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Son Huasteco is one of 8 Mexican song styles and is a traditional Mexican musical style originating in the 6 state area of Northeastern Mexico called La Huasteca. It dates back to the end of the 19th century and is influenced by Spanish and indigenous cultures. Usually it is played by a Trio Huasteco composed of a guitarra quinta huapanguera (a five course, eight stringed guitar-like instrument) a Jarana Huasteca (a stringed instrument related to the jarana) and a violin. Singers will often use the falsetto register. The son Huasteco is particularly noteworthy for its flamboyant and virtuoso violin parts, although the style varies from state to state. Two different dances are often danced to Son Huasteco: the Zapateado and the Huapango. Improvisation plays a strong role in the style, with musicians creating their own lyrics and arrangements to a standard repertoire.

Related genres are Son Jarocho and Fandango español.

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The Huastec or Téenek (contraction of Te' Inik, "people from here"; also known as Huaxtec, Wastek or Huastecos), are an indigenous people of Mexico, historically states of Hidalgo, Veracruz, San Luis Potosí and Tamaulipas concentrated along the route of the Pánuco River and along the coast of the Gulf of Mexico.

There are approximately 66,000 Huastec speakers today, of which two-thirds are in San Luis Potosí and one-third in Veracruz,^[1] although their population was probably much higher, as much as half a million, when the Spanish arrived in 1529.^[2]

The ancient Huastec civilization is one of the pre-Columbian Mesoamerican cultures. Judging from archaeological remains, they are thought to date back to approximately the 10th century BCE, although their most productive period of civilization is usually considered to be the Postclassic era between the fall of Teotihuacan and the rise of the Aztec Empire. The Pre-Columbian Huastecs constructed temples on step-pyramids, carved independently-standing sculptures, and produced elaborately painted pottery. The Huastecs were unusual as one of the few cultures that attained civilization and built cities, yet usually wore no clothing. They were admired for their abilities as musicians by other Mesoamerican peoples.

About 1450, the Huastecs were defeated by Aztec armies under the leadership of Moctezuma I; the Huastecs henceforth paid tribute to the Aztec Empire but retained a large degree of local self-government.

The Huastecs were conquered by the Spanish between 1519 and the 1530s. With the imposition of the Roman Catholic faith, they were required to don clothing. After the Spanish Conquest, many Huastecs were sold as slaves in the Caribbean by the Spanish.^[3]

The first grammatical and lexical description of the Huastec language accessible to Europeans was by Fray Andrés de Olmos, who also wrote the first such grammars of Nahuatl and Totonac.

Huastec migration history[link]

Huastecs splitting from the rest of the Maya[link]

Huastec stone sculpture – AMNH

Replica of statue located in Metro Bellas Artes in Mexico City. The accompanying plaque translates to "MASCULINE FIGURE – Huasteca Culture – Early Post Classic – Description: From Naranjo, Veracruz. Possible representation of Quetzalcoatl wearing a conical cap with a skull in front and long earflaps, characteristic elements of the Huastec."

Studies of language change, especially glottochronology (that is, words changing in form or being replaced by borrowed synonyms), have given linguists the tools to estimate the point in time when many pairs of languages diverged from their common ancestral tongue. The procedure depends on the assumption that languages change, in the absence of widespread literacy, at a constant rate.

Of all the languages descended from Proto-Mayan, the proto-Huastecan language was the first to split from Mayan proper. The second split, in the non-Huastecan main branch, was between proto-Yucatecan, now spoken across the Yucatán Peninsula, and the ancestors of all other Maya languages. The only other language, besides Huastec, which arose from proto-Huastecan was Chicomuceltec (also called Cotoque), a language once spoken in Chiapas near Comitán, but now extinct.

