Tejano Music
"At the turn of the 21st century the tejano influence has declined in part due to decreased promotion, the rise in regional Mexican and other Latin music, the breakup or retirement of established performers, and the emergence of few new performers. Most tejano artists who performed throughout the 1990s during the music's peak/who are still performing today have rarely played to the same wide stream attention in recent years."
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"Regardless, today's tejano music, while far more pop-oriented than its depression-era roots, is still a vital regional musical style in several tejano communities as well as in other parts of the United States.” Ouch. That hurts. But true ... Welcome.
The reciprocal of the above analysis:
From my understanding, from my own viewpoint, and not because I was a tejano musician either, but I truly believe that most tejano recording artists - [meaning all tejano music bands, groups, conjuntos - new/established icons in their own right, past and present] - have tried very hard to give the tejano community, the audiences in their state, while playing on tours, CD recordings and new releases ... they're doing their best to give you, [the tejano fan], the best they can ...
But they have slowed down a bit. Why?
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Well, first, it takes money to record a new CD, add the studio hours, marketing expenses and overhead, money to pay all the musicians, money for roadies and logistics, etc. Inversely, there are not enough club gigs, not enough local dances, not too many tours anymore.
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Furthermore, without any tejanos and tejanas involvement, without the support of tejano fans from all over the country, without any tejano music alliance and unity, without all of us helping each other for a new tejano music industry, without any social association and connectivity ... sadly, it will get worse. It will. We should have done this years ago.
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We need to escape the 'Golden Age-post hoc-1990s music-Selena years' [closure] ... and move on towards the future with new music and new tejano artists from Texas AND other states. Realistically and absolutely nothing wrong in doing this for our new tejano music industry to succeed, to prosper, to initiate a new Onda - "La Nueva Onda" - and to reach new music heights tomorrow.
[By TM 04/2024]
"Que viva Tejas, que viva La Onda, La Onda Chicana, La Onda Tejana ... y tambien La Nueva Onda."
Cheers and more cheers!
A TM FACTOID: My own conclusion on one element of tejano music has always been to 'reclassify tejano music' into its own categories. Calling simply 'tejano' is too broad of a spectrum and diversity in sounds. Why is this so important? Because music always had the upper hand to dominate the new and old, to change our lives completely, and is one universal language we can all understand. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate with no end in sight.
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Several explanations start with the notion of music as organized sound, but they also highlight that this is perhaps too broad a definition and cite examples of organized sound that are not defined as music, such as human speech and sounds found in both natural and industrial environments. The problem of defining music is further complicated by the influence of culture in music cognition. Throw in the towel, I guess.
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But follow me on this critical issue. In reality, tejano music does have proud roots, but it has no foundation and/or business structure, it does not have definition, so, it's all mixed in there in one singular pot which looks like a Louisiana Gumbo. Tejano music must be reclassified for what it is on its own standard and merit - and for whom it stands for. Us. Our music does not belong mixed in with Norteno and Mexican music/CDs at some stores, and even at some record stores - if you are lucky to find them. Tejano music must have its own identity and culture; we are Hispanic Americans and must be recognized by the world music industry. We are tejanos. Let freedom ring.
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It would be better if we had new tejano music titles, sub-titles and directories under the headings such as, 'Tejano Music'. 'Traditional Conjuntos', 'Groups', 'Bands', 'Urban', 'Modern', and 'Progressive' ... and again, just a few examples below.
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I have said it many times over the years, our true tejano music is extremely hard to play, hard to emulate, hard to learn, and hard to practice it too, let alone playing 'live' in front of an audience. But I am willing to compromise every step of the way with all of you, but unless we unite as one strong voice and heard around the country, all the tejano organizations in the world will not save our music industry. Rather, tejanos and tejanas will have a terrible downfall, a slow demise, and leave only memories to live on. I do not want that. Do you?​
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In contrast and due to the modernization of the world today, our much younger generation of tejanos, tejanas, and musicians, most of them have migrated or changed directions on us and gone to the generational cell phone world, to the R&B world, to rap, to low Fi, gone country, moved to the Latin international route, the Jazz scene, crossovers and at times half tejano music mixed in there with who knows what!
