Mexican Influence around the World Thread

[RMuller]

I need to try it. Up north our ''typical'' fruit is Tunas (prickle pear fruit).

Tunas are also found in West-Centro Mexico. In fact they are most common in San Luis Potosi.


SLP volverá a ser capital de las tunas
https://planoinformativo.com/558752/...-de-las-tunas/


SAN LUIS POTOSI ES TUNERO POR TRADICION




The tuna made it's way from Mexico to Sicily like 3-4 centuries ago

How to pick, peel, and enjoy prickly pears. Learn all about the most traditional Sicilian fruit!




Sicilian Prickly Pear Farm - Harvesting the Fruits & More

[kiko]

Mexico Influenced Blues music (USA)
Source: https://daily.jstor.org/how-mexican-...ced-the-blues/

"Early blues was influenced by the musics of Mexico and Cuba, with the three countries trading musical styles and techniques since at least the nineteenth century"



Mexico Influenced on Jazz (USA)
Source: https://www.trinity.edu/krtu/news/ho...d-origins-jazz

"Many of the musicians in the early stages of New Orleans jazz were of Mexican origin. Like the clarinetist Lorenzo Tío, whose father was from Tampico and was a member of the Eighth Regiment Calvary band. Lorenzo taught many clarinetists in young New Orleans jazz bands. Another was Luis Florencio Ramos, an original member of the Eighth Regiment Calvary band sent by Porfirio Diaz. And there was Alcides Nuñez, who performed for a whole season with the Original Dixieland Jass Band, a group that recorded the first jazz music album in 1920. Several Hispanic surnames stand out in jazz studies that were rooted in New Orleans."



Mexico Influenced in Bossa Nova (Brazil)
Source: https://www.jornada.com.mx/2006/10/08/sem-andres.html

"Sin embargo, nadie menciona jamás la importancia fundamental de la música mexicana en la formación y el desarrollo del bossa nova en particular y, en general, de la llamada mpb, música popular brasileña, sin duda uno de los tesoros culturales del Brasil contemporáneo."


Mexico Influenced in Guasca (Colombia)
Source: https://artsandculture.google.com/en...122x8d9j?hl=en

"La influencia mexicana en la música guasca es evidente, prácticamente es la base de esta música. La música mexicana se instaló y se arraigó en Colombia gracias al cine de oro mexicano de las décadas de 1930 y 1940, en donde músicas de diversos géneros populares mexicanos que se exponían en estas cintas, como la ranchera, el corrido, el huapango, la norteña, la música de banda, entre otras. Particularmente en Antioquia, donde aquellos ritmos de origen mexicano viajaban a través de las ferrocarriles en formato de disco, los campesinos interpretaban sus propias versiones de rancheras y corridos, combinándolas con sonidos derivados del bambuco, el pasillo o el joropo; a esta nueva música se le llamó carrilera, guasca o guascarrilera."


Mexico Influenced in Carranga (Colombia)
Source: https://conservatoriodeltolima.edu.c...4/B-Ruanas.pdf

"La Carranga se crea entonces tras sufrir un proceso de transculturización que se evidencia con influencia de géneros musicales mexicanos"



Mexico Influenced in Puerto Rico's Music, Art and Identity
Source: https://bibliotecavirtualpr.files.wo...perdurable.pdf
Source: http://www.vozdelcentro.org/2013/04/...n-puerto-rico/


"Cuando se escriba en el futuro la historia de nuestro pais(Puerto Rico), los historiadores tendran que admitir que, sin pedir nada a camhio, ningun pals contribuyo como Mexico al enriquecimiento cultural de Puerto Rico, y, mas importante aun, ninguno hizo tanto para moldear y develarnos la esencia latinoamericana de nuestra nacionalidad."

[kiko]

Mexican American Influence


Black & Gray Realism Tattoos
Source: https://www.npr.org/2018/04/12/60175...ealism-tattoos

"A popular style of tattooing called "black and gray realism" has its roots in East LA's Chicano culture. It moved from California prisons in the 1970s to high-end tattoo shops worldwide."


