that Ronstadt, too, was Mexican. One day the late-'80s...
GARCIA: I heard my father talking about Linda Ronstadt's "Canciones De Mi Padre."
FLORIDO: It was Ronstadt's album of Mexican music, rancheras.
GARCIA: And it piqued my interest. And I remember going and finding the CD and listening in secret (laughter).
(SOUNDBITE OF SONG, "POR UN AMOR (FOR A LOVE)")
RONSTADT: (Singing in Spanish).
GARCIA: And I loved the music.
(SOUNDBITE OF SONG, "POR UN AMOR (FOR A LOVE)")
RONSTADT: (Singing in Spanish).
FLORIDO: The album starts with Ronstadt singing about a lost love. Because of that love, she sings, I've cried tears of blood straight from my heart.
(SOUNDBITE OF SONG, "POR UN AMOR (FOR A LOVE)")
RONSTADT: (Singing in Spanish).
FLORIDO: For the first time, Garcia understood the lyrics because the album's liner notes had them in English.
GARCIA: And feeling for the first time that connection and the stories, the passion, it really - it struck me deeply.
(SOUNDBITE OF SONG, "POR UN AMOR (FOR A LOVE)")
RONSTADT: (Singing in Spanish).
FLORIDO: "Canciones De Mi Padre" was Garcia's gateway to the music but also to exploring her Mexican identity. Eventually she went off to college where one of her roommates was Mexican, and together they went to bars that played rancheras. By now it was the mid-'90s. The Internet was taking off. So Garcia dialed up and looked for translations. Garcia remembers it wasn't that long after that she cried to a ranchera for the first time. It was on one of those visits to the bar.
(SOUNDBITE OF CUCO SANCHEZ SONG, "CANCION MIXTECA (QUE LEJOS ESTOY)")
GARCIA: And as the night wore on, as the beers were consumed and feeling this love for our culture, our people, for being Mexican...
(SOUNDBITE OF SONG, "CANCION MIXTECA (QUE LEJOS ESTOY)")
CUCO SANCHEZ: (Singing in Spanish).
GARCIA: ...That's when the tears start flowing.
(SOUNDBITE OF SONG, "CANCION MIXTECA (QUE LEJOS ESTOY)")
SANCHEZ: (Singing in Spanish).
FLORIDO: Since then, she's cried countless times listening to rancheras. And now at family parties, she and her dad and her uncle - they belt them out together, and Garcia knows what she's singing about.
(SOUNDBITE OF SONG, "CANCION MIXTECA (QUE LEJOS ESTOY)")
SANCHEZ: (Singing in Spanish).
FLORIDO: Adrian Florido, NPR News.
(SOUNDBITE OF SONG, "CANCION MIXTECA (QUE LEJOS ESTOY)")
SANCHEZ: (Singing in Spanish).
KELLY: You can hear a longer version of this story on NPR's Latino USA podcast.
(SOUNDBITE OF SONG, "CANCION MIXTECA (QUE LEJOS ESTOY)")
SANCHEZ: (Singing in Spanish).
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Post by the Scribe on Apr 7, 2020 1:49:17 GMT
I have always wished that Linda had included "El Crucifijo de Piedra" on Canciones since it is the apex of her Mexican recordings sales and discussion wise. IOt is in my top ten of all time Linda songs as she just absolutely nails it with such passion. eddiejinfl
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Post by the Scribe on Apr 7, 2020 1:50:09 GMT
Why Linda Ronstadt matters to the mariachi world
Linda Ronstadt with her father, Gilbert, at the Tucson International Mariachi Conference.
I was going through the transcript of an interview I did in late 2012 with Richard Carranza, now the Superintendent of Schools in the San Francsico School District.
Carranza is the man who started Mariachi Aztlan at Pueblo High School, and who created the curriculum for mariachis that has become so much a part of mariachi education throughout America. The interview was conducted as part of the research for my film and book project, “The Mariachi Miracle,” now in production.
Much of the interview focuses on the creation of that program and how it changed his world, thrusting him into the educational administration arena.
But he also talked about the many other turning points in his life that came from being a mariachi in his youth. These include attending the first mariachi conference in the U.S. in San Antonio as part of Tucson’s Los Changuitos Feos. The Changuitos took the crown in the battle of the bands in that program. He talks about attending the first mariachi conference in Tucson, and the early years when Vargas, Lola Beltran, Linda Ronstadt, Los Camperos de Nati Cano, Mariachi Cobre and more took the stage in Tucson.
