September 11, 2024 • 27 mins
When Vicente Fernández was a little boy, he watched Pedro Infante movies while tending to the cows on his family’s ranch. He dreamt of charro suits and singing his heart out. In this episode of Becoming an Icon, we go back in time to the start of El Charro de Huentitán’s career and explore how he went from a cowboy with big dreams to Mexico’s hearthrob and role model.
Lilliana Vazquez and Joseph Carrillo are the hosts of Becoming An Icon with production support by Nick Milanes, Santiago Sierra, Rodrigo Crespo, Evelyn Uribe and Edgar Esteban of Sonoro Media in partnership with iHeart Radio's My Cultura Podcast network.
If you want to support the podcast, please rate and review our show.
Follow Lilliana Vazquez on Instagram and Twitter @lillianavazquez
Follow Joseph Carrillo on Instagram @josephcarrillo
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Joseph, it has been a minute, and that means it's
time for us to check in on our past lives.
Speaker 2 (00:09):
Joseph Joseph, Oh sorry, I had to get my singing boat,
my incense mis VELAs and my friend photo of Kura.
Speaker 1 (00:18):
Every day you read my mind? Should we virtually join hands?
Speaker 2 (00:23):
Like?
Speaker 1 (00:23):
Should I put my palm up against the screen.
Speaker 2 (00:26):
Like through the screen?
Speaker 1 (00:27):
Yeah, obviously, Okay.
Speaker 2 (00:29):
I'm putting my hand on the screen on the zoom window.
Speaker 1 (00:33):
Okay, I am.
Speaker 2 (00:38):
I see lights, camera action? Holi what no Mexico city
in the nineteen forties?
Speaker 1 (00:51):
Are we in the city or on a set?
Speaker 2 (00:55):
On a set?
Speaker 1 (00:56):
And wait? Are you wearing chattle suit.
Speaker 2 (01:03):
At almira como rio and bitch you and the black
chaffon prairie dressed girl? This time? I'm La Bigonia and
your las Somra. Wait? Were we Mexican movie stars?
Speaker 1 (01:16):
Well, then those must be our trailers. That big one
over there, that's me and that little one's yours?
Speaker 2 (01:22):
Oh oh, bedient la Mala or is she not Gotti
hurado Liliana. We were a.
Speaker 1 (01:34):
Brother and sister musical duo from Hali School with generations
of Mariacci in our blood. Recently it rod to Mexico
City to take part in the silver screen immortalization of
our tradition during the Golden Age of Mexican cinema. Uh,
we were the twentieth century iteration of a musical legacy
of rural laborers turned in national heroes and icons, a
beacon of closet revolutionary national Mexican pride.
Speaker 2 (01:56):
Hello, we were extras.
Speaker 1 (01:59):
Oh damn, let's just get on with the episode. Yeah,
probably we need to make some money, aha, listeners. Today's
icon is a big, one, huge, massive iconic, a vocalist
and an actor who took the baton of Mariaci music
from the biggest star of the Mexican Golden Age of cinema,
(02:22):
single handedly carrying the genre into the latter half of
the twentieth century with a powerful voice and a snappy
ghiadra suit.
Speaker 2 (02:31):
Not to mention a working class hero who personally knew
the real life that his songs described. Today's icon was
the kind of person men would actively model their lives
off of.
Speaker 1 (02:43):
Almost like someone who plays a role that you want
to play in your own life.
Speaker 2 (02:50):
Oh, a role model.
Speaker 1 (02:53):
There it is. We're talking, of course about the sane
Fernandos undisputed figure of national pride and an international ambassador
of Mariacci.
Speaker 2 (03:05):
And history is as juicy as a TEAA drink.
Speaker 1 (03:08):
Ooh, are we doing my ties instead of Margarita's today.
Speaker 2 (03:12):
I'm not doing a zombie.
Speaker 1 (03:13):
I want to get stupid for we Senta Now that
is a T shirt. Salute Joseph today on becoming an
Icon El Charro de guent Titan, we sent the Fefnandez
chases his dreams. I'm your host, Lilianavoscuez.
Speaker 2 (03:33):
And I'm Joseph Carrio and this is Becoming an Icon.
Speaker 1 (03:37):
A weekly podcast where we give you the rundown on
how today's most famous Latin v stars have shaped pop culture.
Speaker 2 (03:44):
And given the world some extra tubble.
Speaker 1 (03:47):
Sit back and get comfortable.