Urban style clothing culture of the USA
Source: https://denimdudes.co/how-chicano-cu...t-denim-style/

"The truth is Chicano motifs have long been implemented into West Coast style; a look that has permeated popular culture and reached runways and clothing racks around the globe. From budding labels to high fashion houses, many industry players have more or less leeched off the subculture that was initially spawned from social oppression experienced by Latino locales since the Mexican Repatriation of 1929. Cholo culture has been massively influential in men’s fashion.

Chicano and Cholo fashion have always had direct influence on other “street” cultures with the crossover of music and style. I think that the re-appropriation of Chicano influence is simply a compliment to great style. I love it. I mean it will never be as good as the original."




Early Graffiti in the USA
Source: https://artinthestreets.org/text/cholo-graffiti

"Although the origins of American graffiti are typically traced back to New York and Philadelphia in the late 1960s and 1970s, an earlier history began in the barrios of Los Angeles decades before."




Mexican American Influenced On Black Panther Movement




Mexican American Dennis Chavez Influenced Politically For Minorities Influencing Black American Leaders
"As a senator, he introduced many civil rights reform bills such as the Fair Employment Practices Commission Bill that sought to end racial discrimination in the workplace."



Mexican Americans Created First Civil Right Movements In The Country

[Felipe99]

It is surprising how many of them could pass as mexicans without any problem, maybe we are not as far related in genes, also, viva la vato sounds awful, some spanish classes would not be bad jajajaja

[TheWolf97]

La influencia mexicana esta tan globalizada que mucha gente de Ecuador y otros paises latinoamericanos tienden a usar frases mexicanas al hablar o escribir, parecen algo estupidos haciendo eso pero cada quien es libre de hacer lo que quiere

[RMuller]

La influencia esta tan globalizada que mucha gente de Ecuador y otros paises latinoamericanos tienden a usar frases mexicanas al hablar o escribir, parecen algo estupidos haciendo eso pero cada quien es libre de hacer lo que quiere

¿Por qué los ECUATORIANOS hablan como MEXICANOS?




NO MAMES WEY!! (Ecuatorianos hablan como mexicanos)



Modismos MEXICANOS en Hispano-américa | ECUADOR

[RMuller]

Country Music Is Also Mexican Music

Country music has become a sonic proxy for American nationalism.

The Department of Homeland Security recruits agents at country festivals, but the musical genre knows no borders.


When Donald Trump signed an executive order to enhance border security, he called on the Department of Homeland Security to hire 10,000 new Immigration and Customs Enforcement officers and 5,000 new Border Patrol agents. And where did they go to find new ICE and CPB recruits? Country-music festivals.

In August 2017, DHS sent recruiters to set up booths at country-music fairs and country music festivals in the country’s heartland. At WeFest, a country-music festival in Minnesota, Border Patrol commissioners set up a booth and handed out job applications. As Customs and Border Patrol Commissioner Ronald Vitiello told CBS News, “We’re looking for people who are looking to do important work on behalf of the country and protecting America.”

Then, while campaigning for Republican Senate candidate Marsha Blackburn at a rally in Nashville last year, Donald Trump said, “I love country music,”


What Trump failed to note was that without Mexican culture, the beloved American genre might never have existed. We take for granted that country music sounds white, looks white, and in many ways, is white. But country music’s origins are far from white, and the perceived whiteness of American country music was a deliberate construction by the recording industry during the Jim Crow era.

In the 1920s, early forms of country music were born out of honky tonk, which was adapted mostly from ragtime but also heavily influenced by Mexican ranchera music. At the height of its popularity, Western swing music was associated with acts like Bob Wills and the Texas Playboys, but that signature sound of the 1930s was actually largely adapted from Mexican musical styles, incorporating sounds that are common in mariachi music: stylized violin or fiddle elements, various string instruments, and lots of horns. This all makes up what’s known as the big-band sound, banda in Spanish.