Linguists have approximated that the precursor to the language of the Huastecs diverged from the Proto-Mayan language between 2200 and 1200 BCE. Linguist Morris Swadesh posited the later date as the latest possible time for this split to have occurred, and gave the Huastec/Chicomuceltec inik ("man") versus other-Maya winik as a typical contrast.^[4] McQuown suggests 1500 BCE, Manrique Castaneda 1800 BCE, and Dahlin 2100 BCE as the most likely dates for the split.^[5] Kaufman's proposed date of about 2200 BCE would require two regular phonological (sound) changes that are attested in all Maya languages, "r" changing to "y" and "q" to "k", to have happened independently after the split, in both the Huastec/Chicomuceltec branch and in the branch of all other Mayan languages.^[6]

Robertson's work on verb affixes in the Mayan languages implies that the Huastecs were in contact with the proto-Tzeltal branch of Mayan. In Proto-Mayan, absolutives could be marked either by a prefix or a suffix, depending on the presence of a tense/aspect marker. This feature was retained in Q'anjob'al (a Maya language, spoken in the Cuchumatanes mountains of Guatemala), but lost in other branches. (Yucatecan always uses a suffix for absolutives, while K'iche' always uses a prefix.) Huastec appears to have been influenced by proto-Tzeltal, resulting in such innovations as the preposition ta, used with the object of a verb in the third person.^[7] If, as seems likely, the Huastec-Maya split occurred around 2000 BCE, the Huastecs probably did not travel far from the Guatemala-Chiapas borderlands until after 1100 BCE, more or less, by which time the proto-Tzeltalans had been established as a separate branch.

Huastec Art[link]

Huastec people lived north of Totonacs in the northeastern corner of Mesoamerica, which helped their influence with distinct style of art. Huastec people spoke Mayan, which was a good trade language to be spoken at the time. Their art was influenced by the coastal area resulting in shell artifacts.

Amongst their art they also made pots, gaming stones, platform pipes, and sculptures. These items were often made from shells and made into shape of human heads, engraved shell gorgets, fan headdresses, and of hunch backed humans. (Snow 2010)

(Reference : Snow R, Dean, Archaeology of Native North America; Pg: 255&256)

Huastec statue from the Tampico Region, 14th–16th centuries

Huastecs' arrvial in the Huasteca region[link]

The Huasteca region of Mexico extends from the easternmost limestone ranges of the Sierra Madre Oriental, across the coastal plain and the Otontepec hills to the Gulf of Mexico, in northern Veracruz state, eastern San Luis Potosí state, and (by some definitions) southern Tamaulipas. At least three indigenous languages are spoken in parts of the region today: Nahuatl (a Uto-Aztecan language), spoken especially in Veracruz, but also in San Luis Potosí; Pame (an Oto-Manguean language). spoken in the hilly borderlands of San Luis Potosí and Querétaro; and Huastec (Wastek) (a Maya language), spoken in San Luis Potosí and northernmost Veracruz, and formerly in Tamaulipas. Some would include the Totonac-speaking area, in north-central Veracruz, as part of the Huasteca. The Huastec region was known to the Aztecs (ancestors of today's Nahuatl speakers, who arrived in the Huasteca around 1450) for its fertile abundance,^[8] and includes the northernmost patches of tropical moist forest and cloud forest in the Americas.

The Huastecs arrived in the Huasteca between 1500 BCE^[9] and 900 BCE.^[10] The linguistic evidence is corroborated by archaeological discoveries. In 1954, Richard Stockton MacNeish found ceramics and figurines in the Middle Formative period, called "Pavon de Panuco" in the Panuco River sites of the Huasteca, which resemble Preclassic objects from Uaxactun, a Petén-region Maya site.^[11] A date of no earlier than 1100 BCE for the Huastecs’ arrival at their present location seems most likely, since they probably had not arrived at the north-central Veracruz site of Santa Luisa until about 1200 BCE, the phase at the end of the Early Formative period known locally as the "Ojite phase."^[12] Artifacts of the period include Panuco-like basalt manos and metates.^[13] (The Huastecs remained in Santa Luisa, located east of Papantla near the Gulf coast, until supplanted or absorbed by the Totonacs around AD 1000).