Speaker 2 (03:49):
Because we are going in the only way we know how,
with buenas vias.
Speaker 1 (03:55):
Buenasriesas, some cheese, and a lot of opinions as we
relive their greatest achievements on our journey to find out
what makes them so iconic. Before we get into the
(04:17):
life and times that we sent the fen on this,
let's talk a little bit about role models.
Speaker 2 (04:22):
Well, Ursula from The Little Mermaid.
Speaker 1 (04:25):
You're so random, No, not ursula. But let's get into it.
When you were began like a little baby Joseph, who
did you want to be like? Or who did you
see as a role model?
Speaker 2 (04:42):
Oh god, who did I see as a role model? Like?
Speaker 1 (04:47):
Who did you dream of being like? Or similar to?
It's weird, y'all, y'all are not ready. Let's just prepare
the listeners. Y'all are not ready for the answer.
Speaker 2 (04:58):
It was a shoeshock hmm.
Speaker 1 (05:01):
Shusha ginn as Shusha.
Speaker 2 (05:03):
She was this like nineties like pop star. She had
this little not pop star. She had a TV show
and I just thought she was so pretty and she
was so cool.
Speaker 1 (05:12):
Wait, tell me more about her please, Like she was like.
Speaker 2 (05:15):
I don't know, it was like this TV show and
she was just like very fashionable and so pretty. I
think she was Spanish anyways, Wait why why? Why? Well?
Speaker 1 (05:23):
I just wanted to ask because I feel like that's
so telling about like where you are in your journey
and the influences that surround you when you're a little kid.
Speaker 2 (05:33):
Like Okay, wait, hold on, who did you want to
be when you grew up?
Speaker 1 (05:36):
Angela from Who's the Boss?
Speaker 2 (05:38):
Wait? You did grow up to be here?
Speaker 1 (05:40):
I know.
Speaker 2 (05:42):
Ah, that's so funny.
Speaker 1 (05:44):
Okay, wow, yeah, I thought that Angela Bauer. Who If
you guys don't know the show Who's the Boss, It
was like this amazing series that aired in the eighties
and it featured a single mom who was raising a
young boy. Her mother lived like either nearby or in
the guest house I can't remember, and she had a
male housekeeper slash manny named Tony Danza. And I was
(06:08):
obsessed with her because she was one of the first
relatable women that I saw in a position of power,
both in her home and also at work, because she
was like a massive advertising executive on the show, right,
she was super successful, she had great clothes, and she
fucking ran shit. And I was like, I'm going to
be Angela Bauer. I mean, by the way, are you
(06:29):
surprised that that was who my role model was?
Speaker 2 (06:31):
No? Okay, wait, I have another funny question. So were
you ever like, what would Angela do? Yes? Yes, stop it,
that is so funny. I guess I was never like
what would she should do? So okay, maybe sort of mind,
but like that's so.
Speaker 1 (06:47):
But nonetheless, we all have our role models, as random
and strained as they might be, and when Vicenta Fernandez
today's icon was a little boy, his role model was
none other than the one the only Pedro in Fane.
Speaker 2 (07:04):
If you're listening with your abuela pasa pod and calm
la vejadan, our past life, co star was quite the
heart throb.
Speaker 1 (07:12):
I'm sorry, co star, you said we were extras Aina anyway,
betherin fantas charisma as both a singer and an actor
captivated millions, and little Vicente Fernandez was among them.
Speaker 2 (07:28):
V sent this mother would take him to the movies
to see Infante in dramas likes and musicals like so La.
Speaker 1 (07:34):
Solas, and there in the theater, Vicente would tell his
mother that when he grows up, he's going to be
just like Pedroine Funde and home.
Speaker 2 (07:44):
Dude had some strong manifesting powers, but of course it
was all written in the stars. Because as an Aquarius
sun Taurus moon born February seventeenth, nineteen forty, little Vicente
has a big sense of determination and perseverance. This this
boy is all about setting and smashing.
Speaker 1 (08:02):
Bowl h I feel like I might know an Aquarius
sun Taurus moon at the gym.
Speaker 2 (08:11):
Do they drink that fancy protein powder? Because Aquarius Sun,
Taurus Moon. Love them a status symbol, maybe a little
too much, but they also value a meaningful connection, and
one can balance out the other.
Speaker 1 (08:24):
A classic farm boy with a dream is what I'd
like to say. And deslin Novicente was to build, buthering
fund his shoes we sent his father wasn't having it
with all his big dreams.
