Heroes [Solved] Mexican Influence around the World Thread

Principles and Secrets of Great Curry Making

This page is intended to explain the general principles for making a curry and can be used to create most curry dishes. I will start by explaining the basics and building blocks required for creating great tasting curries and finally the "Curry Method".

Spices
Spices are fundamental to all Curry Recipes and there is a huge range of spices which can be used but only a few of which form a basic curry powder. The most important spice for a curry is Cumin seeds, then Coriander seeds and these you will usually see as the most prominent two ingredients in nearly all shop bought Curry Powders. Additional spices in a Curry Powder usually will include Fenugreek, Ginger, Garlic, Turmeric, Cardamom and some others may be included for specific types of curry powder. Ground spices and Curry Powders must always be used fresh and kept in air tight containers. Older stale spices will add nothing but grit to your finished dish and leave you feeling dissapointed with the results. The very best reults will always come from grinding your own spices from whole seeds just before using them. This of course is not always practical which is one of the reasons we have launched our own range of curry powders and spices, these are all made fresh to order and shipped withing 7 days. We toast whole Cumin and Coriander seeds until they crackle then freshly grind and blend in other fresh spices as needed for the curry powder being made, in this way you can be sure of the very freshest most aromatic spices imagineable leading to great results. If however you have the time to make your own before a curry I would strongly urge you to give it a try.

Chilli=Nahuatl=Language of the AZTECS.
With out Chilis Curry will lack flavor 

Chilli

Chilli gives the curry it's heat and can be used in whole fresh form, chilli powder, whole or crushed dried chillies or as chilli sauce or paste. As well as heat, chillies can add some subtle dimensions of flavour which can be dramatically different from one chilli to the next. Habanero and Scotch bonnet chillies have a beautiful buttery, oaky and vanilla tones but are so hot that most people can't really take them. Most Indian Restaurants use predominantly Long thin green cayenne or finger chillies, they have a good taste and high heat level and can be added chopped, sliced or whole as required. The heat level of fresh chillies is reduced somewhat with the length of cooking so add them earlier if you like it milder and later if you prefer it hotter. Always add chilli in whatever form a little at a time, you can always add some more if needed but you can't take it out once you have overdone it. Chilli powder will permeate the rest of the sauce most readily. Finely chopped fresh chillies will need to cook for a while to add to the sauce in quite the same way. Whole and sliced chillies will add their heat mainly when eaten directly. Adding whole chillies to a mild curry can be one way to satisfy the demands of a group with different heat tolerances by serving the chillies to only those who like them, however there is a risk of one or more splitting and making the sauce hot so use thicker skinned chillies and add to the dish when most of the stirring and working has been done, alternatively add some fresh chillies, lightly toasted chillies, or chilli sauce as a table condiment. Adding chilli powder to a finished dish is not a good way to add heat as the spices need to be worked in to the dish which is difficult once served.

Pureed Tomato - Madras, Rogan, Jalfrazi======>>>>>> Tomato domesticated by Mexican natives

http://www.curryfrenzy.com/curry/html/curry-method.html

Mexico's influence in Philippine cuisine.

Filipinos of today are familiar with themed restaurants that serve taco, burrito, enchilada, quesadilla, nachos, and chicken chimichanga as regular fare. Tequila, an alcoholic drink from a plant called blue agave growing in the Mexican desert, has also become popular among drinkers of late, as well as Corona beer, to a certain extent. These are all clearly Mexican influences in Filipino dining habits, particularly those living in urban centers. But many of us may not realize that our relationship with Mexicans goes as far back as the colonial period. The lack of awareness is obviously caused by the fact that the Mexican presence was masked or overwhelmed by Spanish hegemony. But the truth is that the Mexicans have long been with us, and certainly have long been present in our kitchen.