And then with boyhood enthusiasm he launched into this spontaneous assessment of what Linda Ronstadt’s recordings meant to him as a mariachi from Tucson. I suspect it had the same resonance for many around the country. Would love to hear your take as well on what she’s meant to the mariachi world, so feel free to comment.
Richard Carranza
Meanwhile, here’s the quote:
“I would also say that you cannot talk about the importance of the mariachi movement, especially the youth mariachi movement, in the United States without also talking about our Tucson home girl; Linda Ronstadt.
She’s quintessentially, phenomenally responsible for what mariachi music has become in the United States, uh, because here you have someone that has reached the pinnacle of American pop music. I mean she’s a rock star! And a talentedrock star; she can sing! And she’s great looking. And she can communicate.
And what? She’s recorded an album with mariachi; and not just some studio musicians she picked up somewhere; Mariachi Vargas! Oh my goodness!
Sol De Mexico’s on there! Oh my goodness! The Camperos are on there! Oh my god – she didn’t just bring anybody, she got the best! And there, the honor on her album Canciones de mi Padre. Wow! What a statement!
Singer Linda Ronstadt
And for people that were, in my age group, that were on the edge; that were on the fence; my colleagues, other teachers that, “Well,” you know, “Wow this is really cool. It’s a neat student engagement program. I’m not really sure how I feel about this whole mariachi thing but it’s a neat student engagement program.” Linda Ronstadt just recorded this and she’s got this show.
It changed people’s perceptions. All of those challenges that I’ve talked about; about what mariachi is and it’s in bars for drunks and you teach them to play out of tune and you’re going to steal people out of orchestra; all of that negativity, all of a sudden gets shoved aside because what do you have? You have a major pop star; major rock star; molded in the United States that says, “I’m proud of who I am and I’m recording some albums in this regard; and these are the songs that my father sang.” Whoa! You don’t think that there were thousands upon thousands of kids that could say the exact same thing; I sing this song because my father sang it or my grandfather sang it or my uncle sang it; instant connection.
She’s incredibly important and in just my humble opinion; I don’t think she always gets the credit for just how important she’s been to this movement. I’m just tremendously proud, you know, even now living in San Francisco, to be able to say, “Yah, I know Linda has a house in San Francisco but she’s a Tucsonan. I’m a Tucsonan.” And to be able to say, “Those are our roots. That’s what it’s about.””
~ by Daniel Buckley on January 6, 2015.Posted in Daniel Buckley Arts, Daniel Buckley Documentaries, Mariachi blog, Mariachi documentary, Slice of Life, Uncategorized
3 Responses to “Why Linda Ronstadt matters to the mariachi world” I was just a few years behind Richard Carranza in the youth Mariachi movement in Tucson and didn’t understand Linda Ronstadt’s impact on myself and my local colleagues until a few years after “Canciones de Mi Padre” was released in 1987. It became crystal clear when my parents, who were staunch admirers of “Golden Era” singers like Antonio Aguilar, Amalia Mendoza, Javier Solis and Miguel Aceves Mejia were awed by Linda’s interpretations and the arrangements (done by Ruben Fuentes) of standards. It was a generational connection that opened my eyes. Soon after, you couldn’t find a group in Tucson that didn’t incorporate “Los Laureles”, “Por Un Amor”, “Tu Solo Tu” and “La Charreada” into their repertoire. Her appearances at the Tucson International Mariachi Conferences both as a featured artist and as a guest milling about the student workshops further solidified the connection and we (youth mariachis) were caught in the wake that would pull us along many years after both LP’s (“Mas Canciones” 1991 as well) made their impact on the Mariachi world!
John Contreras said this on January 6, 2015 at 5:29 am | Reply
Wow what pride I feel bein of Mexican American descent. ..studied his tory of Mexican music at university of Texas in 1978.also my sister got to experience can cones de mi Padre in new York City!
adrianaflores said this on January 9, 2015 at 6:40 pm | Reply
I remember going to see the Canciones tour at what was then called Great Woods in Massachusetts. It was spectacular. I have seen Linda Ronstadt 39 times in my lifetime, and she has never disappointed. That night, there were some really rude people behind me and all the kept yelling was “Sing in English. I didn’t pay for this.” I remember turning around and telling them, “Yes, you did. It was billed as the Canciones di mi Padre Tour. Now, shut up or leave.”
Thanks for the article. It was awesome.
