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Pesado flirts with angels, interrogates machismo

presentaciones-pesado-2018

You know how it is. One week you’re delivering a PowerPoint presentation on how young hat acts deconstruct traditional machismo (Coming soon! Watch this space!), then the next week you’re looking up old hat acts on Allmusic.com when you run across an intriguing passage like this:

“[Pesado] struck again quickly with [their 2007 album] Gracias por Tu Amor, a controversial album that challenged physical abuse and the traditional notions of male machismo in Latin America. The album and its title track single were the subject of hot discussion on radio and television talk shows, but they only served to grow sales and airplay.”

gracias por tu amorNorteñoBlog is always hungry for some polémica, but in this case we need to award Jason Ankeny with a well-earned [citation needed], because I can’t find any evidence of the controversy to which he alludes. Furthermore, Pesado’s song “Gracias Por Tu Amor” hardly seems like anything to get worked up over. Its video is a head-scratching depiction of (I think) a poor working-class man dreaming of a better life for his family before he has a heart attack on the job and as a result gets to move into a nice suburban home. (Workers’ comp! God bless unions.) That plot is nowhere to be found in the song’s lyric, which mentions only that the narrator’s amor is an angel from heaven and the living image of love. It’s a midtempo Intocablish thing, pretty but innocuous. I’m having trouble imagining why all the fuss, unless there were some anti-angel haters running their mouths, as anti-angel haters will.

But this does demonstrate something useful: Before today’s Mexillennials were interrogating machismo with their Izod polo shirts and their tears, Pesado was on the case. The Nuevo León quartet/quintet got started in 1993, around the same time as Intocable, and the two bands were soon celebrated as modern updates on trad vaquero accordion slingers. In a 2003 Billboard article, Ramiro Burr lumped them in with Costumbre, Duelo, Iman, and the sensitive mascaraed metalheads in Siggno, writing, “These acts sound as if they would rather whisper in their girlfriends’ ears than raise hell with the guys.” They got big in the years following Selena’s death, when the fairly gender-balanced Tejano style was giving way to more male-dominated norteño as the central sound of regional Mexican music. Burr quoted a San Antonio program director: “There is a large, disenfranchised Tejano community that feels comfortable with these artists that are not really defined as Tejano or traditional norteño. The [new groups] just have a fresh sound. It also helps that many… have lyrics that relate to younger audiences.”

los angeles existenI mention all this because Pesado has a new album, Los Ángeles Existen (Remex). Its title single is apparently meant to convince the haters that, yes, angels from heaven do exist, and, yes, they want to make out with the guys in Pesado. While this is not outside the realm of possibility, Pesado’s songs have trouble transcending pleasantness, let alone our drab earthbound reality. The album’s best single is probably last year’s “No Yo Tengo Remedio,” which has a soaring chorus melody and extremely dialed-in rhythm section, not unlike (you guessed it) Intocable. On “Ojitos Chiquitos,” they even pull the ol’ ‘Cable trick of starting with some rockin’ distorted guitar, before settling into the familiar watered-down cumbia lope. But faithful readers know the Blog is maddeningly ambivalent when it comes to Intocable, while acknowledging they remain the gold standard among this particular strain of norteño — which, right, is adored by throngs of people.

So… RSTG Intocable? Pesado flirts with angels; after some cursory listening, the Blog is flirting with calling Los Ángeles Existen NO VALE LA PENA. Their importance in mediating machismo between hardcore vaqueros and the new jack diaspora, though, won’t be denied. Now we just have to figure out how they could ever be considered controversial…

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100 Regional Mexican Compilations Released in 2015

calibre 50 mejor

The hyper-abundant compilation album is one of the more bewildering aspects of the Regional Mexican music industry. There are a LOT of them — witness this Allmusic list of more than 50 Conjunto Primavera comps since 1995, released on eight different record labels. Lately some music-writer friends and acquaintances have observed a dearth of compilation albums in recent years, given listeners’ ability to cherrypick their own songs on streaming sites. NorteñoBlog does not dispute this observation; I’ll only add that the compilation market in Regional Mexican is still going strong. This year saw four new Primavera comps, on two different labels. Who’s buying these things? Don’t they already own all these songs?

