Group+1+Rosita+Fernandez

Rosita Fernandez by: Amy Pacheco, Emma Noriega, Jacqueline Melchor UTSA IDS 3123-91J Professor: Dentith

Historical Background  Rosita Fernandez is a great figure in local popular culture for San Antonio Texas. She is easily relevant to popular culture and folk culture due to her Tejano music, extra ordinary clothing designs, as humanist and actress. She was a pioneering force of Mexican border music recording star of the 1930s and 1940’s that expanded for 60 years. Rosita was born January 10, 1918 in Nuevo Leon, Mexico and came to the United States around the age of 6. She was one of 16 children. Rosita began singing at age 9 touring as the lead singer in her uncle’s band “Trio San Miguel” around South Texas. San Antonio was her adoptive city even though she was born in Mexico San Antonio is where she would always return because this is where her gift or talent was noticed and recognized. Rosita came into the United States easily around 1924 when the frontier was easy to cross. They charged about five dollars for adults and 3 dollars for children. She came through Laredo with her whole family. She saw San Antonio as a little Mexico because there was a large population of Mexicans in San Antonio; at this time we had the largest Mexican population in South Texas. San Antonio was like a home to her because she always visualized on how there was a possibility on her Mexican culture to expand. Rosita’s motivation was her culture and her people. Rosita got her voice from her mother; her mother’s side of the family all had great voices.She was one of the first Mexican American women to record in Texas. Rosita enjoyed the time spent when touring with her uncle’s because she felt safe and she thought it was going to save her reputation since she was too young to travel without her mother. This was a time when she faced discrimination and racism due to social barriers against Mexican Americans (Rosita Fernandez: La Rosa de San Antonio, 2003). She died May 2, 2006 during heart surgery at the age of 88 ( Rosita Fernandez Biography, 2011).

**Thesis** As an Ambassador for the City of San Antonio, Rosita Fernandez bridged together a cultural gap between Anglo and Mexican Americans through her music. Throughout her career as a Tejana musician, she learned to adapt to her audience by transitioning into either a folk or pop artist. By doing so, Rosita often negotiated herself in stereotypical roles of race and gender.

**Sexism** During the time of Rosita’s emergence in the 1930’s, male performers dominated the Tejano music scene. In order for women to thrive in that industry they had to team up with a male band or sing male influenced songs. Yet, Rosita was determined to stand out from everyone and ultimately broke free from her uncles band The Trio San Miguel and became a solo artist. Another hurdle she had to overcome came from her marriage to Richard Almaguer in 1938, and the birth of their two children. Her public image transitioned from being a performance artist, to a perfect wife and mother. The cultural hegemony of women in the post war era clearly defined women’s roles to be housewives and mothers. Rosita battled with her personal and professional life trying to maintain a balance between both worlds. Her break was when she became involved with the Arneson Theater, and was able to have a stable family life. One of her biggest decisions she made in her career was to keep her maiden name Fernandez, which was uncommon at that time. Her husband supported Rosita’s decision, and believed it was the right choice for her career.

**Political** Rosita is a one of a kind Tejana musician who broke cultural barriers, and reached out to both Mexican and Anglo Americans through her music. She was known as Rose with Anglo Americans and La Rosa with Mexican Americans (Villarreal 2008). Working with the Chamber of Commerce as a Mexican Ambassador for San Antonio, she transformed herself into a marketable product to attract tourists. She did so by negotiating her Mexican heritage in various advertisements for publicity. The city would often call on her to perform for notable visitors and dignitaries. Her ability to perform in English and Spanish, and reach out to different ethnicities and social classes distinguished her from her competition early on. It is fair to say she was a savvy entrepreneur who knew how to work the media and stay in the public eye. Rosita can be compared to postmodern Paris Hilton who also knew how to work the paparazzi and stay in the public spotlight. Rosita had political ties with the San Antonio Express News and would often write letters to the local newspaper or politicians if she needed to make a public statement or to gain awareness for her philanthropy. The bridge that connected to the Arneson Theater is a symbolizes the significance Rosita meant to the city of San Antonio.

**SocioEconomic** Tex-Mex music is also referred to as Texas-Mexican music, and more recently Tejano music. Before Tex-Mex music was formed, Mexican-Americans had a choice of two kinds of music genres called Orquesta Tejana, which was distinguished as an upper-class genre, and Conjunto, which was considered a low-class style of music. Mexican Americans faced discrimination in Texas, and turned to music as an outlet. Although Ranchera music was popular, Rosita garnered from Tejana Orquesta to gain her audiences attention by singing romantic songs and slow singing boleros. The demand for regionally popular artists and music increased after War World II. The major reason for this increase had to do with the increased purchasing power of the Tejano population. Millions of workers all over the country, especially those of rural background who had found work in the lucrative war industries, were making good wages and were willing and able to support their favorite regional music, musicians, and singers (San Miguel 1999).