One nexus of carved iconographic traditions, the "yoke-palm-axe" complex, was found from Jaina Island in coastal Campeche to the Huasteca (and in between, in Aparicio, Veracruz), in association with the pelota ballgame, decapitation, and tooth mutilation;^[14] however, this may reflect coastal trade contacts after the Huastecs were established in the Huasteca.

Huastec-Maya separation[link]

Proto-Maya, the common ancestor of all Maya languages, was probably spoken in west-central Guatemala, around the highland pine-oak forests of the Cuchumatanes mountain chain: north of the Motagua and Grijalva river valleys, through patches of cloud forest, and down to the edge of the tropical forest lowlands near the Ixcán and Chixoy (Negro) rivers, which flow into the Usumacinta River.^[15] Evidence that this region was the Maya "heartland" include its being located near the center of present-day language diversity within the Maya phylum (and therefore requiring the minimum number of moves to place the languages in their current locations), the fact that proto-Maya included words for flora and fauna from both highland and lowland areas, and the debatable idea that it is easier for a group of people to spread from a highland region to a lowland one than vice versa.^[16] Not all archaeological evidence agrees with this conclusion: there are older, unbroken ceramic traditions from Loltun Cave in Yucatán, as well as Cuello in Belize, which suggest alternative Maya homelands.^[17]

Approximate routes and dates of the proto-Huastec and other Maya-speaking groups

Whether the proto-Huastecs split from the rest of the Maya in 2200 or in 1200 BCE, the separation occurred at least a millennium before the rise of classic Maya culture. It is no surprise, therefore, that the word "to write" is different in proto-Huastec (θuc-) and in the other Maya language branch (c’ib).^[18]

2000 BCE is a reasonable date for the Huastec/Maya split, and the slopes of the Cuchumatanes range as a reasonable location for the speakers of proto-Maya, it seems likely that the split occurred after these proto-Maya speakers (or a portion of them) began to migrate north, probably along the Usumacinta River, and before the two groups resulting from the split began to move in opposite directions: the proto-Huastec speakers moving northwest (and, soon thereafter, the proto-Chicomuceltec west into the Chiapas highlands), and the proto-Yucatec/other Maya-speakers spreading northeast (one branch of which became Chontal, presumed by many from its widespread loan words and hieroglyphic evidence to be the dominant language of the classic Peten Maya heartland) (see Fig. 1). While we have no direct archaeological evidence to explain the split itself, we can assume by linguistic evidence that contact was soon cut off between the two groups, despite there being no geographical feature that would automatically isolate them from each other.

The intervening feature, then, was likely a powerful linguistic-cultural group. What group occupied the Usumacinta River-Gulf Coast lowlands (mainly in today's Mexican state of Tabasco) between 2000 BCE (when the proto-Huastecs began their journey) and 1000 BCE (by which time the proto-Yucatecs had arrived in Yucatán, the Chicomuceltecs had been isolated from the Huastecs,^[19] and the Huastecs were arriving in central Veracruz)? Most scholars propose that this region was inhabited by speakers of the Mixe–Zoque phylum. While speakers of Mixe–Zoquean languages are today confined to the mountains of northeast Oaxaca, along the backbone of the Isthmus of Tehuantepec, and into extreme western Chiapas, it is likely that they once occupied the entire Gulf Coast lowland from the isthmus to the Tuxtla mountains – in other words, the Olmec heartland, soon dominated by the presumably Mixe–Zoque-speaking Olmec civilization of about 1400 to 500 BCE. One line of evidence that the Olmecs spoke Mixe–Zoque are the words that the proto-Huastecs borrowed from proto-Mixe–Zoque as they passed through the southern Gulf lowlands;^[20] for example, ciw, meaning "squash."^[21]

Replica of bas relief image in Metro Bellas Artes in Mexico City. The accompanying plaque reads "STELA DE HUILOCINTLA – Huasteca culture – Late Classic Period – Description: Replica from Huilocintla, Veracruz. An animal licking up the blood of the mouth of a priest who sacrificed himself."