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We're on our own to solve the tejano music identity and to keep it strong forever.​​
Traditional Conjunto
This heading could be the time and years when conjuntos started tejano music. This is our true tejano music history. El Valle played a big part in this timeframe of music.
Classic Tejano
Isidro Lopez broke barriers in his lifetime and changed bands into this new era of tejano music. It was a new beginning with the way tejano music would be played in the future.
Modern Tejano
I give credit to Little Joe and others for crossing over with our tejano music; started in the mid 1960s - better horn sections with dynamic rancheras, boleros, and cumbias.
Progressive Tejano
Tony 'HAM' Guerrero and his son, Alfredo, started a new urban and progressive tejano band sound a few years ago that is unmatched today. It's a totally new direction for our industry and needs our constant support to excel to new dimensions. Joe Posada is in this category.
I love this link of mine, and I've had it in just about every tejano music site I've had since the mid-1980s. But for some strange and unknown reason I have always felt - and to this very day - that perhaps I missed something or my audience/fanbase somehow missed my point or message. Maybe it was the music content, the material, factoids, the raw data, conflicting issues, my picture gallery?, too many girls? LOL ... or my own controversial comments might have hit a wrong human mental fiber? Yes? No?
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"Maybe my commentaries or music ideas were perhaps not in clear intent and/or not
important in this critical modern day and timeline of 2025-26."
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But after living in three states, you might consider me a nomadic navigator of sorts. No. I mean, it has been a charted journey of music experiences, diverse cities and states, different landscapes, done this and been there, and just connecting heartbeats with local communities, and adapting to new tejano music horizons. Having said that all this thinking and logic only brings me more music questions than answers:
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How come all of us tejanos - [fans, musicians and groups, promoters] - how come we did so much more back then, i.e., the 1950s through the mid-90s, and we did it with less technology and no social media of any kind? No apps! No cells either! Our tejano music contracts were sealed with just a phone call and a respectful handshake. That meant something in those years.
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Did we lose our tejano music - [in our present day] - because tejano music got too urban and/or too modernized?
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Is our tejano music too diverse?
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In our modern day do we have too many 'cultures' trying to play real tejano music? And thus, creating different tejano sounds? And we don't like these changes and/or new sounds?
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Can you tell the difference between 'real tejano music' and the music we hear today? Is our beautiful and real tejano music that was played by our pioneers, disappearing?
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Can we find a new medium or common ground in all of this?
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Are these new tejano trends in 2026?
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Is this a new path for all of us?
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More questions than answers.
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How come we lost everything? No radio, no TV, no dance halls, no clubs of our own, very little tours; and now tejano groups only play in casinos and festivals. Everything was taken from us and we just let it happen. There is nothing here in Phoenix or in Arizona either. I do remember Phoenix having 3-4 ballrooms in the mid-1970s because the Carmona Band came to play in one place, and Little Joe was playing at another ballroom in town. We left on our intermission to see Little Joe and say hello to the guys. I seen Tony 'HAM' there.
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Are we going to be quiet and do nothing to get our music and tejano culture back?
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How come us tejanos live this way?
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Don't you care about your tejano music?
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And who do you blame for all this music misfortune of sorts?
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Why can't we, tejanos and tejanas, just stop blaming others, we should talk less and do more, and why not get our music back?
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Who's to stop us? Who?
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And another thing. Maybe it's okay for all of you that live in Dallas, San Antonio, Austin, Houston, and other major cities that do have 'live tejano music' every weekend, and you have a great time out there. But how about us that live in other cities and states?, and we can't hear tejano music or see our artists? Or dance to tejano music? We want it too.
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Tejanos across the country want more tejano music. Period.
Why is it important to study Tejano and Mexican history?
It’s important to study the history of our homeland; Texas in this case. It gives us a vantage point to see what it is that took place in the past, what people were able to do, and what struggles and successes they had.
Whether it was in the colonial period or the period of the Texas revolution or in the 20th century, history is a good way to look at that. It also allows us to understand how people sometimes must struggle to see themselves as equal citizens in this evolving, complex society.
It gives us an opportunity to learn about the past and issues that took place and how leaders- social, political, and educational leaders- can resolve those problems and move forwards. This is a story that continues to evolve.