**Giving back to the community/ Awards** Even though Rosita retired in 1982 she continued to sing for charities and continued to receive awards of appreciation for everything that she would do for San Antonio(Hispanic Heritage Month-Rosita Fernandez, 2009).Rosita was best known and loved for her performances at the summer-long Fiesta Noche del Rio at Arneson River Theatre in San Antonio which was an important event in San Antonio. She also was a main attraction at A Night in Old San Antonio, another popular Fiesta event during April each year. Rosita promoted and supported charitable causes by performing at fundraisers for the March of Dimes, Brooke Army Medical Center's Burn Unit, and local Catholic churches. She also helped in fundraisers in Jewish and Protestant churches, and organizations. She helped create fundraisers in schools of all grade levels including universities. Her most noticeable recognition was the bridge that was named after her. It was dedicated to Rosita by city officials in 1982. Rosita was inducted into San Antonio's Musicians Hall of Fame in 1979, she was proclaimed Woman of the Year by Mayor Henry Cisneros in 1983 and was also inducted into the San Antonio Women's Hall of Fame in 1984. You may also find a shrine of Rosita in one of San Antonio’s most known restaurants, Mi Tierra that is located down town of city (Rosita Fernandez' shrine at Mi Tierra Restaurant, 2006).

**Code Switching**  Ranchera music is more seen in the working class environment, low brow communities. Great example of code switching because Rosita mixed everything from being in radio, national television, song writer, designer and humanist. Rosita was known to raise funds for scholarships and donate to places like the Red Cross, churches and other organizations. There are also certain pictures and songs that can relate to different type of societies. There is one picture where she is wearing her Mexican dress with ruffles. In this particular picture she is showing her culture, where she comes from and who she is more Folk rather than Pop. This particular picture was taken during a Mexican American film that was in Spanish(Rosita Fernandez, Institute of Texas Cultures). In the other hand, this other picture where she is wearing all black and looks light skinned, she is showing the highbrow Amercianized or ideal side of a woman. This picture was taken in an American Magazine titled "Dallas After Dark"(Dallas After Dark, Institute of Texas Cultures). Rosita looks more sensual, clean, and white. I would think this picture she would be more accepted to the American Culture and the night life. Her being on the radio, on commercials, in films brings the mass media to like all these things so it is a great example of code switching because she was involved with multiple cultures and cultural worlds varied.

**“RADIO IN HER BEGINNINGS”** The 1930s and 1940s, was an era of Ranchera music, but Rosita focused more on romantic music, that was followed by some orchestra band. She recorded hundreds of songs with record labels RCA, Decca and Brunswick. Rosita not only brought Tejano music across the border, but also a music called “Boleros”, that was an Afro-Hispanic genre with a smooth delivery and a more urban rhythm. She combined her music and language to bring in different working classes and cultures. Rosita got into the radio industry, because it did let her stay engaged with her music, and she saw it as a steadier work and more pay. Full day Spanish radios did not exist at the time of Rosita’s beginning career; one would have to buy a block of time. In the 1940’s a radio station called KCOR ,did offer four hours of Spanish music, so Rosita and her sister decided to sponsor “La Hora Anahuac”, which was for two hours that they would performed. KCOR, did become the first Spanish Radio in San Antonio(Rosita Fernandez: La Rosa de San Antonio, 2003).

**“MOVIES AND HOLLYWOOD”** <span style="display: block; font-family: Tahoma,Geneva,sans-serif; text-align: justify;">Her performance in several American movies was out of the ordinary in those years. Mexican actresses were not an alternative in the Hollywood Industry. Although she appeared in several Hollywood movies, she was typecast into roles stereotypical for Mexican-American. Rosita’s largest part was as the leading lady in a Walter Disney production in 1963 “Sancho, The Homing Steer, based on J Frank Dobie’s true story. Rosita also appeared in the 1960 John Wayne film The Alamo, and had parts in “Three Hundred Miles for Stephanie, and Seguin”. (UTSA special collection, 1925-2000).

<span style="display: block; font-family: Tahoma,Geneva,sans-serif; text-align: center;">NAMED "THE FIRST LADY OF SONG <span style="font-family: Tahoma,Geneva,sans-serif;">Rosita moved to San Antonio when she was six years old and her career was largely based in San Antonio. She became so identified with the Local culture, her background as Mexican was much similar, she felt like it was h<span style="font-family: Tahoma,Geneva,sans-serif;">ome. Many referred to her as the San Antonio Institution. She was known almost exclusively by her first name. (A guide to the Rosita Fernandez papers, 1925-2000).<span style="font-family: Tahoma,Geneva,sans-serif;">Singing and performing for celebrities and private parties was a common activity. President Lyndon Johnson and First Lady Bird Johnson invited her five times to entertain guests at the LBJ Ranch. The audience to entertain in those parties was mainly American. In an occasion Lady Bird brought 40 foreign ambassadors to the Arneson River Theatre in 1968, to enjoyed a one-woman show by San Antonio’s premier “Rosita Fernandez”. It was there where Lady Bird Johnson who bestowed upon Rosita the title “The First Lady of Song”, because she had the honor of sing for and entertained four United States Presidents, U.S. Senators and other dignitaries as well, such as King Juan Carlos I and Queen Sofia of Spain, Queen Elizabeth II and Prince Charles of Britain and Pope John Paul. (UTSA, special collections. 1925-2000). Her performances showed the appreciation for the Mexican Culture that existed and still does in Texas. She was an Embassador of the Mexican Culture here in Texas. Her performance helped the American audience to appreciate Mexican music.<span style="font-family: Tahoma,Geneva,sans-serif;"> What an opportunity to show to Delegates from all over the world, her Mexican Culture and traditions.