The iconic Western-swing pianist Knocky Parker once described the Texas-swing genre as “a mixture of Mexican mariachi music from the south, with jazz and country strains coming in from the east.” To this day, the Mexican song “El Rancho Grande” is still a go-to for American swing bands, with its boisterous orchestral use of fiddles and trumpets.


Most of the elements borrowed from Mexican musical styles go unnoticed in rock and country music. But when the Last Bandoleros, a San Antonio band that’s been touring since 2014, play their sets, some fans are surprised by the button accordion on stage.


“All of us are third generation in Texas. We’re American and we’re Mexican,” said Emilio Navaira, the band’s drummer. Emilio and his brother Diego, who plays bass, are the sons of Tejano music superstar Emilio Navaira, who was famous for creating boisterously multicultural Tejano or Tex-Mex music. Jerry Fuentes and Derek James, play guitar.


The band says they don’t ever make a conscious decision to play up a Mexican twinge to their music. As fans of the Beatles and Van Halen, they take cues from classic rock. What makes their sound unique in the contemporary country-music space is a noticeable incorporation of Mexican sounds. They often tour with a guest button-accordion player, Percy Cordona, buttressing their sound with vibrantly Norteño embellishments.

Taking note of their fanbase, Fuentes noted that their Tejano listeners bring with them an intrinsic understanding of the influence of Tejano sounds, because, whether it was through country ballads or corridos, the sounds are what they grew up listening to at home—whether that is north or south of the border.


In his book Segregating Sound, historian Karl Hagstrom Miller recounts how in the 1920s, Southern music—then a diverse mix of cultures and sounds—was classified into distinct genres, each marketed at a distinct racial or ethnic group.

Before this classification, created as a way to sell more records, both black and white Southerners played an assortment of styles, including blues, ragtime, minstrel songs, and string-band music. Suddenly, the blues were black, and country music was white—all because the recording industry engineered decided it was. Eventually, “race music” and “hillbilly music” were so distinct in the American zeitgeist that the audiences of each rarely crossed what Miller calls the “musical color line,” which is still around today.


Fuentes likens the myth of white country music to the myth of the American cowboy. “The original cowboy was the vaquero!” he says. While the image of a cowboy may invoke the Marlboro Man, the American cowboy didn’t really exist until after Mexican vaqueros brought their ranching techniques up to places like Texas, Idaho, Nevada, and the Western coast.

In fact, much of American Western culture—the boots, the hats, rodeos, and, yes, the music—come from Mexico and Mexican culture. There’s even speculation that the “blue yodel,” that all-American arrangement of the vocal cords made famous by Jimmie Rodgers, actually comes from “el grito,” an essential element in Mexican mariachi music. After all, Texas itself was part of Mexico once.


Even with the rise of bands like the Last Bandoleros working to reclaim the genre, country may never become detached from the divisive grip of nationalistic political ideology. The band is reluctant to bring the politics of their existence to the forefront of their presence on the public stage.


Emilio said they all have their political beliefs, but when they play music, they try not to get political at all. In their audience, he notes, one will find an array of fans on different points of the political spectrum. “What’s awesome about it,” Emilio said, “is that it breaks those walls down.”


He hopes they can break down the musical color line by letting music be “the ultimate equalizer.” Audiences at their shows, he says, might stand on the far right or far left of the political spectrum, but they always manage to get along over beers and a good set.


The music industry would do well to take note of country’s Mexican roots. With Latinos becoming a powerful voting block, appealing to Latino audiences is something that both the Republican Party and the country labels have a vested interest in. Country is already gaining popularity among Hispanic Americans: According to research by the Country Music Association (CMA), country music experienced a 25 percent increase in Mexican-American listeners over the last 10 years. Among Hispanic millennials surveyed by the CMA, 39 percent said that they were country fans.

https://www.thenation.com/article/ar...e-nationalism/