"What Is Tejano Music?"
1) Tejano music, also known as Tex-Mex music, is a popular music style fusing Mexican and US influences. Typically, Tejano combines Mexican Spanish vocal styles with dance rhythms from Czech and German genres -particularly polka or waltz. Tejano music is traditionally played by small groups featuring accordion and guitar or bajo sexto. Its evolution began in northern Mexico.
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2) Music is something enjoyed all over the world. It brings entire nations, and people together. With time, different ethnicities have put their twist to the tunes and have come up with new genres of music. One such very popular genre is Tejano Music. Tejano is a blend of European, Mexican, and American music styles. It is now enjoyed both nationally and internationally.
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3) Tejano music is a genre of music born in the states of Texas and Mexico in the 18th century. Over three centuries, Tejano music has absorbed a lot of different styles, and instruments. The music features tunes from the Czech Republic and Germany, especially polka, and waltz.
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Here’s why the genre is called Tejano Music. The name Tejano was given to Mexican Americans living in Texas. The music is played using the accordion and has since developed from being a small genre of music to being played on large stages worldwide. Tejano music was born in Texas, near the Mexican-Texas border, and in Northern Mexico. The origins of the genre can be traced back to people from Germany, Poland, and the Czech Republic, migrating to the US.
These people influenced the Tejanos by their polka music and accordion. The accordion would go on to be the major instrument used to make Tejano Music. The music gained immense popularity with the working class. The Mexican working class spends days working and music is the perfect way to loosen up. Soon musicians and small bands became very common at festive events, and pubs and taverns.
These small bands were called orquestas and included musicians that played the accordion, flute, guitar, and drums. Finally, the genre gained popularity after famous artists got their music recorded. More and more people heard Tejano Music through the radio, and later the television. Tejano Music is important for the Mexican American people, not only because it is a part of their history, but also because it has kept their identity alive. In the racist times of the 1800s and 1900s, Tejano music was a way to bring Mexican Americans out to the world.
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Texans - One and All
European Spaniards and their descendants - other than Native American groups - were the dominant peoples of Texas for more than three centuries. From the beginning of the 16th century until well into the 19th, the Spanish changed New World history, native peoples, and even the land. The Spanish came to Mexico and Texas as conquerors - soldiers, settlers, and priests. Other than exploitation of natural resources (gold, silver, timber, fibers) and human resources (Indian slaves), the Spanish goals were to impose religious and social orders on the natives and to set up a civilization patterned after what had been accomplished in Europe.
Texas remained a frontier under the rule of the Spanish, but the conquerors were relatively successful, considering their small numbers. To some degree, the Spaniards were changed by the land and the people they found. Spanish religion and temperament condoned (and even encouraged) mixed marriages. Spanish law generally extended social rights to all free or freed people, whatever the mix of European or Indian or African, although government employment of any high rank was reserved to those of “pure” Spanish blood.
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In the New World the Spanish Indians, the mestizos, quickly became numerous and important. The first generations in Texas and later descendants were called, and called themselves, Spaniards, Mexicans, Tejanos, Texas Mexicans, and, in recent years, Hispanics, Latinos, Mexican Texans, Mexicanos, Mexican Americans, la Raza, Chicanos, and, again, Tejanos.
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One single name has never been accepted by those of Spanish Mexican Indian descent, and some names have been socially or politically rejected by nearly all. Besides, immigrants to Mexico have arrived from many countries, including Ireland, Italy, England, and China. And descendants of such immigration have come to Texas. Like the mixtures of those who call themselves Anglo, the Spanish, or Mexican, or Tejano “culture” is not a single set of beliefs or activities. But by whatever name, the first Spaniards, later to be Mexicans, came to change things - and did.
Into a land that would become Texas, a place which was in anthropological terms, nearly a Stone Age, the Spanish brought European horses and armor and firearms. They also brought ranching and farming traditions of Spain, legal and religious systems of tremendous power, architecture, printing, a common language and literature, European crafts and arts, as well as cows, sheep, donkeys, goats, chickens, and pigs, and grapes, peaches, and other crops, along with devastating diseases. Things would never be the same again. [By John L. Davis, Institute of Texan Cultures]