Thus, there is some reason to ascribe the linguistic isolation of early Huastecs from other Maya speakers to proto-Olmecs speaking a Mixe–Zoque language, themselves recently arrived after migrating northward from the Soconusco region of the Pacific coast and across the isthmus of Tehuantepec.^[22] There is much stronger evidence that the push for the Huastecs’ further migration up the Gulf coast was caused by the active presence of the early Olmecs (c. 1400 to 1100 BCE) of San Lorenzo and associated sites. If this is true, most of the distance that the Huastecs migrated during their entire history, from Guatemala to the Huasteca, was traveled in only a century or two at most: the portion between the Olmec heartland around San Lorenzo, and the environs of San Luisa.

The Huastecs and the Yucatán Maya were reunited, in a way, during the late nineteenth century, when Huastec chicle-tappers and lumbermen were transported to the state of Campeche to work the similar forests there, mainly employed by U.S.-based companies. A cross-Gulf steamship trade developed at the same time, with products such as salt exported from Campeche to Tuxpan (a Huastec-region port), and items such as sugar from Tuxpan to Campeche.^[23]

Notes[link]

References[link]

• Ariel de Vidas, A. 2003. "Ethnicidad y cosmologia: La construccion cultural de la diferencia entre los teenek (huaxtecos) de Veracruz", in UNAM, Estudios de Cultura Maya. Vol. 23.
• Campbell, L. and T. Kaufman. 1985. "Maya linguistics: Where are we now?", in Annual Review of Anthropology. Vol. 14, pp. 187–98
• Dahlin, B. et al. 1987. "Linguistic divergence and the collapse of Preclassic civilization in southern Mesoamerica". American Antiquity. Vol. 52, No. 2, pp. 367–82.
• INAH. 1988. Atlas cultural de Mexico: Linguistica. Mexico City: Instituto Nacional de Antropologia e Historia.
• Kaufman, T. 1976. "Archaeological and linguistic correlations in Mayaland and associated areas of Mesoamerica." World Archaeology 8:101-18.
• Malstrom, V. 1985. "The origins of civilization in Mesoamerica: A geographic perspective", in L. Pulsipher, ed. Yearbook of the Conference of Latin Americanist Geographers. Vol. 11, pp. 23–29.
• Ochoa, L. 2003. "La costa del Golfo y el area maya: Relaciones imaginables o imaginadas?", in UNAM, Estudios de Cultura Maya. Vol. 23.
• Robertson, J. 1993. "The origins and development of Huastec pronouns." International Journal of American Linguistics. 59(3):294–314
• Stresser-Pean, G. 1989. "Los indios huastecos." In Huastecos y Totonacas, edited by L. Ochoa. Mexico City: CONACULTA.
• Vadillo Lopez, C. and C. Riviera Ayala. 2003. "El tráfico maritimo, vehiculo de relaciones culturales entre la region maya chontal de Laguna de Terminos y la region huaxteca del norte de Veracruz, siglos XVI-XIX", in UNAM, Estudios de Cultura Maya. Vol. 23.
• Wilkerson, J. 1972. Ethnogenesis of the Huastecs and Totonacs. PhD dissertation, Department of Anthropology and Archaeology, Tulane University, New Orleans.

External links[link]

Wikimedia Commons has media related to: Huaxtec people

• Orientation: Wasteko, Countries and Their Cultures

José Pedro Infante Cruz (November 18, 1917^[1][2] – April 15, 1957), better known as Pedro Infante, is one of the most famous actors and singers of the Golden Age of Mexican cinema and is an idol of the Latinamerican people, together with Jorge Negrete and Javier Solís, who were styled the Tres Gallos Mexicanos (the Three Mexican Roosters). Infante was born in Mazatlán, Sinaloa, Mexico. He was raised in Guamúchil. He died on April 15, 1957, in Mérida, Yucatán, in a plane crash during a flight that he was piloting himself en route to Mexico City.