<span style="display: block; font-family: Tahoma,Geneva,sans-serif; text-align: center;">**“HER BEAUTIFUL CUSTOMS DESIGNS”** <span style="font-family: Tahoma,Geneva,sans-serif;">During her performances, with her superb voice were enhanced by her costumes. Her beautiful gowns were replicas of century old Mexican and Spanish Culture. The gown she wears in the picture, she designed herself. The embroidery and the beading on the sleeves and skirt were hand-sewn, stitch-by-stitch by her mother and many talented and dedicated friends. Her Talavera costume tells the story of the art of fine pottery making from the State of Puebla, and was created in Mexico. (Welcome to San Antonio! UTSA special collection 1925-2000). (Talavera.- La talavera, is a glossy ceramic of high quality produced in Puebla, Mexico. His origin is from Spain, made with techniques introduced from the Morons, and brought to Mexico for the Frailes Dominicos.).(Pamphlet San Antonio Museum of Art.). One of her beautiful customs is at the Museum Alameda, representing the Mexican Culture that she glorify during her long career. Having one of her customs at the Museum Alameda is proof of her contribution to help Mexican culture to be appreciated in Texas and enjoyed by so many dignitaries from all over the world. <span style="font-family: Tahoma,Geneva,sans-serif;">She reflected in her costumes her culture, her traditions and her pride of being Mexican.

**Conclusion** Rosita Fernandez is a San Antonio icon that broke many cultural hegemonic and gender barriers. She was a notorious singer, actress, and designer who conquered Hollywood. Her personhood brought two cultures together from her career as a Tejano musician. Rosita was able to surmount Sexism, and become a strong independent woman early in her career. Her influence and legacy in the Tejano music scene is celebrated with every performance at the Arneson Theater. The “First Lady of Song” will live forever deep in the heart of Texas.

<span style="display: block; font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal; text-align: center;">**References** <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">Brochure, San Antonio Museum of Art, Gallery Republic And Colonial c.1510-c.1830 E.C. [|www.samuseum.org]

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">First Lady of Song, San Antonio Express News Article, Box 10 folder 3. UTSA Libraries Special Collections.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">Pictures Rosita Fernandez, Box 8 folders 1,3,5,6, and 7. UTSA Libraries Special Collections.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">Pura Vida Music Awards, 41 KWEX and Market Square. Box 10 folder 3. UTSA Libraries Special Collections.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">Guadalupe San Miguel Jr. (1999). The rise of recorded Tejano music in the post-World War II years, 1946-1964. Journal of American Ethnic History, 19 (1), 26-49. Retrieved July 9, 2011, from Research Library. (Document ID: 47839936).

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">Villarreal, M.. (2008). BECOMING SAN ANTONIO'S OWN: Reinventing "Rosita". Journal of Women's History, 20 (2), 86-105,192. Retrieved July 9, 2011, from Research Library. (Document ID: 1501929041).

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%;">ALA Midwinter 2006 Retrieved from: http://www.flickr.com/photos/alheard/sets/72057594054305136/with/91455062/

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Journal Article

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Ankeny, Jason(2011). Rosita Fernandez Biography. //All Music.// [|//http://www.allmusic.com/artist/rosita-fernandez-p75683/biography//]

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Vargas, Deborah R. (2003). Rosita Fernandez: La Rosa de San Antonio. //The CBS Interactive Business Network.// [|//http://findarticles.com/p/articles/mi_qa3687/is_200301/ai_n9201538/pg_3/?tag=mantle_skin;content//]

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Unknown,Unknown(2006). Rosita Fernandez Shrine at Mi Tierra Restaurant. Flickr.

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<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Primary Source

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Miguel, Angel.(N.A). [Dallas After Dark]. Rosita Fernandez. (Box 1). Institute of Texas Cultures.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Hartman, Edward. (N.A). [N.A]. Rosita Fernandez. (Box 1). Institute of Texas Cultures.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 110%; line-height: normal;">Rodriguez, Rosemarie(2009). Hispanic Heritage Month-Rosita Fernandez. Special Collections.

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