In the article, “When Mexico ruled the Philippines” (Perry Diaz, Global Balita, October 1, 2004), it is recalled that Mexico was part of the Spanish empire, along with what would eventually become the Central American nations and the American Southwest . They were then collectively called Nueva España or New Spain. “For 250 years - from 1565 to 1815 - Philippines was ruled by the Viceroy of Nueva España for the Spanish crown. Those who succeeded Legazpi as governor-general were all Mexicans until 1815 when Spain took direct control of the Philippines. "

For 250 years, Mexico practically ruled the Philippines, with all governor-generals, except Legazpi, being Mexican-born [and most likely of Spanish mestizo descent], together with “most of the soldiers, colonists, missionaries, and traders [with some maybe of Indian, Aztec, etc. descent] ”who had been“ promised land and wealth ”in exchange for Philippine migration. Thanks to the Manila-Acapulco route of the ensuing galleon trade, a great cultural exchange started, which is hailed by historians today as the first recorded incidence of full-on globalization.

Filipino pop historian Ambeth Ocampo ("Mexico under our skin," September 23, 2009, Philippine Daily Inquirer), specified which products that reached us through that route were Mexican, and a lot of culinary terms emerged - 26, to be exact. Ocampo notes how a number of them end in -te: peanut, sweet potato, chayote, achuete, sapote, tomato. (Might we as well include pazotes?)

It appears that our contact with Mexico enriched our choices in fruits and vegetables by leaps and bounds. Where would pinakbet and bulanglang be without tomatoes and squash, for example? Based on the list, a number of the ingredients listed in the popular folk song "Bahay Kubo" would have to be Mexican, or at least South American, in origin. It is reported elsewhere that the only bean native to the Philippines is the monggo, so the other beans mentioned in the song - at least lima bean (patani) and jicama (singkamas) - are most likely South American or some other provenance. It is equally likely that other common beans not mentioned, namely chickpeas, black beans, white beans and kidney beans, came here through the galleon trade.

There are other surprises: Papaya and pineapple, which we intimately associate with Filipino life - in fact, earning a mention in riddles and folk songs ("Leron, Leron Sinta") and tales ("Alamat ng Pinya"), are in fact fruits not originally from here but from there. So is the ubiquitous corn. So are the less popular ones, like the astringent but sweet fruit, camachile, whose name we have appropriated as well for a crumbly cookie shaped like this fruit. So close has been our identification with these fruits that we have this funny notion today that there are "native" guava, papaya, pineapple, tomato, etc. varieties.

Ocampo's list, though long, is incomplete. Chesa, for instance, the red-orange fruit often disliked for its sickeningly sweet taste with bitter, gummy aftertaste and starchy consistency, is missing. It turns out to be a Mexican import as well, according to my own research. So is cacao for cocoa, as well as chili and tapioca, among other things. I speculate that even the term lubias shares the same place of birth.

My separate research on Philippine dishes further yielded the following finds, which are undoubtedly Mexican in origin, judging from the name alone: ​​Vigan, Ilocos Sur's and Cavite's chicken pipian, which uses pazotes (or epazotes) leaves; some regions' version of mole; often; champorado; Sta. Rosa, Laguna's atole; and tamales.

An American feature article, “Mexico's popular tianguis,” (Rachel Laudan, Zester Daily, August 6, 2010) mentions that tamarind juice is a popular drink among Mexicans even up to this day. This observation reminded me about an old Gilda Cordero-Fernando article saying that tamarind juice used to be commonplace in the Philippines, so I hereby speculate another connection. It is a wonder, however, why many of the Mexican staples mentioned in the feature, such as cold milk-egg-and-fruit drinks, cinnamon sticks, cherimoya fruits, etc. remain exotic to us Filipinos. Similarly, we accepted the guava but we never took to, or did not retain, the tradition of making guava candy rolls called roll of guava and membrillo, though we still make guava jams. We accepted the avocado but we never adopted guacamole sauce, only mashed avocado and iced candy in avocado flavor for snacks. It could be that our ancestors found these Mexican fare too foreign to their taste at the time. Nevertheless, the Mexican contribution to Philippine cuisine, not to mention the rest of Asian cuisine (with these isles serving as entrepot or conduit), is incalculable.