His film career began in 1939 with him appearing in more than 60 films, and starting in 1943, he recorded about 350 songs. For his performance in the movie Tizoc, he was awarded the Silver Bear for Best Actor at the 7th Berlin International Film Festival.^[3]

Childhood and early career[link]

Son of Delfino Infante García, who played the double bass in a band, and Refugio Cruz Aranda, he was the third of fifteen children, of which nine survived. Although the Infante Cruz family stayed for some time at Mazatlán, in the early 1919 they moved to Guamuchil. Later in 1920, they moved to Rosario, Sinaloa.

From teenager, Infante showed talent and affection for music. He managed to learn strings, wind, and percussion instruments in a short time. He was a guitar student of Carlos R. Hubbard.

His wife María Luisa León, who was somewhat well-off economically, convinced him of the need to move to Mexico City where they would find opportunities for this talented young man.

In Mexico City, he sang the songs of composers including Alberto Cervantes (Alberto Raúl Cervantes González [1]), José Alfredo Jiménez, Cuco Sánchez, Tomás Méndez, Rubén Fuentes, Salvador Flores Rivera (Chava Flores) and others. His first musical recording El Soldado Raso (The Soldier) was made on November 19, 1943, for the Peerless Records Company. Infante first appeared as an extra in the movie En un Burro Tres Baturros (Three Men from Aragon on a Donkey), literally translated as "On a Donkey, Three Baturros'"'. His career as an actor in leading roles started with La Feria de Las Flores (The Fair of Flowers), literally translated as "The Flower Carnival" in 1943. In that same year, a friend and neighbor of Infantes' wife, Carmen Barajas Sandoval, offered to introduce them to Jorge Negrete, a singer whom he admired. Barajas, who knew people in the business as she was the aunt of the child actress Angélica María, worked then at The Sindicat Of Workers of the Movies Production, S.T.P.C. (Workers of the Cinematographic Production Union). She succeeded in convincing Negrete to recommend Infante to the producer Ismael Rodríguez, and others. As a result, he was invited to appear in different pictures, such as Vuelve el Ametralladora (The Machine Gun Returns)

While married to María Luisa León, he met the dancer Lupita Torrentera, with whom he had three children, Graciela Margarita (b. 1947), Pedro Infante Jr. (March 31, 1950 - April 1, 2009) and Guadalupe Infante Torrentera (b. 1951), solidifying his reputation as a ladies' man. Irma Infante was born from his relationship with the young actress Irma Dorantes, whom he met when she was only 16 years of age. Irma Infante has had a career as an actress and a singer.

Actor[link]

His natural talent for acting was made evident in such pictures as:

• Tizoc, along with María Félix, which gained him the Silver Bear for Best Actor at the 7th Berlin International Film Festival.^[3]

• The massive migration from the countryside to the cities (mostly to Mexico City) during the 1940s fed the required labor force for rising manufacturing industries. This urbanization created the "working neighborhoods" and the culture of "la vecindad" (group of small apartments around a common patio), and found in Pedro Infante an identifiable icon for these, the new urban working class, with his character Pepe el Toro (Pepe the Bull) in the melodramatic trilogy made up of Nosotros los pobres, Ustedes los ricos, and Pepe el Toro (We the Poor, You the Rich, and Pepe the Bull), costarring with Evita Muñoz "Chachita".

• He worked with Sara García ("Mexico's grandmother") in many movies for Mexican cinema. Sara Garcia frequently played the role of his loving but "no nonsense" grandmother in their movies together, in which she constantly tried to get him to behave, but never succeeded.