Speaker 2 (08:36):
At the age of eleven, Vicynthe decided to cut school.
He'd been playing the guitar since the age of eight
and decided he want to focus exclusively on music. And
his dad said.
Speaker 1 (08:48):
You don't want to go to school and I'll put
your apps to work.
Speaker 2 (08:56):
That's scary what you just did there? Do you do
that to funny?
Speaker 1 (08:58):
Oh my god, No, no, that's true. I could never.
I would cry before I spoke like that to my child.
And by the way, saying that out loud made it
way scarier for me than it was for you. Like
I'm scared of angry parents. But how is this for scary?
Milking cows at two am in a graveyard in the
middle of a windstorm.
Speaker 2 (09:18):
What kind of Scooby do? And the Mystery cruise? Shit
is that a graveyard?
Speaker 1 (09:24):
No? Mystery's ear just the life in the boonies. Visenta's
father punished him for dropping out of school by making
him a ranch hand. He'd wake him up at two
am every night and send him out to round up
the cows who roamed free through the grounds.
Speaker 2 (09:40):
Okay, so when I picture free range cows, I don't
picture goth cows chilling in a graveyard reading poetry.
Speaker 1 (09:47):
And yet these scooby Doo goth cows were wandering around
the family graveyard, and little Vicente, rightfully so was terrified.
Speaker 2 (09:56):
Basito like those cows probably sounded like zombie at night
four in the morning.
Speaker 1 (10:01):
Yeah, I was going to say, but that's not all.
They lived right by the valley of the Rio Grande Santiago,
which meant canyon winds, which on its own is enough
to ruin your brunch into panga. But these winds were
blowing cowshit at me, sent his.
Speaker 2 (10:16):
Knees, and after all that, he had to milk the cows. Yeah,
that's not it.
Speaker 1 (10:22):
He also had to go to town and sell the milk.
Speaker 2 (10:25):
Fuck that take me back to school.
Speaker 1 (10:27):
Right, And yet he sent this stuck with it for
three years.
Speaker 2 (10:32):
But after literally wading through the shit, our boy got
a win a literal first place to win in a
singing contest in Guadarajara.
Speaker 1 (10:41):
From there he started to sing at restaurants and in weddings.
Speaker 2 (10:44):
You know, the usual track, until the cows came home
to Roos.
Speaker 1 (10:49):
No, wait, I think you mixed up two different sayings there.
Speaker 2 (10:52):
Well, his dad's milk business went under, is like what
I was trying to say. So, just as little Vicenta
was starting to see some validation of his talent as
a singer.
Speaker 1 (11:00):
The family found itself seeking work opportunities elsewhere, and so
we sent them along with his parents and sisters, were
off pit, the one we go there.
Speaker 2 (11:10):
So often on this show. Should we be looking at property?
Speaker 1 (11:13):
I mean, I think there needs to be an entire
podcast just about the one. H Like, what the fuck
was going on there? Well, we'll do some zillowing off
mic to see what prices are like right now? Interest
rates are not great in the US, but maybe they're
better in Mexico. And unlike some of our other icons,
we sent the fer Fernandez did not end up performing
and getting immersed in the Bordertown music scene.
Speaker 2 (11:33):
Ke and his family went there to do manual labor,
and it might have made a miss the cows.
Speaker 1 (11:39):
We sent the washed cars, shine shoes, and at night
he washed dishes at a restaurant called La Caasica. Eventually
he would join his father and work as a bricklayer
at construction sites we sent them.
Speaker 2 (11:50):
Would watch his father struggle to carry buckets of cement
mix around the construction site, and instead of thinking karma's
a bit bobby, he said to himself, someday I'm going
to be someone important and my father won't have to
carry cement. There's our Aquarius son Taurus Moon.
Speaker 1 (12:07):
After getting hernia as a teenager, visent them would move
on from the heavy lifting and take work painting houses.
He sang as he worked and delighted his coworkers so
much that everyone wanted to share ships with him.
Speaker 2 (12:20):
Who wouldn't want a front row seat like that?
Speaker 1 (12:22):
After years of work, the family finally returned to Guentitan
in the late nineteen fifties. There we sent this finally
was able to embrace working as a singer.
Speaker 2 (12:32):
He worked at bar Circuit along with local mariachi's singing
covers of Josel Ferro Jimenez here in his tips night
after night. But soon something else caught his eye. Or
should I say someone.