Without answering these questions, NorteñoBlog presents this list of 100 single- (or, in the case of Sony’s Frente a Frente series, double-) artist comps released on CD in 2015. It doesn’t include multi-artist comps like Fonovisa’s annual Radio Éxitos: Discos Del Año series. This list is incomplete; I’m pretty sure I could find more by scouring the catalogs of indie labels Select-O-Hits and D&O.

Some items of interest: Continue reading “100 Regional Mexican Compilations Released in 2015”

¡Feliz 2016! (y ¡Lo Mejor de 2015!)

2016-copia

Regional Mexican music had as good a year in 2015 as any other style of popular music, but you wouldn’t know it from any music magazine’s year-end coverage. This Mexican-American radio format is only one small musical laboratory within the vast complex of U.S. pop; but figured by their percentages, norteño, banda, cumbia, and Tejano bands released as many great, vibrant singles and albums as their peers in other popular music subgenres. Yet good luck finding this music on year-end lists. Even at Billboard, which provides the best English-language coverage of Mexican music, the list of Top 10 Latin Albums contains only one (very good) regional Mexican album, which came out in 2014. None of the magazine’s Top 10 Latin Songs represent Mexican regional styles. (Shoutout to the New York Times’ Ben Ratliff, though, for getting Remmy Valenzuela’s “¿Por Qué Me Ilusionaste?” into the paper of record.) And never mind year-end coverage — this fun, fascinating music rarely gets covered throughout the year in mainstream publications, although NPR and Annie Correal in the Times are notable exceptions. As is The Singles Jukebox, where Josh writes and where the editors and writers share an expansive definition of “pop.”

This is pop music, dammit! MILLIONS OF AMERICANS LISTEN TO IT.

(An appropriate YouTube playlist to accompany that claim.) Continue reading “¡Feliz 2016! (y ¡Lo Mejor de 2015!)”

Lo Mejor De 2015: Banda Cohuich, Duelo, Grupo El Reto y Alta Consigna

grupo el reto

Extollers of Mexico’s indigenous Huichol people and composers of relentless electrocumbias, the members of Banda Cohuich inhabit the liminal nexus of old and new. I mean who doesn’t? But I’m guessing Cohuich limns the nexus a bit more loudly than do you and I. Their single “Son Kora Kau Te Te Kai Nie Ni (Dialecto Huichol)” is a blaring ringwalk of a Huichol anthem, and most of the songs on their entertaining compilation No Te Equivoques (Pegasus) follow suit. One exception: the unapologetically goofy “Cumbia de Voz”, a low key groover that’s acapella except for a synth beat, with the band singing the part of falsetto trumpets.

Continue reading “Lo Mejor De 2015: Banda Cohuich, Duelo, Grupo El Reto y Alta Consigna”

Fiesta de Aniversario: THE PICKS TO CLICK

gerardo birthday

NorteñoBlog doesn’t always Pick to Click, but when I do… sometimes I get it wrong and type “Click to Pick.” This made searching for the previous year’s worth of Picks INTERESANTE.

The Pick to Click began as a shameless ripoff from Charles Pierce’s must-read liberal politics blog at Esquire, as did a couple other, possibly subtler NorteñoBlog tics. (Spot them all! Both! Whatever!) It’s a useful way to highlight the song I enjoy the most in a particular post, so that you the loyal reader don’t have to wade through a pool of Banda MS’s tears to reach the good stuff. Of course, if you enjoy the delectable bouquet wafting from Banda MS’s tears, you can always Click what I don’t Pick, though you’ll run the risk of turning Banda MS happy and then they might run out of Art. Besides current singles, the following list includes some older singles and current album tracks.

Most Picked at three apiece: NorteñoBlog’s probable artists of the year Alfredo Ríos “El Komander” and Marco Flores y #1 Banda Jerez. Banda Cuisillos, Noel Torres, and Chuy Lizárraga each scored two Picks. So did Los Gfez, Pancho Uresti, and Ariel Camacho, though one Pick from each of those three was in a “featured” role. Besides norteño and banda, the list includes cumbias and puro sax stomps, reggaeton and ABBA-schlager, Jenny and the Mexicats and Pitbull, and covers of Johnny Cash and — first up — Shania Twain. Happy Clicking!
Continue reading “Fiesta de Aniversario: THE PICKS TO CLICK”

NorteñoBlog’s Top Singles of 2015: Julio – Septiembre

marco flores

UPDATED YOUTUBE PLAYLIST HERE

Three months ago on our Top Singles list, NorteñoBlog was concerned about a lack of chart hits and puro sax music. Worry no more! There’s a bit less variety on this list than before, in part because I devoted the month of agosto to a project that prevented me from trawling for indie singles. (More on that project soon.) But the states of California, Chihuahua, Texas, Tijuana, and Zacatecas all represent below, along with ever-present Sinaloa.