• If that same urbanizing population had the nostalgia for the rural life, and with it the popularity of ranchera music and the idealized charro, it was not until he played the poor carpenter with a strong chilango (Mexico City) accent that Pedro Infante achieved a status, at least in Mexico, at the same level of celebrity such as Cantinflas, the Soler Brothers and even Jorge Negrete and María Félix. Despite that, he kept on playing the role of the charro and even the northern Mexican rancher (perhaps his most authentic character) in Ahí viene Martín Corona (Here comes Martín Corona) in 1951 and Los Hijos de María Morales (The Sons of María Morales) in 1952. When Jorge Negrete died in 1953, Pedro was no longer in the shadow of the international idol, even though Pedro was very affected by the disappearance of his idol. During his burial service some saw him slightly inebriated, a rare sight given that Infante was not a drinker.

• The Mexican child star María Eugenia Llamas, who was only four at the time, made her screen debut with him in the 1948 movie classic, "Los Tres Huastecos" ("The Three Men from Hausteca") as "La Tucita", a screen name she has used ever since.^[4] She played with him again under the sceen name La Tucita in his classic 1949 film comedy, "Dicen que Soy un Mujeriego" ("They Say I am a Womanizer").

• One of his better roles was that of Juventino Rosas in the movie "Sobre las Olas" ("Over the Waves"), based on the life of the Mexican waltz composer. Infante's natural musical abilities contributed to helping him to get into character.

• An important point in his career as an actor was winning the Ariel Award given by the Mexican Academy of Arts and Cinematographic Sciences for Best Actor for his role in La Vida No Vale Nada (Life is Worth Nothing, a line from the song Camino de Guanajuato).

Musical interpretations[link]

Waltzes, cha-cha-chas, rancheras and boleros placed him among the most popular singers of the mariachi and ranchera music.

Some of his most popular songs include: Amorcito Corazón (approximately My Little Love and Heart), Te Quiero Así (I Love You Like This), La Que Se Fue (She Who Left), Corazón (Heart), El Durazno (The Peach), Dulce Patria (Sweet Fatherland), Maldita Sea Mi Suerte (Cursed Be My Luck), Así Es La vida (Life Is Like This), Mañana Rosalía (Tomorrow Rosalía), Mi Cariñito (My Little Darling), Dicen Que Soy Mujeriego (They Say I Am A Womanizer), Carta a Eufemia (Letter to Eufemia), Nocturnal, Cien Años (Hundred Years), Flor Sin Retoño (Flower Without Sprout), Pénjamo, and ¿Qué Te Ha Dado Esa Mujer? (What Has That Woman Given You?). He sang "Mi Cariñito" to his frequent on screen grandmother, Sara Garcia, so many times in so many of their movies together, that it was played at her funeral.^[5]

The world famous song Bésame Mucho ("Kiss Me a Lot", or more loosely translated to get its elusive Spanish meaning closer to its English meaning, "Give Me a Lot of Kisses"), from the composer Consuelo Velázquez, was the only melody that he recorded in English and he interpreted it in the movie A Toda Máquina (ATM) (At Full Speed), with Luis Aguilar.

"Amorcito Corazón", by Manuel Esperón is one of Infante's most famous interpretations.

Infante was very often accompanied by the great musical ensembles of the time like the Mariachi Vargas de Tecalitlán, Noé Fajardo's Orchestra, the Trío Calaveras and Antonio Bribiesca, among others.

By then, Pedro Infante had already created his characteristic mariachi shout

Death and homages[link]

Infante was a fanatic of aviation, a hobby that would lead to his death. According to Wilbert Alonzo-Cabrera, his biographer, the actor was piloting a Consolidated Aircraft X B-24-D (a variant of the B-24 Liberator), which had been converted from heavy bomber war airplane to air cargo in San Diego, California. The plane crashed 5 minutes after taking off from Mérida, Yucatán, in southeast Mexico.