Speaker 1 (12:46):
On a sunny Sunday morning we sent this spouted a
young woman coming out of church. Her name was Maria
del Grefuchio Abarca Villa Seignor, but just just better known
as Kukita, the woman who had become VI sent what.
Speaker 2 (13:01):
Vicente made the first move, So he gave Couquita a
single flower in the middle of the town square for
everybody to see. Honestly, it sounds like he took it
from a bedro in pantemovie.
Speaker 1 (13:12):
Wait were we in that one?
Speaker 2 (13:14):
We should have been, I mean Avi.
Speaker 1 (13:16):
Later, Vicente would declare his love for Couquita in front
of his parents and asked her to be his wife.
She told him that she would make a decision by
the following Sunday, and when the day arrived.
Speaker 2 (13:27):
Coquita was like, oh my God, yes, yes, I like you.
And from there the two were inseparable.
Speaker 1 (13:32):
It was just like a Hollywood romance. That is until
we Sent This. Career started to rev up. In nineteen
sixty Vicenta Fernandez was the talk of Gualalajara.
Speaker 2 (13:54):
Tenthe as the vocals knew him, had made his TV
debut in La Calandria Mosical, the city's most popular TV
show at the time.
Speaker 1 (14:02):
Man, do you remember local TV celebrities?
Speaker 2 (14:06):
You know, we didn't really have them middle pass so,
but I will say, like the people who did the
news were local celebrities. I don't know why people thought
they were famous, but they're like local celebrities, So yes,
I do.
Speaker 1 (14:17):
One of my favorites was Gloria compos She was like
the anchor of the evening news in Dallas. Were worth
in the eighties us with her.
Speaker 2 (14:25):
Wait do stop? So the one that I'm thinking about.
Her name was Estella Castillo, and she had this show
called Estella Sisquellas and I remember it forever, and she
was like famous because she like would highlight schools that
were making a difference whatever a.
Speaker 1 (14:38):
Oh my god, so cute anyway. Chanta's TV debut was
another long awaited validation of his talents. He won first
place in a single contest featuring several other local vocalists.
Speaker 2 (14:50):
The prize was a modest thirty five vessels, but it
wasn't the point he was after. He wanted to know
for sure that he was a big fish in a
small pond.
Speaker 1 (14:59):
There was only one place to go in that situation,
and that was the biggest pond in Mexico for an
entertainer to that the Mexico.
Speaker 2 (15:07):
After spending years chilling in the graveyard with the cows,
and after watching his dad carry that concrete we sent
they wanted to go after his dream. But that meant
saying goodbye to Uquita.
Speaker 1 (15:19):
Told Couquita, I don't know how things are going to
turn out for you in me. You should find someone else.
Speaker 2 (15:25):
Honesty, bitch, I have heard that one. I have said
that one. Sorry, I just wanted to say that.
Speaker 1 (15:30):
I was going to say, don't be all victim. I
know you, I know how you operate. When we sent
there arrived in too that the Mexico, he found himself
in a familiar place, singing in a restaurant backed by Mariacci,
but the scale was unlike what he knew.
Speaker 2 (15:45):
This was one of those career launching spots where Mariacchi
singers paid their dues.
Speaker 1 (15:50):
All around the restaurant were larger than life stained glass
windows depicting Fiesta del barrio, Mariacci singing to tables, spectators
cheering on cock fights, friends toasting with tequila botellespigados as
far as the eye can see. Basically every cantina style
Mexican restaurant you've ever been to wants to be this place.
Speaker 2 (16:10):
Tendi ruled over Saturday nights at E La man Said,
where girls would ask him to sing in their ear.
The money was better than Waldrakara, and the crowds were.
Speaker 1 (16:20):
Way bigger, and though Tenta had said goodbye to com
keep them, he wrote to her daily over his time
in the city, telling her all about the goings on
intoe that the Mexico.
Speaker 2 (16:30):
Which let's talk about it. There is a bit of
fuck boyism in telling your girl to find someone else,
but then writing them every day like that is Legit mean,
I'm like, move on, but I'm going to text you.
Speaker 1 (16:42):
Okay. That's the thing though, But like, can we go
back to an era when men made this much effort.
Like I hear my single friends complaining. They're like, he
didn't text me, and I'm like, oh, well, maybe he's busy.
I'm like, these bitches were writing letters, yeah, licking stamps,
putting it in the mail using a pencil.
Speaker 2 (16:58):
Like the excuse now is the dude, it's because his
grandma died fourteen years ago.