(First quarter singles are here; second quarter singles are here.)

1. Marco A. Flores y Su Numero Uno Banda Jerez“Amor de la Vida Alegre” (Garmex)
Mexican radio hit
Flores, who also made NorteñoBlog’s favorite single six months ago, is like the Ramones with better beats, Rae Sremmurd if they were fast, early Madonna with a better voice. He makes termite art of the most gnawing and forward-thinking sort. He spends half this song crowing over just drums and tuba.


Continue reading “NorteñoBlog’s Top Singles of 2015: Julio – Septiembre”

Desfile de Éxitos 8/8/15

DUELO VENENO VIDEO

Receiving an epic death bump on last week’s Hot Latin chart was singer-songwriter-guitarist-producer-equestrian Joan Sebastian, who recently succumbed to cancer at age 64:

On Hot Latin Songs, 11 of Sebastian’s tracks enter[ed] the chart — the most concurrent titles an act has ever had on the list. And, all of them are in the top half of the tally, including four in the top 10. One of his most memorable hits, “Un Idiota,” re-enters at No. 2 powered by 1.9 million weekly streams and 2,000 digital downloads sold in the week ending July 16 (up 2,306 percent according to Nielsen Music). “Un Idiota” originally peaked at No. 22 in 2001.

Note that none of these songs showed up on the Regional Mexican Songs airplay chart; Sebastian’s songs likely received more airplay than usual, but that bump didn’t coalesce around any one song. “Un Idiota” would have been a good candidate: two verses and choruses of gentle acoustic remorse, including spoken passages and a big “te AAAAAmo” chorus, it captures Sebastian’s knack for sounding traditional and poppy at once. (Alacranes Musical’s version displays a similar knack, although, as with every duranguense song, it requires that listeners shed any preconceptions about the emotional capacity of peppy synth polkas.) Listening to the smattering of Sebastian’s re-charting songs, it’s hard not to be impressed by the breadth of his catalog — the man could create pop ballads, uptempo synthpop, pedal steel country, mariachi, and Tejano with equal authority. His songs have begun drifting off the Hot Latin chart this week, so click on a few before they’re gone.

When we last encountered Duelo’s not-at-all-sexist tale of a heartless, icy, poisonous, murdering, dream-killing mujer, I wished it sounded more venomous. I have since shed my preconceptions about form following function and direct you to “Veneno,” this week’s Pick To Click and an excellent Tejano midtempo with a killer opening riff. (I can’t be the only one who hears Def Leppard’s “Hysteria.”) Singer Oscar Ivan Trevino regrets the venom flowing through his veins but sounds resolved to suck it out. Don’t try that at home.

Other nubes include a fine Tejano ballad from Conjunto Primavera ft. Intocable’s Ricky Munoz, although singing in the vicinity of Primavera’s Tony Melendez remains a fool’s errand; a fine Tejano midtempo from Intocable themselves; and Trakalosa’s “La Revancha,” whose melodramatic eight-minute video has things to say about Fate and Class and What Makes A Man Start Fires, or at least Beef Up And Kill Other Dudes. Driven by airplay and a new video with lots of slow-motion horses, Ariel Camacho’s elegiac “Te Metiste” climbs to #2 Hot Latin. Could he score his second posthumous #1?

In sadder news, Calibre 50’s latest boring ballad, already a big hit in Mexico, enters both charts. If history is any guide we’ll be changing the station on it for a while.

These are the top 25 Hot Latin Songs and top 20 Regional Mexican Songs, courtesy Billboard, as published August 8.