Mexican culture continues to influence us Filipinos through the entry of present-day Mexican dishes and ingredients, thanks, as mentioned, to the establishment of Tex-Mex and Mexican restaurants in the malls and urban centers and the burgeoning global 'foodie' culture. And all these, of course, are inescapably subject once again to our penchant for tweaking what is unfamiliar but appetizing, according to our own quaint preferences.

Compiling all the above-mentioned terms, we are able to come up here with this glossary of Mexican influences in Filipino cuisine:

achuete (Mexican Spanish achiote, from Nahuatl achiotl) - atsuete

alubias - a term used to refer to common beans in Mexico; lubias is used by Pangasinenses and Ilocanos to refer to Baguio beans, which is also called bichuelas or habichuelas (a Spanish term for kidney beans) in other parts of the Philippines

anonas - anonas

atis

atole - a thick cornmeal drink in Mexico, this is also used to refer to maja blanca in Laguna

avocado - abukado azucena

- this is a name of a flower, but it is also used to refer to a popular dog meat dish

balimbin - balimbing

cacahuate - kakawate, madre kakaw, but it means peanut in the Mexican language; cacahuate flowers are eaten in Ilocandia

cacao - cocoa

caimito - kaimito (which we have Anglicized to "star apple," as though to say that, if there's no English translation for something, it doesn't exist)

pumpkin - kalabasa (squash); this includes eating squash flowers

camachile (from the Aztec cuanhmochitl) - kamatsili

camote (from the Aztec camotl) - camote, kamote (sweet potato)

casui - kasuy, balubad (cashew)

cherry - aratilis, saresa

champorado - may be a Filipino adaptation of the Mexican champurrado, which is a drink made of maize flour and chocolate

chayote - sayote

chesa - red-orange fruit often disliked for its sickeningly sweet taste with bitter, gummy aftertaste and starchy consistency, is missing, which turns out to be a Mexican import as well.

chico (from the Aztec xicotzaptl) - chico

chili - (from chilli, chile) - sili (chili pepper)

chocolate (from the Aztec zocatl) - tsokolate

pluela - sinigwelas

guayabano - guyabano (soursop)

guyaba - bayabas

hicamas - singkamas (jicama, turnip)

maiz - mais (corn)

menudo - a traditional Mexican beef tripe soup with chili sauce and spices; the Filipino version is quite different: a diced pork and liver stew in tomato sauce with vegetables

mole - a Mexican sauce made of tomatoes as base, added with chocolate, peppers, nuts, etc .; there is such a Filipino dish called this, which looks like a local, watered-down adaptation of the Mexican chicken mole (chicken cooked in mole sauce)

palenque (Nahuatl) - palengke (market)

papaya - papaya (pawpaw )tillas

wrappers - I speculate that even the intricate cutout design of some Tagalog-region pills wrappers may have originated from the old Mexican craft called papel picado

pazotes leaves - the Mexican herb , epazotes (Dysphania ambrosioides); the leaves are used to flavor pipian in Ilocos and Cavite as well as lechon Cebu

pepper - paminta (pepper)

pineapple, pinya - pineapple; it is quite a shocker to learn, personally, that pineapple is not a native Filipino fruit

pipian, chicken pipian - in Vigan, Ilocos Sur, and in Cavite, a dish that uses pazotes leaves

sunflower seeds - indirectly through the introduction of the sunflower

tamales - a ground rice flour (in place of the original cornmeal) and meat snack wrapped in banana leaves (in place of corn husks)

tamarind juice -?

tapioca - kamoteng kahoy (cassava)

tomato - kamatis (tomato)

vanilla - yes, originally from Mexico too

zapote (Nahuatl) - zapote, a fruit related to chico or sapodilla

Note: Ambeth Ocampo made updates here: "Atsuete, kamote, zapote, "January 10, 2012; "History in language," September 12, 2014, Philippine Daily Inquirer.