Speaker 1 (17:03):
It's like, what zero excuses. If they like you, they
will that's it anyway. At any rate. Clearly, his goodbye
to Goquita wasn't goodbye forever. But that year, in nineteen
sixty three, he would say goodbye forever to somebody else.
Speaker 2 (17:21):
We sent this mother Baola had been battling cancer. He
returned home to say goodbye, and with her last breath,
his mother told him how proud she was of him.
Speaker 1 (17:29):
And in response, we sent the double down on all
his promises to become a musical idol and to always
take care of his family.
Speaker 2 (17:37):
Tenta knew two things, and knew them well. That he
was born to sing and that Coquita was a love
of his life.
Speaker 1 (17:46):
So on Christmas Day, Tenta asked her if she was
saying anyone.
Speaker 2 (17:49):
And a true lover. No, she did have a new
man because Gokita ain't no weight around, bitch.
Speaker 1 (17:54):
And THENTA pulling another bed in fantam move told her,
you have ten minutes to leave him because you and
I are getting married in two days. I am not here.
This is this is I'm not here for this. This
is red flag, red.
Speaker 2 (18:06):
Flag, because nothing says romance like a count sound. Although
I guess we do do a New Year's kiss.
Speaker 1 (18:13):
And I guess Koukita was all about the red flags
because she went ahead and dropped her man and on
December twenty seventh, she and Vicent they were wet. They
would be together, you guys for the rest of his life.
Fah like end game.
Speaker 2 (18:30):
That's crazy. Well, but things didn't start off easy if
you sent this. Hustle brought him to at asadape a
cabaret where he worked over time, not only singing but ficando,
which sounds like it's more than what it actually is.
Speaker 1 (18:45):
Fichando is basically when an employee gets the patrons to
buy them a drink in exchange for a little conversation,
thus enabling them to spend more money at the bar
and earning the employee a kickback.
Speaker 2 (18:58):
And now you know what Maddy chiefs and strippers having common.
Speaker 1 (19:02):
Viichando and occasionally some sequence. Sure enough, Cente would earn
more money from fichando than from singing, which meant very
long hours.
Speaker 2 (19:12):
But fortunately we sent that didn't stay long at elsaape.
Soon he joined some of Mexico's most popular mariachi orchestras.
Speaker 1 (19:21):
El Mariachi Amanser, El mariachijsel Ula. Tenta's big Fish Seeks
Bigger Pond gambit was turning a result.
Speaker 2 (19:29):
Tenta was coming up and turning heads with his voice
wherever he went. He even started hanging out around CBS
studios in New Mexico in hopes of scoring on audition,
but try as he might, he couldn't catch anyone's ear.
Speaker 1 (19:42):
CBS already had a ranchetta singer, Javier Solis, and if
we've learned one thing about the recording industry on this show,
it's that they've long preferred a one and done approach
to Latin musicians.
Speaker 2 (19:55):
Tinty did get on the radio via Mexico's top radio
station at the time, x X No.
Speaker 1 (20:01):
Not Charlie, that's Ekis eh Echis.
Speaker 2 (20:04):
His on air performances upped his cloud, but our boy
wanted to get on WAX.
Speaker 1 (20:09):
As fate would have it, on April nineteenth, nineteen sixty six,
things would change for Vicente in a most unexpected way.
Javier Solis, Mexico's premier ranchetta singer, tragically died from complications
following surgery.
Speaker 2 (20:25):
And the guy's body wasn't even cold before CBS, along
with every major record label that turned Vicente away started
looking for someone to phil Solice's empty throne.
Speaker 1 (20:37):
And Vicente would give them the voice that they'd been
waiting for. We return now to our favorite evening variety show,
cim bren Domingo with host Raoul Velasco.
Speaker 2 (20:59):
It's nineteen seven and Mexican Ryan Seacrest. Excuse me introduces
Vicente Fernandez on stage to a massive television audience.
Speaker 1 (21:08):
Okay, you are warmer than last time, but still sacrilege anyway.
By nineteen seventy, the Vicenta Fernandez train had picked up
steam with three albums full of film soundtrack ready Ranchera tunes, But.
Speaker 2 (21:22):
The Vicenta Fernandez train would get steamy in a whole
nother kind of way in nineteen seventy with the album
Knie and Defense Appropia.
Speaker 1 (21:30):
In introducing Fernandez Simprendomingo, host Raoul Velascom christened him the
quote sexy cowboy now, in reference to the cover of
his latest album, on which the singer wore an open
Mariaki shirt revealing a full Bear Torso.
