218:, Ramirez recognized conjunto as a powerful cultural development, and actively sought to find other artists in that genre. Falcon was one of the few local record labels catering to Spanish-speaking audiences that expanded beyond local distribution. Ramirez returned to Afro-Cuban music in 1952 when Orquesta Falcon was formed, a unit which eventually toured Cuba. In the 1950s the label was flourishing financially, but Ramirez's knowledge of copyright was insufficient and he found himself in some legal trouble.
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available in much of Latin
America. Despite this, the Falcon experienced diminishing profitability and Ramirez sold Falcon to California-based CENTRON in the 1960s. CENTRON was unsuccessful with the venture, and subsequently returned Falcon to the Ramirez family. Arnaldo Ramirez's son Arnaldo Jr. became an executive of the company. The operation grew to include offices and facilities in Austin, Chicago, Denver, Los Angeles, and San Antonio.
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shellac rationing and did not resume recording regional music, concentrating instead on larger
Hispanic markets in major metropolitan areas such as Mexico City. Ramirez's first record label was Mira, started in 1947 which specialized in Afro-Cuban music. The label started a "Mexican Series" featuring
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after their 1964 hit "Angelito". Two unsuccessful singles released, and the remaining recordings were shelved. Recently returned from military duty, Arnaldo Jr. listened to the tape of the unreleased song "Lo Mucho Que Te Quiero" and decided to release it. The recording was Falcon's most successful
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was a directly related but separate company that did the actual recording. This studio was also open for public use. Falcon's recordings were distributed throughout Latin and South
America, but usually did not appear there on the Falcon label per se as governments required products manufactured by
366:
Falcon's records were pressed by Tanner and Texas from inception for twenty five years. When the Tanner pressing plant shut down in 1974, Falcon acquired its own pressing equipment and planned to print and manufacture record jackets in-house. Royalco
International Corporation was formed to be the
189:, Ramirez came to realize there was a sizable audience for the music he was promoting. He set up a recording studio in McAllen, Texas, which was just a few miles from the Mexican border. Early recordings were often interrupted by traffic noise. Ramirez found this necessary as major labels such as
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which was created to promote Falcon artists, but consequently gave Tejano artists heretofore unknown national and international exposure. This syndicated program aired from 1964 to 1981 on 214 stations within the United States including the major
Chicago and Los Angeles markets, and was also
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to not only survive but flourish, and a vibrant orquestra ballroom scene arose as a result, not only in Texas but across the
Midwest. For many of its artists, Falcon provided an entry point towards recording with much larger record companies.
372:
local industry. Instead, Falcons recordings would appear on local labels and Falcon would receive royalties and production credit. It was typical that Falcon would send out around 40 promotional records to radio stations for a release.
209:
Falcon was dedicated to producing
Spanish music, and in particular conjunto Tex-Mex music. Falcon concentrated artists from the local area, including from both sides of the United States-Mexican border, and many of them were
256:
y Los Clásicos in 1976, a move which proved highly beneficial to both parties. It became Falcon's best selling group in the 1980s, to the point that
Ramirez called them his "bread and butter". The 1982 devaluation of the
294:
music, which appealed to both the working class
Hispanic population, as well as to more affluent members of the ethnicity who were seeking nostalgia. This was in contrast to their main competitor
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671:
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because of its origins among the very poorest classes. However, he also valued his product a culturally important to the working class, and as a tool to channel ideological currents.
232:
In the early 1960s Ideal
Records became moribund, and Falcon became the undisputed leader of tejano music labels. He started a Spanish-language musical television program named
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music which had been abandoned by the major labels. By the early 1960s it was clearly the leading tejano music label. Falcon was responsible for numerous recordings by
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225:, a bolero singer whose style was a departure from the accordion-based groups for which Falcon was most known. Her Falcon recordings were distributed by
336:'s self-titled LP. This album was noted for fusing traditional polka-rancheras with jazz phrasing and improvisation, an important innovation within the
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138:, and many other tejano and norteño artists of significance. Falcon's product gained international exposure through the syndicated television program
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178:, Mexico. He then subcontracted some of his radio time to other disc jockeys, and eventually acquired funds enough to open his own recording studio.
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Falcon's founder Arnaldo Ramirez (1918–1993) became interested in the entertainment industry at an early age. He learned to become a
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Ramirez named his company Falcon because he liked the action, aggression, appearance, speed and strength represented by
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who moved back and forth across. These artists would often pick cotton by day, and make music at night. After signing
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as a widespread musical style. Founded in 1948 by Arnaldo Ramirez, the label specialized in the rural
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recording selling more than four million copies. However, the record was released nationally on the
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and her family made numerous recordings for Falcon between August 1950 until at least 1968.
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Falcon at the Strachwitz Frontera Collection of Mexican and Mexican American Recordings
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In 1994 numerous historical artifacts from the Falcon operation were acquired by the
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The label's activities wound down around 1990, and the recordings were purchased by
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1357:"Falcon Recording Company Exhibit Chronicles Birth of Tejano Music (news release)"
1093:"REGIONAL RAMBLINGS: "Nano" Ramirez recalls the start of his career as a promoter"
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1331:. College Station, Texas: Texas A&M University Press. pp. 109–110.