1. “El Perdón” – Nicky Jam & Enrique Iglesias
2. “Te Metiste” – Ariel Camacho y Los Plebes del Rancho (#1 RegMex)
3. “Propuesta Indecente” – Romeo Santos (105 WEEKS OLD)
4. “La Gozadera” – Gente de Zona ft. Marc Anthony
5. “Ginza” – J Balvin
6. “Fanatica Sensual” – Plan B
7. “Hilito” – Romeo Santos
8. “Un Idiota” – Joan Sebastian
9. “Malditas Ganas” – El Komander (#2 RegMex)
10. “Me Gustas” – Joan Sebastian

11. “El Amor De Su Vida” – Julión Álvarez y Su Norteño Banda (#6 RegMex)
12. “25 Rosas” – Joan Sebastian
13. “Mi Vicio Mas Grande” – Banda El Recodo (#3 RegMex)
14. “Pierdo la Cabeza” – Zion & Lennox
15. “Me Sobrabas Tu” – Banda Los Recoditos (#5 RegMex)
16. “Sigueme y Te Sigo” – Daddy Yankee
17. “La Mordidita” – Ricky Martin ft. Yotuel
18. “Perdido En Tus Ojos” – Don Omar ft. Natti Natasha
19. “El Perdedor” – Joan Sebastian
20. “El Cholo” – Gerardo Ortiz (#4 RegMex)

21. “El Taxi” – Pitbull ft. Sensato & Osmani Garcia
22. “Me Voy Enamorando (Remix)” – Chino & Nacho ft. Farruko
23. “Solita” – Prince Royce
24. “Aunque Ahora Estes Con El” – Calibre 50 (#9 RegMex)
25. “Duele El Amor” – Tony Dize

¡Adios!
“Hablame de Ti” – Banda MS (#5 RegMex) (snoooooozzzzzz)
“Nota de Amor” – Wisin + Carlos Vives ft. Daddy Yankee
“Contigo” – Calibre 50 (#9 RegMex)
“Mi Verdad” – Maná ft. Shakira
“Back It Up” – Prince Royce ft. Jennifer Lopez & Pitbull
“Como Antes” – Tito “El Bambino” ft. Zion & Lennox

—————–

7. “Cuál Adiós” – La Bandononona Clave Nueva de Max Peraza
8. “Piénsalo” – Banda MS
10. “Un Desengaño” – Conjunto Primavera ft. Ricky Muñoz

11. “Bonito Y Bello” – La Septima Banda
12. “Unas Heladas” – Grupo Máximo Grado
13. “Debajo Del Sombrero” – Leandro Rios ft. Pancho Uresti
14. “La Revancha” – La Trakalosa de Monterrey
15. “Suena La Banda” – Los Tucanes de Tijuana ft. Código FN
16. “Cajita de Cartón” – Intocable
17. “Confesion” – Arrolladora
18. “Veneno” – Duelo
19. “A Lo Mejor” – Banda MS
20. “Vete Acostumbrando” – Larry Hernández

¡Adios!
“Que Tal Si Eres Tu” – Los Tigres Del Norte
“Si Te Vuelvo a Ver” – La Maquinaria Norteña
“Como Tu No Hay Dos” – Los Huracanes del Norte
“Calla y Me Besas” – Enigma Norteña

¡Nuevo! (starring Mariachi Divas, Duelo, y más)

valeymargarita410

mariachi divasNorteñoBlog has never been confused about the popularity of Mariachi Divas de Cindy Shea among Grammy voters. They’re a talented group of women playing a style traditionally dominated by men — though not, let’s face it, as traditionally dominated as norteño or banda — making them a safe and progressive choice for voters with only a passing knowledge of the genre. That whiff of the “progressive” extends to their music, which boasts sophisticated arrangements that sometimes change tempos or cover non-mariachi songs. In other words, they’re progressive in the somewhat tortured sense of most genre progressives: “elevating” a style that doesn’t need elevating and appealing to people who don’t normally enjoy the style. Their Disney gig hasn’t hurt their profile, either. (“We particularly enjoy the Divas’ rendition of ‘It’s a Small World,'” says a travel site.) Their new album La Cima Del Cielo (East Side) sparkles and shines with the cheer of a sweaty theme park employee dressed up like a princess. They cover Linda Ronstadt’s “Lago Azul.”

dueloNo stranger to the “progressive” tag, the norteño-pop band Duelo is back, reliably charting high with their Intocablish new album Veneno (La Bonita). The title single levels insults at a heartless, icy, poisonous, murderous, dream-killing (SHALL WE GO ON?) mujer with unchecked midtempo momentum. Good riff, though I wish they sounded remotely venomous.