Speaker 2 (21:47):
Now listeners here, I'm becoming an icon. You know. We
like to ask the hard.
Speaker 1 (21:51):
Question, which is why journalistic integrity demands that we put
forth the question.
Speaker 2 (21:58):
So ken Vi Sente Fernandez getty.
Speaker 1 (22:04):
Short answer, yes, okay, okay, yes, a long answer only
in like nineteen seventy to nineteen eighty.
Speaker 2 (22:13):
Five per say less, say less.
Speaker 1 (22:19):
Since we don't have video on this podcast, send us
it to him if you want us to add it,
and maybe iHeart will give it to us. Let me
describe the album cover. So it's Vicente in front of
what I'm guessing is inn a gothy plant, and he's
wearing like a baby sky blue shirt wide open with
a silk scarf, and he's holding his gigantic just kiddings.
(22:45):
I don't I know, no, no, no, no, it's not
x rayed. He's holding a very large belt buckle, smiling
with like his bare hairy chest open to the sunlight.
It was good.
Speaker 2 (22:56):
I don't know. You know, he wouldn't be able to
get it with this from.
Speaker 1 (23:00):
You mean this meaning your current state like this look.
Speaker 2 (23:04):
I think if it was buttoned up, I would have
liked it more.
Speaker 1 (23:06):
I think the whole reason people wanted to give it
to him and he could get it was because it
was open.
Speaker 2 (23:12):
Hello, yeah, I guess, I guess I get it. I
never have my shirt on.
Speaker 1 (23:17):
This was scandalous in Mexico in nineteen seventy, like fucking scandalous.
Speaker 2 (23:24):
I believe it. But I'll say this. You know, he's
like a men's man. It's like, oh what you don't
want to see, Like it's my chest relaxed. You see
me at the beach, I.
Speaker 1 (23:32):
Know, but just the way he's standing and like the
voice this was.
Speaker 2 (23:36):
Six dude, Stop it's getting hot over here. All I
have on is the radio.
Speaker 1 (23:42):
I mean, what about for you? Are we smashing our
passing yo?
Speaker 2 (23:46):
Till nineteen ninety bitch, I'm just kidding. Probably the same.
I mean, I also don't necessarily like Daddy's Like I
kind of like my age and he kind of he
kind of came out daddy looking like a man's man.
He's like that mat Yeah, like that man's man's man.
Speaker 1 (24:01):
He definitely has daddy energy. But you're right, even when
he was like unbebeh he still had like daddy energy.
Speaker 2 (24:07):
Yeah, he was like a signor like it felt like it. Well,
I blamed a zombie cows too, honest.
Speaker 1 (24:13):
Visend Fernandez had taken the romantic machismo of the Mariacci
to New Heights and become a genuine sex symbol in
Mexico as well as a masculine role model, because they
don't always go hand in hand.
Speaker 2 (24:27):
It's true and that right there is a four quadrant star,
so naturally. Two years later, Vicente Fernandez made the jump
to the silver screen.
Speaker 1 (24:37):
In dacosad Gobin, Fernandez plays a humble street taco vendor
who wins a sweet steaks run by a soap company,
and his prize a.
Speaker 2 (24:46):
New car, and the shiny new whip attracts new lady
friends and jealousy.
Speaker 1 (24:56):
This first movie set the template for several of his
future starring roles. A man of the people suddenly finds fortune,
drawing attention from the ladies, along with complications.
Speaker 2 (25:06):
More money, more problems, honey. It was the same blueprint
as his idol veterin Fante, the classic Mexican cowboy.
Speaker 1 (25:14):
This was an archetype whose roots reached back to the
very beginning of Mexican cinema's golden age in the nineteen thirties,
and while the seventies were a very different time in
the movie biz in Mexico, the everyman archetype still had
mass appeal.
Speaker 2 (25:29):
And more importantly, Tenta had sex appeal. When you paid
for a ticket to see the sexy cowboy on screen,
you were paying to hear a swoon worthy musical number
and picture yourself at the center of a steamy love
triangle between Mi Sente Fernandez and some other guy.
Speaker 1 (25:47):
Frednanguz was star in sixteen movies in the nineteen seventies
and twenty more in the decades that followed, including the
classics La Le del Monte, El Albanin and Piccaria Mexicani.
Speaker 2 (25:59):
Is Shado that went was on the big screen, the
small screen, and the airwaves, And just two years after
Mexican Ryan Seacres brought him on the stage, he became
an international sensation.
