page_title: Chicano rock
section_title: History
hierarchical_section_title: Chicano rock / History
caption_attribution_description: English: Photo of The Champs from a Challenge Records ad in 1958. Will need no notice ad license at Commons. Challenge Records did not mark their ad with any copyright notices. Copyright for Billboard would pertain to the editorial content only--not ads placed in the magazine. US Copyright Office page 3-magazines are collective works (PDF) "A notice for the collective work will not serve as the notice for advertisements inserted on behalf of persons other than the copyright owner of the collective work. These advertisements should each bear a separate notice in the name of the copyright owner of the advertisement." United States Copyright Office page 2 "Visually Perceptible Copies The notice for visually perceptible copies should contain all three elements described below. They should appear together or in close proximity on the copies. 1 The symbol © (letter C in a circle); the word “Copyright”; or the abbreviation “Copr.” 2 The year of first publication. If the work is a derivative work or a compilation incorporating previously published material, the year date of first publication of the derivative work or compilation is sufficient. Examples of derivative works are translations or dramatizations; an example of a compilation is an anthology. The year may be omitted when a pictorial, graphic, or sculptural work, with accompanying textual matter, if any, is reproduced in or on greeting cards, postcards, stationery, jewelry, dolls, toys, or useful articles. 3 The name of the copyright owner, an abbreviation by which the name can be recognized, or a generally known alternative designation of owner.1 Example © 2007 Jane Doe.")
context_page_description: Chicano rock is rock music performed by Mexican American groups or music with themes derived from Chicano culture. Chicano Rock, to a great extent, does not refer to any single style or approach. Some of these groups do not sing in Spanish at all, or use many specific Latin instruments or sounds. The subgenre is defined by the ethnicity of its performers, and as a result covers a wide range of approaches.
context_section_description: In places such as San Antonio, Los Angeles, the San Francisco Bay area, and Dallas and Houston, Texas, the African-American audience was very important to aspiring Latino musicians, and this kept their music wedded to authentic R&B.  Dick Hugg (aka Huggie Boy) and KRLA 1110 played a big role in promoting this music. Chicano rock music was also influenced by the Doo-wop genre, an example being the song "Angel Baby" by the Chicana fronted group Rosie and the Originals.
  The roots of Chicano rock are found in the music of Don Tosti and Lalo Guerrero, "The Father of Chicano Music"  Tosti's Pachuco Boogie, recorded in 1949, was the first Chicano million-selling record, a swing tune featuring a Spanish rap, using hipster slang called Calo. Lalo Guerrero arrived in Los Angeles in the late 1930s and found that L.A is "bursting with ambition". Lalo and his friend captured their spirit in music by mixing swing and boogie woogie in a cross-cultural, dialog between African American, Anglo, and Mexican American influences. Guerrero also adapted swing and "jump" styles to Spanish language recordings—all this as rhythm and blues was beginning to emerge as a forerunner to rock 'n' roll.
  The 1950s brought rhythm and blues and the roots of rock 'n' roll. Mexican American were among first to catch the beat and introduced a Latin flair to early rock music.
  Chicano rock 'n' roll star Ritchie Valens, was a Mexican-American singer and songwriter influential in the Chicano rock movement. He recorded numerous hits during his short career, most notably the 1958 hit "La Bamba." Valens died at age 17 in a plane crash with fellow musicians Buddy Holly and the Big Bopper on February 3, 1959. The tragedy was later immortalized as "the day the music died" in the song "American Pie."
  The 1958 hit song "Tequila!" was written and sung by the saxophone player Danny Flores (not to be confused with Danny David Flores, a former member of Renegade) and performed by The Champs. Flores, who died in September 2006, was known as the "Godfather of Latino Rock."
  In the early to mid-1960s, the American audience was probably more open to Latin sounds than even today because of the popularity of bossa nova, bugalú, mambo, and other forms. Also, musicians who didn't conform to the rather limited range of early rock could find success as folk performers. Trini Lopez, whose music was a mixture of folk, pop, and R&B, gained big  hit "If I Had A Hammer" in 1963. "Corazón de Melón" takes a Mexican folk tune, and like "Heart of my Heart", makes it into a relaxed, shuffling lounge tune. In 1960s the Beatles and The Rolling Stones got success, and unfortunately Trini's live-in-club style seem old fashioned too soon.
  In the 60s there was an explosion of Chicano rock bands in East Los Angeles and Texas. Sunny & the Sunglows produced several regional hits during the 1960s but is best remembered for its 1963 Number 11 Billboard hit "Talk to Me, Talk to Me". They hold the distinction of being the first all-Mexican American group featured on American Bandstand. Their versions of "Rags to Riches" (Tony Bennett) and "Out of Sight-Out of Mind" (The Five Keys) also reached the Billboard Hot 100. Another group to appear on American Bandstand as well as open for The Rolling Stones, was The Premiers with their hit rendition of a Don and Dewey song called "Farmer John". It featured the beat from the popular hit, Louie, Louie, which was in turn based on a Latino song, El Loco Cha Cha. Richard Berry, credited with writing Louie, Louie, drew inspiration to record the song after listening to an R&B rendition of El Loco Cha Cha performed by the Latin R&B group Rhythm Rockers led by Mexican-Filipino American brothers, Rick and Barry Rillera. The Rillera brothers would go on to record and perform with The Righteous Brothers.
  The British Invasion challenged all American musicians, not just Chicanos.  East Los Angeles witnessed a surge of creativity, and a renaissance of art, music and politics. Leading the way in music was the band Cannibal and the Headhunters, composed of five young men from the pro
caption: The Champs
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