On Tejano Music 2: Surrounding Geography and Evolutions

A seasoned Musician (Vocals, Guitar and Piano), Filmmaker, and Actor, J.D. Mata has composed 100 songs and performed 100 shows and venues throughout. He has been a regular at the legendary “Whisky a Go Go,” where he has wooed audiences with his original shamanistic musical performances. He has written and directed numerous feature films, web series, and music videos. J.D. has also appeared in various national T.V. commercials and shows. Memorable appearances are TRUE BLOOD (HBO) as Tio Luca, THE UPS Store National television commercial, and the lead in the Lil Wayne music video, HOW TO LOVE, with over 129 million views. As a MOHAWK MEDICINE MAN, J.D. also led the spiritual-based film KATERI, which won the prestigious “Capex Dei” award at the Vatican in Rome. J.D. co-starred, performed and wrote the music for the original world premiere play, AN ENEMY of the PUEBLO — by one of today’s preeminent Chicana writers, Josefina Lopez! This is J.D.’s third Fringe; last year, he wrote, directed and starred in the Fringe Encore Performance award-winning “A Night at the Chicano Rock Opera.” He is in season 2 of his NEW YouTube series, ROCK god! J.D. is a native of McAllen, Texas and resides in North Hollywood, California. 

J.D. Mata: I would like to qualify my statements, which we can include in the first session or at the beginning. What I’m sharing regarding the economy, the industry, is from my frame of reference, it is accurate, again, from my perspective. I have been out of the industry for approximately 20 years, but it still feels quite recent. Regarding the specifics of where Tejano originated, its evolution, and its current state, that is not my area of expertise. However, some individuals in Texas, such as Rock and Roll James, an exceptional D.J., could provide more insight. He hosts a podcast called #PBT, which offers incredible insights. He is a D.J. within the Tejano industry and has experience in various formats, making him highly knowledgeable. Another expert is D.J. Mando San Roman, with whom I was in a Tejano band called La Ganga. He is also an aficionado of the Tejano industry, knowledgeable about its history and ideology. This can be a sensitive issue, and I strive to be accurate based on my experience. I completely understand if others feel I have not been accurate, as everyone has their own perspective. I wanted to share that we were examining the origins and some of the greats of Tejano music.

Scott Douglas Jacobsen: Geography plays a significant role in how far a musical style can spread. The internet can change things to some extent, but music must become prominent to launch from there. For instance, rap and hip-hop were very localized for a long time before they became international through the internet. Considering the Texas-Mexico border as the development area, how did Tejano music spread to the east, as far as Florida, to the west, as far as California, and to central and southern Mexico? How did its development unfold in these directions?

Mata: That is a very interesting question. Selena was one of the artists who significantly contributed to bringing Tejano music to a broader audience, including the east, west, south, Mexico, Central America, South America, and the north. Her father, A.B. Quintanilla, deserves recognition for managing her career astutely and persistently, ensuring her success during her lifetime and preserving her legacy afterward. The entire family, including her sister Suzette, has been instrumental in maintaining her legacy.

Tejano music reached these regions because necessity is the mother of invention. Musicians need to perform and earn a living. One of the reasons I left South Texas, despite my love for McAllen and the region, is opportunities aren’t present in certain areas of the film or music industry. If you want to spread globally or make a significant impact, you must relocate to a market that can facilitate that growth. Many great musicians and Tejano artists perform at weddings, quinceañeras, and bars. Many are content to stay in those venues, which is perfectly fine. However, I aspired to achieve recognition on a global stage.

For many Tejano artists, necessity is the mother of invention. Many played music full-time, performing at quinceañeras, weddings, and bars, but also held other jobs. I dislike the term “real jobs” because, for us, music is our real job. As a musician and actor, that is my true profession. However, many have side hustles: lawyers, teachers, doctors, and judges, and they play music to support their passion.