Speaker 1 (26:12):
With nineteen seventy two album Ariba Juan Fernandez found his
signature song Volver, one of the all time classics of
Rancherra music, earning him recognition with listeners on both sides
of the border.
Speaker 2 (26:27):
Vicente promised himself and then his mother that he become
a star again. The man is all about setting and
crushing his goals, But there.
Speaker 1 (26:36):
Were other promises that be sent. There was struggling to
keep behind the scenes. But that's next time. On becoming
an Icon on the next Becoming an icon vicent that
builds an idyllic home for his family, but what's really
going on behind those walls. Becoming an Icon is presented
(27:05):
by Sonoo and Iheart'smichael Duda podcast Network. Listen to Becoming
an Icon on the iHeartRadio app, Apple podcast, or wherever
you get your podcast
Joseph, it has been a minute, and that means it's
time for us to check in on our past lives.
Speaker 2 (00:09):
Joseph Joseph, Oh sorry, I had to get my singing boat,
my incense mis VELAs and my friend photo of Kura.
Speaker 1 (00:18):
Every day you read my mind? Should we virtually join hands?
Speaker 2 (00:23):
Like?
Speaker 1 (00:23):
Should I put my palm up against the screen.
Speaker 2 (00:26):
Like through the screen?
Speaker 1 (00:27):
Yeah, obviously, Okay.
Speaker 2 (00:29):
I'm putting my hand on the screen on the zoom window.
Speaker 1 (00:33):
Okay, I am.
Speaker 2 (00:38):
I see lights, camera action? Holi what no Mexico city
in the nineteen forties?
Speaker 1 (00:51):
Are we in the city or on a set?
Speaker 2 (00:55):
On a set?
Speaker 1 (00:56):
And wait? Are you wearing chattle suit.
Speaker 2 (01:03):
At almira como rio and bitch you and the black
chaffon prairie dressed girl? This time? I'm La Bigonia and
your las Somra. Wait? Were we Mexican movie stars?
Speaker 1 (01:16):
Well, then those must be our trailers. That big one
over there, that's me and that little one's yours?
Speaker 2 (01:22):
Oh oh, bedient la Mala or is she not Gotti
hurado Liliana. We were a.
Speaker 1 (01:34):
Brother and sister musical duo from Hali School with generations
of Mariacci in our blood. Recently it rod to Mexico
City to take part in the silver screen immortalization of
our tradition during the Golden Age of Mexican cinema. Uh,
we were the twentieth century iteration of a musical legacy
of rural laborers turned in national heroes and icons, a
beacon of closet revolutionary national Mexican pride.
Speaker 2 (01:56):
Hello, we were extras.
Speaker 1 (01:59):
Oh damn, let's just get on with the episode. Yeah,
probably we need to make some money, aha, listeners. Today's
icon is a big, one, huge, massive iconic, a vocalist
and an actor who took the baton of Mariaci music
from the biggest star of the Mexican Golden Age of cinema,
(02:22):
single handedly carrying the genre into the latter half of
the twentieth century with a powerful voice and a snappy
ghiadra suit.
Speaker 2 (02:31):
Not to mention a working class hero who personally knew
the real life that his songs described. Today's icon was
the kind of person men would actively model their lives
off of.
Speaker 1 (02:43):
Almost like someone who plays a role that you want
to play in your own life.
Speaker 2 (02:50):
Oh, a role model.
Speaker 1 (02:53):
There it is. We're talking, of course about the sane
Fernandos undisputed figure of national pride and an international ambassador
of Mariacci.
Speaker 2 (03:05):
And history is as juicy as a TEAA drink.
Speaker 1 (03:08):
Ooh, are we doing my ties instead of Margarita's today.
Speaker 2 (03:12):
I'm not doing a zombie.
Speaker 1 (03:13):
I want to get stupid for we Senta Now that
is a T shirt. Salute Joseph today on becoming an
Icon El Charro de guent Titan, we sent the Fefnandez
chases his dreams. I'm your host, Lilianavoscuez.
Speaker 2 (03:33):
And I'm Joseph Carrio and this is Becoming an Icon.
Speaker 1 (03:37):
A weekly podcast where we give you the rundown on
how today's most famous Latin v stars have shaped pop culture.
Speaker 2 (03:44):
And given the world some extra tubble.
Speaker 1 (03:47):
Sit back and get comfortable.
Speaker 2 (03:49):
Because we are going in the only way we know how,
with buenas vias.
