简介
Lydia Mendoza began her legendary musical career as a child in the 1920s, singing for pennies and nickels on the streets of downtown San Antonio. She lived most of her adult life in Houston, Texas, where she was born. The life story of this Chicana icon encompasses a 60-year singing career that began with the dawn of the recording industry in the 1920s and continued well into the 1980s, ceasing only after she suffered a devastating stroke. Her 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 Chicana/o music. This bilingual edition presents Lydia Mendoza's historia in an interview between the artist and Yolanda Broyles-Gonzalez: first is the English translation, then the Spanish original, as told by Mendoza herself. Broyles-Gonzalez concludes the volume with an extended essay on the significance of Mendoza's career and her place in Tejana music and Chicana studies.
目录
About This Book p. xi
Brief Chronology p. xv
Let's weave that story by telling it p. 3
When I arrived in San Antonio, there were no women singers p. 5
We toiled and toiled p. 12
And that's how I began to learn my songs p. 17
In San Antonio they never paid me for my work p. 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 interlude p. 40
Lydia Mendoza, the teacher p. 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 feeling p. 47
Life ... that's what has taught me (art across the generations of women) p. 49
Musical interlude p. 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 spirits p. 61
My mother would teach us these things p. 62
Musical interlude p. 73
There were many theaters in those years p. 74
We northerners: nosotros los nortenos p. 78
The Two Great Women of Texas p. 81
What more can I ask of life? p. 84
Vamos hilvanando aquella historia: platicandola p. 91
Cuando yo llegue a San Antonio, no habia mujeres que cantaran p. 93
Asi anduvimos afanando y afanando p. 100
Asi fue como fui aprendiendo yo mis canciones p. 105
En San Antonio nunca me pagaron mi trabajo p. 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 musical p. 128
La maestra, Lydia Mendoza p. 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 sentirlo p. 135
La vida es la que ma ha ensenado (el arte a traves de generaciones de mujeres) p. 137
Pausa musical p. 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 espiritus p. 149
Mi madre nos ensenaba esas cosas p. 150
Pausa musical p. 161
En aquellos anos habia muchos teatros p. 162
Nosotros los nortenos p. 166
Las Dos Grandes de Texas p. 169
Que mas puedo pedirle a la vida? p. 172
Background and analysis p. 177
Participation in this historia p. 178
Lydia Mendoza and the social powers of music p. 181
Autonomous domains of self-power p. 182
Lydia Mendoza's norteno performance repertoire: performance tradition and the creation of social meaning p. 190
Changing borderlands musical languages p. 192
Lydia Mendoza and the cancion ranchera p. 196
Gendered historia: performing indigenous women's working-class history (a way of talking) p. 200
Making historia/Making history p. 205
The web of oral tradition p. 210
Negotiating the space and movement between orality and print culture p. 211
Notes p. 217
Appendix p. 225
Index p. 227
Brief Chronology p. xv
Let's weave that story by telling it p. 3
When I arrived in San Antonio, there were no women singers p. 5
We toiled and toiled p. 12
And that's how I began to learn my songs p. 17
In San Antonio they never paid me for my work p. 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 interlude p. 40
Lydia Mendoza, the teacher p. 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 feeling p. 47
Life ... that's what has taught me (art across the generations of women) p. 49
Musical interlude p. 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 spirits p. 61
My mother would teach us these things p. 62
Musical interlude p. 73
There were many theaters in those years p. 74
We northerners: nosotros los nortenos p. 78
The Two Great Women of Texas p. 81
What more can I ask of life? p. 84
Vamos hilvanando aquella historia: platicandola p. 91
Cuando yo llegue a San Antonio, no habia mujeres que cantaran p. 93
Asi anduvimos afanando y afanando p. 100
Asi fue como fui aprendiendo yo mis canciones p. 105
En San Antonio nunca me pagaron mi trabajo p. 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 musical p. 128
La maestra, Lydia Mendoza p. 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 sentirlo p. 135
La vida es la que ma ha ensenado (el arte a traves de generaciones de mujeres) p. 137
Pausa musical p. 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 espiritus p. 149
Mi madre nos ensenaba esas cosas p. 150
Pausa musical p. 161
En aquellos anos habia muchos teatros p. 162
Nosotros los nortenos p. 166
Las Dos Grandes de Texas p. 169
Que mas puedo pedirle a la vida? p. 172
Background and analysis p. 177
Participation in this historia p. 178
Lydia Mendoza and the social powers of music p. 181
Autonomous domains of self-power p. 182
Lydia Mendoza's norteno performance repertoire: performance tradition and the creation of social meaning p. 190
Changing borderlands musical languages p. 192
Lydia Mendoza and the cancion ranchera p. 196
Gendered historia: performing indigenous women's working-class history (a way of talking) p. 200
Making historia/Making history p. 205
The web of oral tradition p. 210
Negotiating the space and movement between orality and print culture p. 211
Notes p. 217
Appendix p. 225
Index p. 227
- 名称
- 类型
- 大小
光盘服务联系方式: 020-38250260 客服QQ：4006604884
云图客服：
用户发送的提问，这种方式就需要有位在线客服来回答用户的问题，这种 就属于对话式的,问题是这种提问是否需要用户登录才能提问
Video Player
×
Audio Player
×
pdf Player
×
亲爱的云图用户，
光盘内的文件都可以直接点击浏览哦
无需下载，在线查阅资料！