Some musicians can’t afford to do that, so they pursue music as a career. Mexican Americans are spread across the United States, Mexico, and other countries. They brought Tejano music to other Mexican Americans who were working as farm workers and migrants. These migrants left the Rio Grande Valley or South Texas to work in the fields up north, spreading the music throughout the Midwest, California, Oregon, and other places. Artists would travel to perform there, often facing brutal conditions, with their buses frequently breaking down. It was a blue-collar musical development, with musicians enduring significant hardships.

Musicians didn’t have modern conveniences like cell phones or iPads back then, so they often composed songs under challenging circumstances. For example, Roberto Pulido, an icon in the industry, played more orchestra music with saxophones and accordion than Tejano. His son, Bobby Pulido, is a Tejano breakout star.

Roberto’s story illustrates the hardships faced by these musicians. They travelled all over the U.S., often with their buses breaking down. He shared on Rock and Roll James’s #PBT show about how they ran him without oil, leading to his physical breakdown. This story is emblematic of how Tejano’s music spread to various corners across the map.

I want to highlight two individuals who significantly contributed to making Tejano huge in South Texas: Nano Ramirez, the owner of the convention center Via Real in McAllen, Texas, who hired many Tejano artists and hosted large dances; and Johnny Canales, who also played a pivotal role in promoting Tejano music. God rest his soul; he recently passed away.

Johnny Canales had a television show where he showcased up-and-coming Tejano artists, which was a huge hit. There were other local shows that I participated in as well, like those hosted by Akira and Helio. These Sunday morning talk shows also featured Tejano artists and served as a springboard for recognition before the internet era.

Thanks to the internet and the significant contributions of Selena, her father, and her family, Tejano music has spread worldwide. Selena’s talent, the internet, and the movie about her life have helped popularize Tejano music globally.

Can you be a Tejano artist if you are not born in Texas? No. To be a genuine Tejano artist, you must be born in Texas and be able to write your music. Can someone born in San Francisco play Tejano music? Yes, of course. But they can’t call themselves a Tejano artist. Regarding the geographical spread, the core region for Tejano music is from San Antonio down to the Rio Grande Valley. I am biased, but I consider the Rio Grande Valley the nucleus, the motherland, the “Israel” of Tejano music. We, the Tejano artists, are like the chosen ones.

Tejano music reached various regions through the efforts of these hardcore, blue-collar musicians with incredible work ethics. They travelled all over the United States early on, often working in construction and other tough jobs.

Jacobsen: That’s some of the hardest work you can do.

Mata: Some of the smartest people I have met are Tejano artists, musicians, and band leaders with significant business acumen. Many were master mechanics out of necessity and incredible musicians. I am a terrible business person and know only a little about cars. If something breaks down, I am in trouble. My main strength is artistry. However, out of necessity, many of these Tejano artists became brilliant in multiple areas.

As I mentioned, if these pioneers had been born with access to grand pianos and classical music, they would have been virtuosos. There are different kinds of genius and virtuosity, and Tejano artists possess a unique form of genius.

Did I answer your question adequately?

Jacobsen: Are there any examples you can give or descriptors of the differences between West Coast, East Coast, and Texan Mexican styles of Tejano music? How has geography, over a few decades, changed the flavour of this style of music?

Mata:  Surely. As I think about it, I will do a deep dive here.

Let’s address this very important question, starting with instrumentation. For example, when I was playing Tejano music in my band, I had two trumpet players and a keyboard player who used a small Casio keyboard. You work with what you have and make the best of it. The proximity to available musicians is also a factor. The trumpet players were individuals I knew from the band, and they joined because of our connection.

Regarding the drummer, it didn’t matter how good or bad his drums were; we worked with what we had. Keyboards often characterize the Tejano sound. You invent the sound based on the resources at your disposal. Oscar considered the godfather of Tejano music, had access to keyboards and synthesizers, which helped him create the Tejano sound.

