A year later she won a contest to sing with Miguel Aceves Mejía on a weekly radio program at XEW, an opportunity that landed her a recording contract and saw her dubbed Lola Beltrán. While Guzmán did not immediately offer Beltrán her shot at stardom, he did hire her as his secretary. Rudely dismissed by the station executives, Tomás Méndez, a songwriter and singer with the group Los Diamentes, secured her an audition with the station manager, Amado C. According to The Billboard Guide to Tejano and Regional Mexican Music, Beltrán visited the radio station and pleaded for a chance to sing on the air. In 1953, after graduating from secretarial school, Beltrán and her mother left Rosario for Mexico City, seeking to make a name for herself singing in the tradition of the balladeers she admired.Īccounts vary as to how Beltrán secured a recording contract in Mexico City, although it is clear that radio station XEW played a crucial role. As a child she sang at mass and in the church choir, where her director introduced her to the romantic ballads of Pedro Infante and Agustin Lara.
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Upon her death in 1996, the entire country went into mourning, with her body lying in state in Mexico City, her songs played endlessly on the radio, and her musical films shown back-to-back on television.īeltrán, born Maria Lucia Beltrán Alcayaga, was raised in the rural town of Rosario, one of seven children of Maria de Los Angeles Ruíz del Beltrán, a homemaker, and Pedro Beltrán Felix, a miner. Known for perfecting the art of the Mexican ranchera, a genre akin to American country-and-western music, Lola Beltrán was perhaps Mexico's best-loved singer. Julión Álvarez, Espinoza Paz, Banda MS, El Komander, La Adictiva Banda, Voz de Mando, Gerardo Ortiz, Roberto Tapia, El Fantasma and Calibre 50, among others, represented a new wave of regional Mexican singing banda, corridos and rancheras.īelow, listen to the 35 songs that tell the story of regional Mexican.Born Maria Lucia Beltrán Alcayaga on March 7, 1932, in Rosario, Sinaloa, Mexico died on March 25, 1996, in Mexico City married Alfredo Leal children: one daughter, María Elena Leal. In 2004, the duranguense movement was introduced with Grupo Montéz de Durango, K-Paz de la Sierra, Alacranes Musical, Horóscos de Durango and Diana Reyes, who were the leaders of the new genre. Singers Pepe Aguilar and Alejandro Fernández were also making waves with their take on mariachi following in the footsteps of their respective dads.īy the new millennium, it was Banda El Recodo making a splash thanks to their chart-topping banda hits along with artists such as Valentin Elizalde, Lupillo Rivera, Jenni Rivera and La Arrolladora Banda El Limón. Parallel to the rise of grupero, corrido pioneer Chalino Sánchez from Sinaloa was revolutionizing the genre with his corridos, or Mexican folksongs that often depicted real-life events, and narcocorridos, influenced by the narco (drug cartel) culture of Mexico. Meanwhile, Joan Sebastian was known for his fusion of Latin pop, ranchera and grupero such as “Veinticinco Rosas.” Then there were the artists who were placing bets on norteño sounds that depended heavily on an accordion, including Ramon Ayala, Los Cadetes de Linares, Carlos y José, Los Invasores de Nuevo León and Los Tigres del Norte. Juan Gabriel successfully crossed over to pop from regional Mexican, but not without first popularizing the ranchera ballad with classics including “Déjame Vivir” with Rocio Durcal and “Hasta Que Te Conocí.”
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Aguilar also recorded tamborazo, similar to banda, that originated in Aguilar’s native Zacatecas, Mexico. Lucha Reyes, Jorge Negrete, Pedro Infante, Javier Solis, José Alfredo Jiménez, Lucha Villa and Chavela Vargas all belted out anthemic songs, often accompanied by a mariachi, such as “Ay Jalisco, No te Rajes,” “México Lindo y Querido,” “Camino de Guanajuato” and “Amorcito Corazón.”īy the early 1970s to the 1980s, we were introduced to a new wave of artists, such as Vicente Fernández and Antonio Aguilar, who carried on the legacy of dramatic mariachi music. Hispanic Heritage Month 2020: This Bachata Evolution Shows How 'Music of the Barrios' Changed the…īut let’s go way back in time - to the 1940s to 1960s, to be exact - when bolero rancheras were the soundtrack to Mexico’s Golden Age of Cinema.