http: //glossaryoffilipinofood.blogsp...e-cuisine.html

Mural de Siqueiros is the main heritage of Chillán, in Chile

The mayor of the Chilean town admits that the works made by the Mexican muralists David Alfaro Siqueiros and Xavier Guerrero are part of the recent history of that region

of Santiago de Chile, Chile. - The mayor of Chillán, Aldo Bernucci, affirmed that the murals painted in that southern Chilean city by Mexicans David Alfaro Siqueiros and Xavier Guerrero are the most valuable cultural heritage of the municipality.

Bernucci pointed out that "these murals are part of the history of Chillán and the school where they are housed, the Escuela México, was made as we say here 'at full speed', large, modern and made of solid material, thanks to Mexican solidarity."

The construction of the school and the painting of the murals by Siqueiros and Guerrero, begun in 1941 and completed in March 1942, were part of Mexico's aid to Chile after the January 1939 earthquake that devastated Chillán, with a balance of 15 thousand dead.

Chillán: Supreme Court visited the Murals of Guerrero and Siqueiros

"Those gestures marked an entire era and the Mexico School has traditionally been the best school in Chillán. Great professionals, doctors, lawyers studied the first letters here," said Mayor Bernucci.

Escuela México de Chillán celebrates its 73rd anniversary

With colorful dresses, traditional dances, both from Mexico and Chile, teachers and students of all courses surprised the public

Mexican artists David Oviedo Jiménez, Elena Acosta and Roberto Robert Paperetti, from the National Institute de Bellas Artes (INBA) of Mexico, began last week a work of restoration of the mural of Siqueiros "Death to the invader."

The experts, who will work with Chilean painters who will learn from their techniques, will also rehabilitate the mural "From Mexico to Chile" by Guerrero, which is also in the Escuela México de Chillán, located about 400 kilometers south of Santiago.

Mayor Bernucci considered that the arrival of the restaurateurs in the city represents "a real event" for that town.

"The murals show the close cultural ties between Mexico and Chile, and they are also highly admired by chillanejos and visitors, because they are also on the main road of the city and the North-South pass," he stressed.

"There are few people in Chillán who have not ever visited these murals, which are part of the history and reconstruction of the city, of the city that emerges from the rubble of the earthquake like a Phoenix," he said.

"I believe that all the people (in Chillán) when they say Mexico say Escuela México and mural de Siqueiros. That is an axiom," emphasized Bernucci, underlining that the murals "are our main heritage, by far the best that Chillán has."

The restoration of these works, added the mayor, was one of his most expensive wishes since he took office 15 years ago.

He stressed that the restoration process will be possible thanks to the Strategic Association Agreement (EPA) in force between both countries and will be one of the first collaboration programs to be implemented within the framework of the Chile-Mexico Joint Fund 2007-2008.

"It was the last big goal that I had, as mayor," said Bernucci,

The Siqueiros and Guerrero murals are two of the main cultural and tourist attractions in the city, which is also the cradle of other figures of Chilean culture such as the pianist Claudio Arrau and the folklorist Violeta Parra.

MURALES DE SIQUEIROS Y GUERRERO, GREAT TOURIST ATTRACTION IN CHILE

The director of the Mexico School of that city, Lisandro Pontoni, said that as of November 21, when the restored murals were unveiled, the flow of visitors to the establishment that houses the works it has been a true record.

The murals by Mexicans David Alfaro Siqueiros and Xavier Guerrero have become the main tourist attraction in the Chilean city of Chillán, less than a month after specialists completed their restoration.

The director of the Mexico School of that city, Lisandro Pontoni, told Notimex on Wednesday that as of November 21, when the restored murals were unveiled, the flow of visitors to the establishment that houses the works has been a true record.

More than a thousand people have come to the Mexico School to see the works "Death to the Invader", by Siqueiros; and "From Mexico to Chile", by Guerrero, made between 1940 and 1942, Pontoni pointed out.