The death of Pedro Infante on the morning of April 15, 1957, was announced by radio personality Humberto Rodríguez, of radio station XEMH of Mérida, after one of the firefighters discovered the bracelet engraved with the name "Pedro Infante", plus the winged insignia that symbolized his aviator license. This was around 8:15 am; at 11:12 am, Manuel Bernal, of Mexico City radio station XEW, gave the news saying: "this Monday, April 15, 1957, Pedro, our beloved Pedro...this has been confirmed, has died in a tragic accident in Mérida, Yucatán".

Year after year Pedro Infante attracts a great number of fans of every age to his shrine in the Panteón Jardín of Mexico City, as well as one at 54th through 87th streets in the center of Mérida. Pedro Infante died amongst friends: mechanic Marciano Bautista, and copilot Manuel Vidal. Many friends, family and fans still dress up as the characters that he played in film: Pedro Chávez, Pepe el Toro, Tizoc and a number of people incarnated from the Mexican culture that Infante symbolized. His fans honor him every year with a mass, honor guards, music and the songs made famous by the Idol of Guamúchil. Until now they have all been spontaneous, without any official authority or institution organizing them.^[6]

Four statues have been erected in his honor. The one in Mexico City was made out of thousands of bronze keys donated by his fans to a Mexico City TV station after a request by TV director Raúl Velasco. For the statue in Mérida another TV presenter (Manuel Pelayo) made a request and received keys. The third statue is in his birthplace, Mazatlán, Sinaloa. At the Paseo de Olas Altas at Mazatlán there is a statue of Pedro Infante on a motorcycle, in honor of his role in the movie A Toda Máquina ("ATM") with Luis Aguilar and "¿Qué te ha dado esa mujer?" also with Luis Aguilar, Rosita Arenas and Carmen Montejo. The fourth statue is in the town square of Guamúchil, his adopted home town.

The social phenomenon of Pedro Infante[link]

The Mexican idol died intestate. [2] Because of this, the main beneficiaries of his legacy have been the producers of the extremely successful movies in which he starred, as well as the "Peerless" music company [3] (now associated with Warner Music), and thanks to the large income his pictures and songs still generate, they are the ones who have contributed greatly to promoting and updating him.

He represented not only the fun-loving and partying charro, but also the urban hero of the working class, and it was this character that won him the love and admiration of the public in Mexico and other countries, such as Venezuela and Guatemala.^[7]

According to producer Jorge Madrid y Campos, who was also his legal representative, Pedro Infante's fame has increased greatly since his death. The presence of so many admirers at his shrine on the anniversary of his death is remarkable, as are the musical tributes from singers of the ranchera and mariachi genres that pay homage to him. As Mexican American author, Denise Chavez, in her book "Loving Pedro Infante" put it humorously, "If you're a [Mexican], and don't know who he is, you should be tied to a hot stove with a yucca rope and beaten with sharp dry corn husks as you stand in a vat of soggy fideos. If your racial and cultural background ethncity is Other, then it's about time you learned about the most famous of Mexican singers and actors."^[8]

Some fanatics even speculated that his death was faked.^[9] They believed in the possibility that he was living "in hiding" somewhere; there have also been cases, reported in the Mexican press, of people who claim to be Infante. These cases are similar, in a sense, to other famous deceased celebrities, such as Elvis Presley, Anastasia, 2pac, or Jim Morrison,with people claiming to be these individuals.