Deb Della Piana said this on February 19, 2015 at 1:32 pm | Reply
www.danielbuckleyarts.com/2015/01/why-linda-ronstadt-matters-to-the-mariachi-world/
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Post by the Scribe on Apr 7, 2020 5:34:43 GMT
Wednesday, April 01, 2009Linda Ronstadt Testifies to CongressTucsonan Linda Ronstadt joins other musicians and leaders of the art world today in Washington, D.C. to testify in support of funding for the National Endowment for the Arts. Here is an excerpt of her remarks, courtesy of Mercury News:
For thousands of years human history was passed down the generations using music as a way to remember long sagas before they could be written down. In these modern times, we tend to think of music as an entertainment or something that helps a troop of soldiers to step out smartly in a parade. Music is not just entertainment. Music has a profound biological resonance and it is an essential component of nearly every human endeavor. Oliver Sacks, the noted neurologist, wrote a book called "Awakenings" in which he describes his patients whose brains were severely damaged by Parkinson's disease. These patients were unable to walk, but when music was played they were able to get up and dance across the floor. Music has an alternate set of neurological pathways through our bodies and our brains.
Music programs have a very discernable positive effect on our children's education. A recent survey by Harris Interactive of 450 randomly selected high schools revealed that students who are enrolled in a music program have a 90.2% graduation rate, while those who take no music classes have a 72.9% graduation rate. Christopher Johnson, professor of music education and associate dean of the School of Fine Arts at Kansas University, conducted a landmark study comparing test scores of students in a music program with students who had no music. Professor Johnson later testified before Congress, presenting some eye-opening data: students of all regions and socio-economic backgrounds who studied music scored significantly higher on math and English tests than students who did not study music.
Recently I have been invited to sing at several schools. I agreed on the condition that I not sing from the stage to a large school assembly but rather in the classrooms of first and second graders so that they could hear un-amplified music in a more natural setting the way I experience it in my living room. I know that many of these children don't have families that play music at home. In fact, most of them have had no experience with anything but recorded music. They think music comes out of their television or computer screens, not out of people's hands and mouths. After they got over the shock of discovering that we didn't have volume knobs on our heads or on our acoustic guitars, they settled down and listened to our selection of folk songs from the early part of the twentieth century. These were not children's songs. They were songs about building the railroad, exploring unknown territory and the loneliness of being a stranger in a new land. Afterward, we talked about the stories in the songs and how they might apply to their lives.
There are some excellent programs that promote live performances in the schools and they deserve to be supported. Yo-Yo Ma, the renowned cellist who performed recently at President Obama's inauguration, has volunteered his time to perform in schools with the help of an organization called Young Audiences.
In my hometown of Tucson, an organization called OMA (Opening Minds to the Arts) has made a tremendous impact in helping children of many different cultures and languages to assimilate into the Tucson Unified School District. Children of African refugees, Native Americans, and Mexican immigrants, all have benefited from learning music, the universal language, as they struggle to become proficient in English and excel in their other subjects. In only the first year the program was implemented, the dramatic rise in test scores in schools being served by OMA surprised teachers and researchers alike.
click for full remarks: www.mercurynews.com/2009/03/30/opinion-arts-advocacy-day-testimony-from-linda-ronstadt/
Some of my favorite memories revolve around time spent listening to Ronstadt's Canciones de mi Padre album with family and friends. I can close my eyes and hear my long-deceased nana on my mom's side singing Tu Solo Tu to me, or my tata on my dad's side belting out ¡Y Andale!
I even remember tearing up when Linda appeared with Elmo on Sesame Street, singing La Charreada. It was the first time I felt like the rest of the country was paying attention to something so closely connected to my identity.
That album (and yes, I own the vinyl...plus a CD, DVD and now digitized version) was my first personal introduction to my mother tongue of Spanish. My parents didn't speak it in our house and barely understand it today due to the hate their parents experienced growing up in the era of Operation Wetback when it was declared open season on Mexicans, regardless of which side of the imaginary line they were born. It's a sad thing, really, and something I've been trying to rectify by studying and re-learning a language that holds an indescribable connection to my soul.
Linda's testimony today is consistent with what I experienced when Canciones debuted in 1987 - a renaissance of cultura, to a new generation that encouraged learning. She was already an established artist in the country/pop world and by doing an album in her native tongue using powerful songs that go to the heart of what it means to be Mexicano, people like me found ourselves memorizing the words to the corridos and boleros, exercising our brains and hearts to make room for another language.
I'm pleased to have the opportunity to see this amazingly talented (and liberal!) woman perform at this year's Tucson International Mariachi Conference towards the end of April. I attended a mariachi serenata performance of hers a few years ago but can hardly contain the excitement for this one. Reading Linda Ronstadt's testimony today, and reflecting on my experience of having music be a guide for deeper education, brings an uncontrollable ¡Grito! from my lips.
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