The construction of the school and the painting of the murals by Siqueiros and Guerrero, begun in 1941 and completed in March 1942, were part of Mexico's aid to Chile after the January 1939 earthquake that destroyed Chillán, with a balance of 30 thousand dead.

The influx of tourists and national public in general, occurred after the delivery of the restored works, explained Pontoni.

The passing of the years caused a sensitive deterioration in both works, for which the restorers of the National Institute of Fine Arts (INBA) of Mexico, David Oviedo Jiménez, Elena Acosta and Renato Robert Paperetti, worked for 14 months at the school.

The restored works were unveiled last November 21 by the director of INBA, Teresa Vicencio, and since then the influx of public who comes to admire them has increased sharply.

Ivonne Ojeda, the guide who attends the visitors to the Mexico School, pointed out that tourists from the United States, Canada, France and Germany have come to see the murals and added that a wave of visitors from Argentina and Brazil.

In the case of Chileans, delegations of the Third Age that enjoy one-week trips subsidized by the State, and groups of students that visit the city as part of their study tours at the end of the year, increased the number of visits.

Ojeda told Notimex that "it is possible to triple the number of visits" in the next summer vacation period (southern) and added that "the murals of the Mexico School are the main tourist and cultural attraction of the city of Chillán."

He added that "tourists are attracted by the strength and quality of the work of Mexican muralists", which is appreciated in all its splendor "after the restoration process carried out by INBA experts and Chilean collaborators."

Amado has not been here in weeks! better get her back! 

La Musica Ranchera en Chile

Como dejar de amarte ranchera como

Autor: Pedro Arraztio

Más que la cumbia y el reggaetón. Los sombreros de charro, las trompetas, pistolones y las letras sentidas que llegan al corazón ya se han fundido con la identidad chilena. A propósito de la discutida Ley del 20% de música nacional, los corridos y rancheras calan tan profundo que no necesitan de ninguna protección legal para mantener la popularidad que tienen desde hace ya setenta años.

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Marcio Toloza aprendió a tocar guitarra recién a los 42 años. A esa edad, mientras trabajaba como temporero de la fruta en Río Negro, Argentina, conoció a otro chileno, Hugo Mariángel, “que era un guitarrero extraordinario”. Él le enseñó sus primeros acordes. Después en Neuquén compró un libro llamado Curso veloz de guitarra y, ya más confiado, comenzó a cantar con una idea firme en la cabeza: volver a su Lumaco natal convertido en músico.

Retornó a Chile, tomó el nombre de su grupo trasandino favorito “Los Charros”, le puso el apellido “de Lumaco” y formó su propia banda de “ranchera tropical”, que es como denomina a su estilo. Desde entonces, la fama de Toloza y su agrupación ha subido como la espuma. “No podía ser de otra forma, si donde vamos la gente se pone a bailar altiro”, dice. Han participado en el Festival del Huaso de Olmué y tienen tres discos de oro y dos de platino. Actualmente están grabando su séptimo álbum y viajan al otro lado de la cordillera frecuentemente, a tocar a esas mismas ciudades que antes Marcio Toloza recorrió como temporero agrícola.

El vertiginoso éxito de Los Charros de Lumaco es un fiel reflejo del furor que causa la música de origen mexicano entre los chilenos. Desde sus exponentes originales hasta los charros nacidos y “creados” a más de seis mil kilómetros del D.F., todo lo que suene a corridos y rancheras es un éxito seguro. Radios dedicadas al género, festivales e influencias en otros estilos musicales dan cuenta de lo arraigado de este sonido, sobre todo en las zonas rurales.

De hecho, el disco de larga duración más vendido de las historia de la música nacional, con 150 mil copias, es México lindo y querido (2003), el álbum de rancheras de María José Quintanilla.

El fenómeno musical de aquellos años, MARIA JOSE QUINTANILLA con sus interpretaciones de clásicos de la música mejicana conquista al público de la Quinta Vergara presentándose en el Show del Festival de Viña del 2004..