Another requirement to be a genuine Tejano artist is to be born in South Texas. There’s also a cultural aspect to consider. My experiences, guiding stars in songwriting, and the influences I had growing up all play a role in creating an authentic Tejano sound. Now, let’s consider someone from Florida. They might be influenced by mainstream Tejano artists like Siggno. While they can certainly play Tejano music, they can’t truly call themselves Tejano artists. However, these prominent Tejano artists might deeply influence an artist from North Hollywood or Florida who grew up listening to Selena, Grupo Mas, and La Mafia.

Hundreds of Tejano artists didn’t achieve global fame, but those who did, like Mas and Mafia, set a standard. Other artists, like Los Chamacos, also contributed to the genre. People from various places, including North Hollywood, Florida, and even Mexico, have been influenced by artists like Bobby Pulido. They adopt the Tejano sound, which includes elements like German polka with synthesizers, bass guitar, drums, and sometimes horns.

Are they Tejano artists? Yes and no. Yes, they play Tejano music, but no, they are not of Tejano origin. It’s still commendable that they carry the mantle. It’s similar to how the Beatles were influenced by Elvis, Little Richard, and B.B. King and then created their sound, influencing many others.

Each region has its unique influences. For example, the music might be more Cuban-oriented in Florida, with salsa, merengue, and reggaeton influences. In Mexico, the focus might be more on banda music, also popular in California. Banda features a sousaphone as the bass, along with horn players and clarinetists, creating a cool sound.

I recently worked with another artist named J.D., whose music blends reggaeton with rap, creating a fusion of rap and rock in Spanish. My current music, which I call Radical Latino Fusion, incorporates a mix of everything that inspires me. Tejano music has undoubtedly spread everywhere and influences various types of Latino music.

Jacobsen: Have there been any spinoffs from Tejano to another genre of music? Has it evolved, or is it still new enough that there has yet to be an evolution from Tejano into a new form of music, similar to how Tejano has its roots in polka?

Mata: They influenced me, and I was copying them, too, in terms of sound. So yes, I can see how different regions have unique influences, although I have yet to follow them closely. For example, in Florida, the music scene is more Cuban-oriented, with prominent salsa, merengue, and reggaeton. In Mexico, the focus is more on banda music. Banda is also very popular here in California, featuring a sousaphone as the bass, along with horn players and clarinetists, creating a distinctive sound.

Jacobsen: Have there been any spinoffs from Tejano to another genre of music? Has it evolved into a new form of music in the 2010s or early 2020s, similar to how Tejano has its roots in polka?

Mata: I would say that Tejano has yet to spin off into anything else as defined or tangible as the evolution of German polka into Chicano music and then into Tejano. I’ve been out of the Tejano industry for the last 20 years. There may be someone out there who can provide more insight.

Jacobsen: Has Tejano music reached Western Europe or other international shores?

Mata: About 15 years ago, a group of female Tejano artists were groundbreaking. For instance, Shelly Lares and other female Tejano artists formed the Tejano Divas. They toured worldwide, including for USO tours, performing for the armed services. Elida Reyna and Stefani Montiel are other notable Tejano artists who have contributed significantly to the genre’s evolution and international reach. Patsy Torres is another significant Tejano female artist who has impacted the industry. Jennifer Peña, who played young Selena in the movie, has become a mainstream Tejano artist. Tejano music has reached every corner of the earth.

Jacobsen: When we speak of prominence for Tejano artists, we need to consider record sales and downloads. What kind of downloads and record sales are we looking at? What is the following like within the peak of performance in this genre? Can a metric be put on this?

Mata: During the early 90s the golden age of Tejano music was in the mid-90s and late 80s. Major record labels like Sony and BMI were signing many Tejano artists. Our band could have been signed, but we broke up before that. These record labels were offering very lucrative financial deals. If you were an astute businessperson, you could maintain your wealth and make a lot of money. Some artists squandered their opportunities, while others took advantage and remain successful even today.