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By the 1980s, Falcon was running several subsidiary labels, which included:
1677:(2 ed.). Denton, TX: Texas State Historical Association. p. 449.
1618:(2 ed.). Denton, TX: Texas State Historical Association. p. 336.
1558:(2 ed.). Denton, TX: Texas State Historical Association. p. 258.
1501:(2 ed.). Denton, TX: Texas State Historical Association. p. 596.
1473:(2 ed.). Denton, TX: Texas State Historical Association. p. 504.
1160:"Undocumented Aliens Ease Concern Over Younger Generation's Cultural Drift"
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1406:(2 ed.). Denton, TX: Texas State Historical Association. p. 12.
848:(2 ed.). Denton, TX: Texas State Historical Association. p. 31.
146:. The company's historical artifacts are held at the Jernigan Library at
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The exposure that resulted from Falcon's publicity enabled several Texas
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label as Falcon's distribution did not reach English-speaking audiences.
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1702:. College Station, Texas: Texas A&M University Press. p. 138.
1303:. College Station, Texas: Texas A&M University Press. p. 176.
1278:. College Station, Texas: Texas A&M University Press. p. 143.
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935:. College Station, Texas: Texas A&M University Press. p. 65.
1388:. McAllen, Texas. May 12, 1964. p. 4 – via newspapers.com.
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33:
1433:. College Station, Texas: Texas A&M University Press. pp.
1249:. Houston, TX: Arte Público Press, University of Houston. pp.
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1188:. Houston, TX: Arte Público Press, University of Houston. p.
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Música Norteña: Mexican Migrants Creating a Nation Between Nations
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Música Norteña: Mexican Migrants Creating a Nation Between Nations
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193:, who had previously released numerous recording catering to the
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Cowboys, Cops, Killers, and Ghosts: Legends and Lore in Texas
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Falcon's studio location was an optimal spot to record rural
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The Texas-Mexican Conjunto: History of a Working-Class Music
1126:
The Texas-Mexican Conjunto: History of a Working-Class Music
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The Texas-Mexican Conjunto: History of a Working-Class Music
877:. McAllen, Texas. pp. 1, 12 – via newspapers.com.
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At its peak, there were nine subsidiary labels of Falcon.
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143:
1533:. Vol. 2. Greenwood Publishing Group. p. 822.
1224:. McAllen, Texas. p. 1C – via newspapers.com.
730:. McAllen, Texas. p. 6B – via newspapers.com.
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music, as their music became popular throughout Mexico.
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Falcon's recordings were sold to the Mexican branch of
1158:
Fantin, Joyce; Fernandez, Diana (September 11, 1982).
298:, who recorded a more urban, "sophisticated" brand of
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Falcon 78rpm A459, "El Jornalero" by Marcelo y Aurelia
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823:. University of North Texas Press. pp. 120–121.
753:. Austin, Texas: University of Texas Press. pp.
16:
Record company from Texas between the 1940s and 1990s
1430:
Tejano Proud: Tex-Mex Music in the Twentieth Century
1061:
Williams, Bill; Brite, Charlie (November 25, 1972).
962:. Austin, Texas: University of Texas Press. p.
1242:
1181:
903:
675:. Philadelphia: Temple University Press. pp.
784:. Philadelphia: Temple University Press. p.
306:that appealed to the bilingual and the educated.
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1218:"Ramirez proves vigor can and should be eternal"
1039:Silva, Lupe; Brite, Charle (September 7, 1974).
999:
112:, that was instrumental in the establishment of
1157:
309:One of the first artists to sign to Falcon was
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1000:Espensen-Sturges, Jaime (September 14, 2015).
343:Ramirez disparaged some of his own product as
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1641:"A History of the Texas Recording Industry"
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1382:"Discount Sale at A.R.V. Music Store"
1361:Texas A&M University – Kingsville
1245:Lydia Mendoza: A Family Autobiography
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1184:Lydia Mendoza: A Family Autobiography
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1216:Maldonado, Vilma (August 13, 1991).
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1091:Martinez, Eduardo (March 24, 2017).
1063:"'Tex-Mex' Is a Major Musical Force"
955:
930:
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871:"Arnaldo Ramirez, Sr., "Mr. Falcón""
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530:Pedro y Malena Valdez, Dueto Falcon
356:Texas A&M University–Kingsville
148:Texas A&M University–Kingsville
13:
1006:Texas State Historical Association
459:Manuel Hernandez and his orchestra
14:
1768:
1742:Record labels established in 1948
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1673:Jasinski, Laurie E., ed. (2012).
1614:Jasinski, Laurie E., ed. (2012).
1554:Jasinski, Laurie E., ed. (2012).
1497:Jasinski, Laurie E., ed. (2012).
1469:Jasinski, Laurie E., ed. (2012).