margarita la diosaA tad more interesting is Margarita “La Diosa de la Cumbia,” who, along with the dude from Bacilos, sang the theme song for La Fea Más Bella, the novela remake that’d go on to become Ugly Betty in its U.S. incarnation. (This title sequence seems to take up an entire episode.) Her new album Sin Fronteras (Warner) is part cumbia, part feel-good pop/rock with nods to modern salsa, not unlike Bacilos. The single “Te Di Todo” could introduce a novela remake of Beverly Hills 90210.

los cuates se acabaronBreaking Bad‘s favorite corridistas (and NorteñoBlog research project) Los Cuates de Sinaloa are back to their original trio format, guitar-guitar-bass, on Se Acabaron las Caricias (Los Cuates de Sinaloa), which unfortunately doesn’t seem to have any videos yet. It’s well worth streaming, though. Second song “Que Bonita Chica” sounds especially great, with effortless bounce and unadorned groove. Likely VALE LA PENA.

los inquietosFormer hyphy/not-hyphy scenesters Los Inquietos Del Norte are back with another super-serious country song, “Como Perro Amarrado” (Eagle). Though less twee than Tierra Cali’s song of the same name, it’s nowhere near as good as Jamey Johnson’s song of the same sentiment, which somehow made emasculation sound badass. Los Inquietos just sound defeated, though if Sr. Meza ever tires of singing norteño, some fine operatic roles await him — sad clowns and all that.

“Go Tejano Day”: What’s In a Name?

go tejano day

[Note: This article has been edited to reflect NorteñoBlog’s belated realization that HLSR is in fact a non-profit, using its proceeds for full college scholarships. Outside accusations of discrimination remain.]

The Houston Livestock Show and Rodeo sounds like a county fair on steroids and gamma rays, an orgy of horses, country music, and mad cowboys deep frying everything that’s not nailed down. I’m frankly jealous we don’t have one up in Chicago. But there’s trouble in Bayou City, and there has been for the past eight years, specifically surrounding the rodeo’s annual “Go Tejano Day” event:

Go Tejano Day is one of the biggest days at the Houston Livestock Show and Rodeo but it didn’t stop protestors from rallying outside of NRG Park.

Tejano supporters protested Sunday afternoon saying officials here have chosen musical acts in the Norteno and Banda genre and have not stayed true to Tejano music and culture.

Indeed, yesterday’s Go Tejano Day crowd broke the rodeo’s alltime record for attendance: 75,357 people paid to enjoy the music of Arrolladora and La Maquinaria Norteña, one banda and one norteño group, both of whom NorteñoBlog has been known to enjoy. Neither group has anything to do with Tejano music. To repeat, that’s the biggest ever paid attendance at any day of the Houston Livestock Show and Rodeo, which otherwise features first-tier country artists and a couple top-40 pop stars. (Dierks Bentley’s playing tonight; tomorrow’s Ariana Grande.) The second most attended day in history? 2012’s Go Tejano Day, which featured Julión Álvarez and Los Invasores de Nuevo Leon, one banda one norteño, neither of them Tejano.

Indeed, you have to go back to 2007 to find an actual Tejano act playing Go Tejano Day. (It was crossover country star Emilio.) Not coincidentally, that was also the last year the event didn’t spark protests. In 2008 the concert planners broke with tradition. For the first time since Go Tejano Day started in 1990, its headliners weren’t Tejano bands — instead they were Duelo, Texans playing norteño, and Los Horoscopos de Durango, playing Chicago duranguense. 71,165 people still showed up, but so did some protesters:

“The bands that are inside are representing Mexico,” said one protester, Steve Rodriguez, 54. “That’s not representing Tejanos.”

The rodeo’s excuse has always been reasonable, as you’d expect from a gigantic moneymaking corporation. If you’re a Tejano music fan, maybe it’s infuriatingly reasonable. Go Tejano Day was never meant to refer to Tejano music; rather, it was a play on the “Go Texan” slogan and designed to appeal to Houston’s large-and-growing Hispanic population, and the nineties just happened to be when Tejano music was on the rise. As we saw around Grammy time, back in 1996, when the Grammys were busily neglecting norteño music, the Tejano music industry marshaled its clout to create the “Best Mexican-American/Tejano” category, which La Mafia promptly won. Since then, though, Tejano has grown less and less popular. As Tejano fan Ramiro Burr pointed out in 2008, “When it comes time to booking the bands, the Houston Rodeo folks are doing what commercial radio and record labels do — they go for what brings in the largest crowds.” Since Go Tejano Day started featuring norteño and banda acts, the event has consistently broken attendance records for the rodeo’s organizers. Can you blame them?