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Hoy a los Charros de Lumaco se suman Los Llaneros de la Frontera, Los Hermanos Bustos, Los Ruta 5, Eliseo Guevara, Los Kuatreros del Sur y, detrás de ellos, una lista casi interminable de artistas chilenos que han dedicado su carrera a sonar como mexicanos ¿Qué hace que la popularidad de esta música con acordeones, guitarrones y trompetas se mantenga intacta en Chile desde hace más de siete décadas?

Osvaldo Waddington tiene 81 años, y como para muchos chilenos que vivieron a mediados del siglo XX, su primera aproximación con la música mexicana fue a través del cine. “Cuando joven vi muchas películas de Jorge Negrete, Pedro Armendáriz, María Félix. Las películas norteamericanas eran en inglés, con subtítulos, en cambio las mexicanas en castellano, con música y muy alegres”.

A partir de los años cuarenta, la industria cinematográfica mexicana trajo al país las historias de amor y aventuras de charros a caballo con pistolas al cinto y sombreros grandes, que generaron una identificación muy fuerte con el público chileno, sobre todo del campo. “La combinación de cine y música resultó muy atractiva. La cultura campesina expresada en estas películas era mucho más cercana por el idioma, costumbres, humor e ingenio que las estadounidenses. En estas historias, un campesino podía ser un héroe”, explica el historiador Claudio Rolle, coautor de la investigación Historia social de la música popular en Chile.

En esa misma década, agrupaciones chilenas como Los Queretanos, Los Huastecos del Sur y Los Veracruzanos comenzaron a grabar para el sello Odeón las canciones que aparecían en esas películas mexicanas. Vestidos de charros, interpretaban éxitos como ¡Ay Jalisco no te rajes! y Allá en el rancho grande. De ahí en adelante el fenómeno no paró más: aparecieron los programas de radio especializados, las giras por todo el país y poco a poco este tipo de música se apoderó de las listas de ventas.

Fue así como en 1954 Guadalupe del Carmen, una joven venida del pueblo de Chanco en la VII Región, logró vender más de 175 mil ejemplares de la canción Ofrenda, un corrido mexicano creado por el chileno Jorge Landy. Era algo inédito y extraordinario para esa década y que la convirtió en la primera artista nacional en obtener un disco de oro. Gracias a su éxito, su Chanco se transformó en la capital chilena de la ranchera, y hasta el día de hoy cada febrero se realiza en la localidad el Festival del Cantar Mexicano, que reúne a charros venidos de todas partes de Chile. “La idea es que se hiciera sólo por una vez, pero la presión de gente fue tanta que hemos tenido que armarlo durante todos los años desde 1980”, señala Waddington, el creador del evento.

Durante tres días, en el pueblo flamean las banderas de México, los charros se pasean a caballo y las trompetas y violines resuenan en las calles. El público se levanta espontáneamente a bailar corridos o llora con las sentidas interpretaciones de las baladas rancheras. El fenómeno llama la atención entre los mexicanos, quienes no se explican cómo el chileno Chanco puede convertirse por unos días en un verdadero pueblo campesino mexicano, por lo que se han hecho artículos, notas de televisión y documentales sobre el festival.

El fenómeno de Chanco es una expresión latente del sentimiento que esta música genera en los sectores rurales. Christian Retamal es chanquino, empleado municipal y ha participado dos veces en el evento (2009 y 2012). Dice que aunque no es profesional, el canto mexicano hay que tomarlo en serio. Cada uno de sus trajes de charro cuesta cerca de 500 mil pesos y prepara sus presentaciones en festivales con seis meses de anticipación. “El canto mexicano es puro sentimiento. Es una música muy emotiva, por eso es que le gusta tanto a la gente. Eso se ve reflejado en la cantidad de público que llega al festival. La medialuna de Chanco siempre está repleta a reventar”, comenta.