1402:Jasinski, Laurie E., ed. (2012).
869:Maldonado, Vilma (May 12, 1993).
844:Jasinski, Laurie E., ed. (2012).
367:distribution channel for Falcon.
1355:Daniels, Mary (April 24, 1996).
32:
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902:Ragland, Cathy (July 1, 2014).
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1427:San Miguel, Guadalupe (2002).
862:
837:
771:
1:
1527:Candelaria, Cordelia (2004).
1241:; Nicolopulos, James (1993).
1180:; Nicolopulos, James (1993).
1002:"RAMÍREZ, ARNALDO VILLARREAL"
750:The Mexican American Orquesta
581:
400:Ray Camacho and the Teardrops
1757:Record labels based in Texas
817:Untiedt, Kenneth L. (2013).
7:
1675:The Handbook of Texas Music
1639:Hickenbotham, Gary (2004).
1616:The Handbook of Texas Music
1556:The Handbook of Texas Music
1499:The Handbook of Texas Music
1471:The Handbook of Texas Music
1404:The Handbook of Texas Music
846:The Handbook of Texas Music
354:of the Jernigan Library at
10:
1773:
637:. Texas A&M University
631:"Falcon Record Collection"
375:
153:
1652:Berkeley Electronic Press
1587:University of Texas Press
1131:University of Texas Press
912:. Oxford University Press
283:
221:In 1954 the label signed
185:, ceased operations as a
85:
77:
67:
59:
51:
43:
31:
26:
1579:Peña, Manuel H. (1985).
1123:Peña, Manuel H. (1985).
956:Peña, Manuel H. (1985).
558:Bego Records (purchased)
369:Falcon Recording Company
332:In 1974 Falcon released
1391:(subscription required)
1227:(subscription required)
880:(subscription required)
778:Ragland, Cathy (2009).
733:(subscription required)
669:Ragland, Cathy (2009).
271:
181:When his main station,
1752:Spanish-language music
383:Alonzo y Sus Rancheros
268:sometime around 1990.
1698:Peña, Manuel (1999).
1327:Peña, Manuel (1999).
1299:Peña, Manuel (1999).
1274:Peña, Manuel (1999).
931:Peña, Manuel (1999).
747:Peña, Manuel (1999).
212:undocumented migrants
1648:Texas State Ecommons
438:Las Hermanas Gongora
393:Los Alegres de Terán
352:South Texas Archives
311:Los Alegres de Terán
216:Los Alegres de Terán
160:master of ceremonies
124:Los Alegres de Terán
910:Grove Music Online
409:Hermanas Degollado
406:Los Cuatitos Cantu
362:Production details
278:that genus of bird
1684:978-0-87611-252-6
1625:978-0-87611-252-6
1585:. Austin, Texas:
1565:978-0-87611-252-6
1508:978-0-87611-252-6
1480:978-0-87611-252-6
1413:978-0-87611-252-6
1239:Strachwitz, Chris
1178:Strachwitz, Chris
1129:. Austin, Texas:
855:978-0-87611-252-6
800:- Limited access.
795:978-1-59213-746-6
691:- Limited access.
686:978-1-59213-746-6
570:Bronco (Falcon's
555:ARV International
516:Rigoberto Rosales
453:Eugenio Gutiérrez
140:Fanfarria Falcon.
99:
98:
78:Country of origin
1764:
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1654:. pp. 10–11
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1101:. McAllen, Texas
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519:Rosita y Aurelia
475:Hermanas Mendoza
471:Narciso Martínez
334:Tortilla Factory
261:affected sales.
240:Falcon recorded
234:Fanfarria Falcon
227:Peerless Records
168:Harlingen, Texas
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1047:. p. T-18.
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447:Manuel Guerrero
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489:Mike Ornelas
418:Los Donneños
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1098:The Monitor
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728:The Monitor
526:Chelo Silva
504:René y René
388:Pedro Ayala
247:White Whale
242:René y René
229:in Mexico.
223:Chelo Silva
204:Pedro Ayala
132:René y René
128:Chelo Silva
1736:Categories
1589:. p.
1133:. p.
582:References
561:CR Records
540:Beto Villa
533:Ruben Vela
397:Kris Bravo
340:movement.
326:orquestras
191:RCA Victor
1164:Billboard
1067:Billboard
1045:Billboard
413:Los Dinos
1105:June 12,
304:conjunto
164:radio DJ
86:Location
1658:June 8,
1366:June 7,
1011:June 5,
916:May 17,
567:Impacto
564:El Pato
376:Artists
338:la Onda
315:norteña
291:norteño
195:Chicano
176:Reynosa
154:History
119:norteño
63:Defunct
52:Founder
44:Founded
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300:tejano
284:Legacy
174:, and
114:tejano
104:was a
72:Tejano
60:Status
1644:(PDF)
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467:Josue
108:from
68:Genre
1704:ISBN
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1660:2018
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643:2018
272:Name
183:XWAW
47:1948
1251:390
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1135:109
266:EMI
166:in
144:EMI
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