Lydia Mendoza's Life in Music / La Historia de Lydia Mendoza Norteño Tejano Legacies includes audio CD

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Format: Paperback
Pub. Date: 2003-04-03
Publisher(s): Oxford University Press
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Summary

Lydia Mendoza's life story encompasses a 60-year singing career including innumerable tours, recordings, best-selling hits, and national awards. Her performing career began with the advent of the recording industry in the 1920s and continued into the 1980s. Mendoza's status as a working-class idol continues to this day, making her one of the most prominent and long-standing performers in the history of the recording industry and a champion of Mexican-American music. This bilingual book presents Lydia Mendoza's life story in her own words, both in the original Spanish and in a sensitive English translation by Yolanda Broyles-Gonzalez. Broyles-Gonzalez concludes the volume with a consideration of the significance of Lydia Mendoza's career and her place in Tejana music and Chicana studies. Best known as a solo artist, Lydia Mendoza possessed an emotive voice and guitar-playing skill that allowed her to nurture and preserve the vast oral tradition of Mexican popular song with beauty and integrity. She is loved as a voice of working-class sentimiento, an embodiment of Chicano culture, and a leading force in raza people's struggle for survival. Book jacket.

Author Biography


Yolanda Broyles-Gonzalez is jointly Professor of Chicano Studies and Affiliate Professor of German Studies at the University of California at Santa Barbara. Her publications include Re-emerging Native Women of the Americas: Native Chicana Latina Women's Studies (2001) and El Teatro Campesino: Theater in the Chicano Movement (1994).

Table of Contents

About This Bookp. xi
Brief Chronologyp. xv
Let's weave that story by telling itp. 3
When I arrived in San Antonio, there were no women singersp. 5
We toiled and toiledp. 12
And that's how I began to learn my songsp. 17
In San Antonio they never paid me for my workp. 20
My career was not cut off by my husbands (the Mendoza Family)p. 28
What's upon us is ... modern times (San Antonio in the 1920s and now)p. 37
Musical interludep. 40
Lydia Mendoza, the teacherp. 41
That has been my life and long career (different types of performances, ambiences, and audiences)p. 42
That's the artistry: the art of feelingp. 47
Life ... that's what has taught me (art across the generations of women)p. 49
Musical interludep. 52
Persevere! Don't hold back; don't give up! (surrender to music: a whole lifetime)p. 52
Let the women singers emerge!p. 54
I really have a lot of faith in the spiritsp. 61
My mother would teach us these thingsp. 62
Musical interludep. 73
There were many theaters in those yearsp. 74
We northerners: nosotros los nortenosp. 78
The Two Great Women of Texasp. 81
What more can I ask of life?p. 84
Vamos hilvanando aquella historia: platicandolap. 91
Cuando yo llegue a San Antonio, no habia mujeres que cantaranp. 93
Asi anduvimos afanando y afanandop. 100
Asi fue como fui aprendiendo yo mis cancionesp. 105
En San Antonio nunca me pagaron mi trabajop. 108
Mi carrera no me la cortaron mis esposos (la Familia Mendoza)p. 116
Es que vienen tiempos modernos (San Antonio en los anos 20 y ahora)p. 125
Pausa musicalp. 128
La maestra, Lydia Mendozap. 128
Esa ha sido mi vida en mi larga carrera (differentes tipos de tocadas, ambientes y publicos)p. 130
Ese es al arte, el arte de sentirlop. 135
La vida es la que ma ha ensenado (el arte a traves de generaciones de mujeres)p. 137
Pausa musicalp. 140
No se arrienden! No se queden atras! (seguir en la musica: toda una vida)p. 140
Que surjan las cancioneras!p. 142
Tengo mucha fe en los espiritusp. 149
Mi madre nos ensenaba esas cosasp. 150
Pausa musicalp. 161
En aquellos anos habia muchos teatrosp. 162
Nosotros los nortenosp. 166
Las Dos Grandes de Texasp. 169
Que mas puedo pedirle a la vida?p. 172
Background and analysisp. 177
Participation in this historiap. 178
Lydia Mendoza and the social powers of musicp. 181
Autonomous domains of self-powerp. 182
Lydia Mendoza's norteno performance repertoire: performance tradition and the creation of social meaningp. 190
Changing borderlands musical languagesp. 192
Lydia Mendoza and the cancion rancherap. 196
Gendered historia: performing indigenous women's working-class history (a way of talking)p. 200
Making historia/Making historyp. 205
The web of oral traditionp. 210
Negotiating the space and movement between orality and print culturep. 211
Notesp. 217
Appendixp. 225
Indexp. 227
Table of Contents provided by Rittenhouse. All Rights Reserved.

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