“La ranchera ya es parte de nuestro folclor de la zona central de Chile. Las personas del campo sufren y gozan con los dramas, las tragedias y los amores de estas letras. Es un estilo que los chilenos ya hicieron suyo”, dice Waddington.

Los expertos concuerdan en que Chile ha adoptado las corridas y rancheras y que ya son parte de la música popular, y que por esa vía le han dado un carácter propio. Esteban Faúndez es productor musical de los Estudios Alcalá, en Curicó, donde ha grabado el trabajo de varios artistas locales que desarrollan este género. “La ranchera rural adoptó los instrumentos típicos del folclor chileno, que son la guitarra y el acordeón para usarlos en la música mexicana”, cuenta, agregando que se ha llegado a un sonido característico: “El corrido, que es el más popular en el campo, utiliza voces arrastradas con gallitos, que incluso a veces llegan a ser algo desafinadas, igual que las guitarras. Eso le da un toque sufrido que tiene que ver con las letras, que generalmente son trágicas y hablan del desamor”.

El “sonido mexicano” está tan presente en la música chilena que varios artistas jóvenes nacionales de otros géneros han incursionado en él. Los hermanos Durán, de Los Bunkers, participaron el mes pasado en el MTV Unplugged de Pepe Aguilar, una de las leyendas de la ranchera en México, mientras que Medusa, el primer single del nuevo álbum de Manuel García, tiene claras influencias de los sonidos charros. “Yo tengo una relación muy cercana con esta música, que era la que escuchaba mi abuelo Manuel en sus vinilos”, explica y luego agrega: “Me llama la atención la forma en que se proyecta el sonido en el folclor mexicano, como cada instrumento respeta sus espacios y eso quise hacer en esta canción”. Para él, la música mexicana tiene una identificación lógica con Chile y el campo porque “tiene un sentido revolucionario. Hay una cuestión que tiene que ver con tres frentes: el hombre y su vida rural, cómo el hombre le canta al amor y cómo el hombre defiende sus derechos de campesino”.

María José Quintanilla es una de las exponentes más jóvenes y exitosas de este estilo en Chile. Con un récord de ventas a cuestas y ocho discos, a sus 24 años sabe cuán popular es este estilo: “La gracia de la música mexicana es que es transversal, es para toda la familia. Siempre está en los asados, cumpleaños y reuniones de amigos”, dice ella.

Eso es algo en lo que coinciden Los Vásquez, dúo que ha rescatado arreglos e instrumentos típicos de las rancheras en las baladas de su particular estilo denominado “pop cebolla”. Para ellos ya es una música derechamente “chileno-mexicana. Cuando chico, si estabas jugando al lado de la radio no necesariamente estabas escuchándola, pero esos sonidos quedan y se te hacen familiares”. Algunos de sus mayores hits como Miénteme una vez tienen “trompetas mariachis y acordeón. Son muy simples, con acordes sencillos y eso hace que sean tan digeribles”. En parte gracias a estas influencias, su disco Contigo pop y cebolla ha vendido más de 60 mil copias, lo que lo convierte en el cuarto álbum nacional con más ventas en lo que va del siglo XXI.

Para el historiador Claudio Rolle, la influencia de las rancheras y corridos en el cancionero popular chileno es tal, que ha desplazado al folclor como música propia y cotidiana del campo chileno. “La música mexicana tiene un espacio que se construyó por sí misma. No es impuesta y no necesita ningún tipo de protección como la Ley del 20% para que sea escuchada. Es algo que simplemente la gente pide que siga sonando”.

Tanto él como otros expertos concuerdan en que pasará mucho tiempo antes de que un sonido que no sea la ranchera impere en las casas y fiestas de las zonas rurales del país. Han pasado años y modas, pero allí el corrido mexicano “sigue siendo el rey”.

Mariachi serenata a presidenta Chilena Bachelet

Presidente Chileno Piniero cantando El Rey con Los Mariachi's