Download Pachangas: Borderlands Music, U.S. Politics, and by Margaret E. Dorsey PDF

By Margaret E. Dorsey

A uniquely Tejano model of the old fashioned political barbecue, the normal South Texas pachanga allowed politicians to hook up with citizens in a calm environment the place all may well get pleasure from reside track and plentiful food and drinks in addition to political speeches and dealmaking. trendy pachanga nonetheless combines politics, tune, and votes - in addition to a strong new point. company sponsorships have remodeled the pachanga right into a significant advertising occasion, replete with star performers and product giveaways, that are recorded and broadcast on television or radio to significantly bring up the achieve of the political - and the industrial - messages.This ebook explores the starting to be convergence of politics, transnational advertising, and borderlands track within the South Texas pachanga. Anthropologist Margaret Dorsey has saw a few 100 pachangas and interviewed promoters, politicians, artists, and native humans. She investigates how applicants and companies industry their items to Hispanic shoppers, in addition to how using conventional tune for advertising and marketing is changing conventional varieties equivalent to the corrido. Her multifaceted research additionally indicates in actual fact that the strains of impression run either ways-while company tradition is remodeling the traditions of the border, Tejano voters/consumers merely reply to advertising and marketing appeals (whether for politicians or items) that resonate with their values and the realities in their lives. faraway from being an instance of the way transnational advertising homogenizes tradition, the pachanga demonstrates that neighborhood cultures can exert an both robust impact on multinational organizations.

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Additional resources for Pachangas: Borderlands Music, U.S. Politics, and Transnational Marketing

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AND THEIR SHARED MUSIC AL CONSTITUTION Mediation, Risk, and New Publics By understanding democracy as locally performed and emergent, organized by local, regional, and national actors in South Texas, I begin to explain why an active grass-roots style and a more passive transnational style of democracy will either wither or flourish; and, I might add, part of the pleasure of reading this political ethnography is observing the surprising ways in which these models unfold and interact. The text changes intentionally—moments when you want more description, feel jarred, left-out, and occasionally satiated—because that is just how I experienced those events—brilliant, beautiful, amazing, and disappointing.

This class distinction is one I also found being made in Hidalgo County in 2000. The conjunto sound spilling outside the gates of the political spectacle keys attendees to expect an event overflowing with music and speaking to them as “la gente,” the hardworking crowd. While Roberto Pulido reads conjunto music as working class, the respected musician Don Pedro Ayala specifies what its sound means for “tejano workers”: No, la acordeón es música tradicional, por muchos años . . y la gente la lleva en el corazón, ya no se les borra de la cabeza, porque es tradicional.

With their seemingly insatiable appetite for property, these men hired lawyers and lobbied politicians to assist in keeping property taxes low, acquiring land, and controlling the populace. It is not a great surprise, then, to learn that one of the most powerful politicians in the period from 1850 to 1870 was King and Kenedy’s friend Stephen Powers, “the leading expert” on Texas, Spanish, and Mexican land laws (Anders 1982: 4). Powers was perhaps the first person to forge successful Anglo-Mexicano political alliances for the Democratic Party in the borderlands.

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