Well, maybe.

The thing is, the Houston Livestock Show and Rodeo, to whom I’ll start referring as the more nefarious-sounding HLSR, has also done that big-corporation thing of changing the terms of the debate. The HLSR has accomplished this with diabolical ease. (MWA-jajaja!) The 2008 protests weren’t only about which bands would play the main stage; they made other demands:

1. Award greater number of scholarships to Hispanics. Only a few
scholarships are awarded to Hispanics.

2. Need Hispanic representation at the Executive Committee Level of the
rodeo’s governing group. Currently, Hispanics do not have
representation.

3. Retain event title as “Go Tejano Day”, while building greater
awareness of Tejano music & culture.

4. Expand role of “Go Tejano Committee” in the entertainment selection
process. The Go Tejano Committee has no role in selecting bands to
perform.

5. Pay parity for Tejano music artists. Tejano artists are paid much
much less than the other non-Hispanic artists. Yet, the Tejano artists
have broken numerous attendance records.

6. Increase Hispanic themed days/events at the Houston Rodeo.

Indeed, in 2008, “Several black lawmakers, including State Rep. Garnet Coleman, D-Houston, joined the Tejano cause…, saying blacks, too, should play a bigger role in the show.”

But:

Rodeo officials counter that about one-third of scholarships already go to Hispanic students. And while there are no blacks or Hispanics on the rodeo’s highest volunteer committee [it’s called The Executive Committee, MWAjajaja], that’s because membership is based on years of service and financial contributions.

I can’t speak to the scholarship numbers. But that second point is a classic method of refusing to integrate your organization while still seeming cool with the idea of integration. The idea goes, “They, the people whose money we’re taking in record-setting amounts, can’t help us plan the specific means of taking their money because they’ve never done it before. But seriously, we’re concerned.” Well, if nothing changes, nothing changes. Here, feast your eyes on the pasty faces of the current 2015 Executive Committee! The rodeo does have a black Vice President and some Latino-sounding names on the Board of Directors, which isn’t nothing. But it also isn’t integration. And if you’re serious about representing your clientele, it won’t take you eight years to integrate your Executive Committee, sure as you don’t wanna touch your shoe soles after visiting the livestock show.

(Um, I would like to pre-emptively apologize to Chris Richardson or any other members of the Executive Committee who might, in fact, be Hispanic. Set me straight!)

But in 2008, Leroy Shafer, the HLSR’s Chief Operating Officer, saved his fighting words for the musical argument. “The very vast majority of the Hispanic community knows that this is a subterfuge to try to keep a dying music industry alive,” he said of the protest. “They’re not buying into it.” He’s right about that. This 2009 message board thread is a good read, with every other post offering a sound argument about appropriate names for the event (the meaning of Tejano isn’t in question) and which music is worth supporting. But nobody really addresses the power structure like those 2008 protesters, except for a poster named MH, who says, “[W]e will not be able to influence the Tejano Day if we do not start becoming involved in their planning…”

This year’s protests got some extra attention thanks to Oscar de la Rosa of La Mafia, that Grammy-winning Tejano band; de la Rosa went on a profane rant against rodeo organizers during one of his concerts. (La Mafia has played the rodeo in the past.) There was also a change.org petition. But neither addressed the power structure of the HLSR; they just implored Tejano fans to boycott so that the HLSR would schedule some Tejano bands. The HLSR responded in kind: “We put music on our main RODEOHOUSTON stage that attracts fans and sells tickets.” There are bigger fish to fry here. I frankly don’t care who plays Go Tejano Day, but there’s no question Tejano’s appeal has waned for a while. It simply has fewer fans than norteño and banda. Changing the name to “Hispanic Heritage Day” or hiring La Mafia instead of Arrolladora isn’t gonna change who’s in charge of the rodeo or how they make their scholarship money. They’d just make less money if they hired La Mafia.

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