However, today, like any other genre in the music industry, if you’re not touring, you’re not making money. Tejano artists make their money from live performances and merchandise sales at those performances. For example, I have written hundreds of songs and put them online with music videos. Am I making money from that? Still waiting. People play your song on the internet, but the revenue is minimal. You might get less than half a cent per play.

You won’t make money with original material online because people can get it for free. That’s why artists like Taylor Swift are touring; that’s how they make money. The trick for Tejano artists or any artist is to record your song, make a music video, and use it to draw people to live performances, where you can sell merchandise and tickets.

Creating a two-minute or even a minute-and-a-half song and making a music video for it is key. When people hear it and love it, they want to see you perform live. This is how many artists in the Tejano industry are surviving and making money. They play festivals, tour, and perform at banquet halls, generating income through ticket sales and merchandise. Getting creative with merchandise—selling shirts, keychains, caps—is how Tejano artists are making their money right now, as are many artists.

Jacobsen: The start of the industry involved going on the road to sing and play for people doing blue-collar work. Is that still done, or has the genre evolved past that? Or is it doing both?

Mata: History’s prologue. The way it started is similar to how it is now. There was a time when artists would get signed, make a lot money, and then tour. The label would pay for recording sessions, but the artists would have to pay them back. They usually get good deals and make money from touring.

Initially, there was a lot touring, very blue-collar, hard work, selling C.D.s and T-shirts wherever they played. Then came the golden age, where artists received contracts and large upfront payments. Now, it’s back to blue-collar work ethic. It’s really up to the individual artist’s work ethic. Are you willing to tour and lay it on the line?

For instance, I recently posted a music video. I was up all night making it, recording the song, and creating the video. I love doing it, but it is work. There’s no immediate financial payoff, but it’s about gaining street cred and showcasing what you can do. People want to see you and hear that song when you perform live.

So, it remains blue-collar work but is now under a broader umbrella. It involves not just touring but also making a splash on social media. Although there’s no immediate financial recompense from social media, it’s delayed gratification. Your social media footprint builds name recognition, translating into making money when you perform live. It’s still all about work ethic.

It’s all about a blue-collar work ethic, without a doubt. Some of these current Tejano artists work incredibly hard, which is great. It’s about work ethic and passion. If you have a passion for it, you will be dedicated. I’m passionate about what I do as an actor, filmmaker, and musician. I work day and night at it, and despite some struggles, this is my real job.

Jacobsen: Which category of person do you think is the biggest demographic of fans? Mexican-Americans, Mexicans, English-speaking, Texan-Americans—who is listening to this music the most? Who is downloading this music the most? Who is going to these concerts the most?

Mata: Without a doubt, the biggest demographic is Mexican Americans. This includes all ages, from young children to folks in their 50s and 60s who grew up with the golden age of Tejano music. There’s also a percentage of Caucasians who are fans of Tejano music, but the main demographic is Mexican-American and mainly from Texas. It all began in South Texas, from San Antonio south. Some bands started in Dallas, a bit further north, but the core demographic remains Mexican-American. While other ethnicities probably listen to it, I need specific data to quantify that.

Jacobsen: Last question for this session. Rap and hip hop had a moment where Dr. Dre discovered someone authentically a good rapper—unlike Vanilla Ice—Eminem, who may be the best-selling rapper ever. This expanded the consumer base for rap and hip-hop. Do you think Tejano could benefit from something similar? An artist from a different background who loves the music, masters it, and helps expand the consumer base.

Mata: Oh, definitely. That’s a great question and a wonderful vision. I could see that happening. I would love to see an African-American take on Tejano music and add their spin and soul. It would be fantastic to see someone from Japan start playing Tejano music, similar to how there are Japanese tribute bands for the Beatles. This took Tejano’s music to a new level. It’s a brilliant idea and concept; I should research whether this already exists.

Jacobsen: Round two, thank you.

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Image Credit: J.D. Mata.

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