Filmography[link]

• El Organillero (The Organ Grinder) (1939)
• En Un Burro Tres Baturros (Three Men of Aragon on a Donkey) (1939)
• Puedes Irte De Mí (You Can Leave Me) (1940)
• Jesusita En Chihuahua (Jesusita in Chihuahua) (1942)
• La Razón De La Culpa (The Reason Of The Blame) (1942)
• La Feria De Las Flores (The Fair of Flowers) (1942)
• Arriba Las Mujeres (Up With The Women) (1943)
• Cuando Habla El Corazón (When The Heart Speaks) (1943)
• ¡Viva Mi Desgracia! (Long Live My Bad Luck!) (1943)
• Mexicanos al grito de guerra (Mexicans at the Cry of War) (1943)
• Escándalo De Estrellas (The Stars' Scandal) (1944)
• Cuando Lloran Los Valientes (When The Brave Weep) (1945)
• Si Me Han De Matar Mañana (If They Should Kill Me Tomorrow) (1946)
• Los Tres García (The Three Garcías) (1946)
• Vuelven Los García (The Garcías Return) (1946)
• Soy Charro De Rancho Grande (I Am a Charro Of Rancho Grande) (1947)
• Nosotros los pobres (We The Poor) (1947)
• La Barca De Oro (The Golden Boat) (1947)
• Cartas Marcadas (Marked Cards) (1947)
• Ustedes los ricos (You The Rich) (1948)
• Dicen Que Soy Mujeriego (They Say I'm A Womanizer) (1948)
• Los Tres Huastecos (The Three Huastecos) (1948)
• Angelitos Negros (Little Black Angels) (1948)
• No Desearás La Mujer De Tu Hijo (You Shall Not Covet Thy Son's Wife) (1949)
• La Oveja Negra (The Black Sheep) (1949)
• La Mujer Que Yo Perdí (The Woman That I Lost) (1949)
• El Seminarista (The Seminarian) (1949)
• Sobre Las Olas (Over The Waves) (1950)
• El Gavilán Pollero (The Chickenhawk) (1950)
• Las Mujeres De Mi General (My General's Women) (1950)
• También De Dolor Se Canta (Singing Also From Pain) (1950)
• Islas Marías (1950)
• A.T.M. A Toda Máquina! (At Full Speed) (1951)
• ¡¿Qué Te Ha Dado Esa Mujer?! (What Has That Woman Given You?) (1951)
• Ahí Viene Martín Corona (There Comes Martín Corona) (1951)
• Necesito Dinero (I Need Money) (1951)
• El Enamorado (The Lover) (1951)
• Un Rincón Cerca Del Cielo (A Place Near Heaven) (1952)
• Ahora Soy Rico (Now I Am Rich) (1952)
• Dos Tipos De Cuidado (Two Guys To Be Afraid Of) (1952)
• Por Ellas Aunque Mal Paguen (For Them Although They Pay Badly) (1952)
• Ansiedad (Anxiety) (1952)
• Sí, Mi Vida (Yes, My Dear) (1952)
• Había Una Vez Un Marido (There Once Was A Husband) (1952)
• Pepe el Toro (Pepe The Bull) (1952)
• Los Hijos De María Morales (The Sons Of María Morales) (1952)
• Gitana Tenías Que Ser (You Had To Be Gypsy) (1953)
• Reportaje (News Article) (1953)
• Cuidado Con El Amor (Beware With Love) (1954)
• Los Gavilanes (The Sparrowhawks) (1954)
• Pueblo, Canto Y Esperanza (People, Song And Hope) (1954)
• La Vida No Vale Nada (Life's Worth Nothing) (1954)
• Escuela De Vagabundos (School Of Vagabonds) (1954)
• El Mil Amores (The Thousands Lover) (1954)
• Escuela De Música (School Of Music) (1955)
• La Tercera Palabra (The Third Word) (1955)
• El Inocente (The Innocent) (1956)
• Pablo Y Carolina (Pablo And Carolina) (1956)
• Tizoc (1957)
• Escuela De Rateros (School Of Thieves) (1957)

References[link]

External links[link]

English

• Pedro Infante at the Internet Movie Database

Spanish

• Pedro Infante at ILCE
• Biography of Pedro Infante at Univisión

v t e Cinema of Mexico Actors Directors Films A-Z Cinematographers Editors Producers Screenwriters Films by year 1896–1919 1920s 1930s 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011