Speaker 1 (03:55):
Buenasriesas, some cheese, and a lot of opinions as we
relive their greatest achievements on our journey to find out
what makes them so iconic. Before we get into the
(04:17):
life and times that we sent the fen on this,
let's talk a little bit about role models.
Speaker 2 (04:22):
Well, Ursula from The Little Mermaid.
Speaker 1 (04:25):
You're so random, No, not ursula. But let's get into it.
When you were began like a little baby Joseph, who
did you want to be like? Or who did you
see as a role model?
Speaker 2 (04:42):
Oh god, who did I see as a role model? Like?
Speaker 1 (04:47):
Who did you dream of being like? Or similar to?
It's weird, y'all, y'all are not ready. Let's just prepare
the listeners. Y'all are not ready for the answer.
Speaker 2 (04:58):
It was a shoeshock hmm.
Speaker 1 (05:01):
Shusha ginn as Shusha.
Speaker 2 (05:03):
She was this like nineties like pop star. She had
this little not pop star. She had a TV show
and I just thought she was so pretty and she
was so cool.
Speaker 1 (05:12):
Wait, tell me more about her please, Like she was like.
Speaker 2 (05:15):
I don't know, it was like this TV show and
she was just like very fashionable and so pretty. I
think she was Spanish anyways, Wait why why? Why? Well?
Speaker 1 (05:23):
I just wanted to ask because I feel like that's
so telling about like where you are in your journey
and the influences that surround you when you're a little kid.
Speaker 2 (05:33):
Like Okay, wait, hold on, who did you want to
be when you grew up?
Speaker 1 (05:36):
Angela from Who's the Boss?
Speaker 2 (05:38):
Wait? You did grow up to be here?
Speaker 1 (05:40):
I know.
Speaker 2 (05:42):
Ah, that's so funny.
Speaker 1 (05:44):
Okay, wow, yeah, I thought that Angela Bauer. Who If
you guys don't know the show Who's the Boss, It
was like this amazing series that aired in the eighties
and it featured a single mom who was raising a
young boy. Her mother lived like either nearby or in
the guest house I can't remember, and she had a
male housekeeper slash manny named Tony Danza. And I was
(06:08):
obsessed with her because she was one of the first
relatable women that I saw in a position of power,
both in her home and also at work, because she
was like a massive advertising executive on the show, right,
she was super successful, she had great clothes, and she
fucking ran shit. And I was like, I'm going to
be Angela Bauer. I mean, by the way, are you
(06:29):
surprised that that was who my role model was?
Speaker 2 (06:31):
No? Okay, wait, I have another funny question. So were
you ever like, what would Angela do? Yes? Yes, stop it,
that is so funny. I guess I was never like
what would she should do? So okay, maybe sort of mind,
but like that's so.
Speaker 1 (06:47):
But nonetheless, we all have our role models, as random
and strained as they might be, and when Vicenta Fernandez
today's icon was a little boy, his role model was
none other than the one the only Pedro in Fane.
Speaker 2 (07:04):
If you're listening with your abuela pasa pod and calm
la vejadan, our past life, co star was quite the
heart throb.
Speaker 1 (07:12):
I'm sorry, co star, you said we were extras Aina anyway,
betherin fantas charisma as both a singer and an actor
captivated millions, and little Vicente Fernandez was among them.
Speaker 2 (07:28):
V sent this mother would take him to the movies
to see Infante in dramas likes and musicals like so La.
Speaker 1 (07:34):
Solas, and there in the theater, Vicente would tell his
mother that when he grows up, he's going to be
just like Pedroine Funde and home.
Speaker 2 (07:44):
Dude had some strong manifesting powers, but of course it
was all written in the stars. Because as an Aquarius
sun Taurus moon born February seventeenth, nineteen forty, little Vicente
has a big sense of determination and perseverance. This this
boy is all about setting and smashing.
Speaker 1 (08:02):
Bowl h I feel like I might know an Aquarius
sun Taurus moon at the gym.
Speaker 2 (08:11):
Do they drink that fancy protein powder? Because Aquarius Sun,
Taurus Moon. Love them a status symbol, maybe a little
too much, but they also value a meaningful connection, and
one can balance out the other.
Speaker 1 (08:24):
A classic farm boy with a dream is what I'd
like to say. And deslin Novicente was to build, buthering
fund his shoes we sent his father wasn't having it
with all his big dreams.
Speaker 2 (08:36):
At the age of eleven, Vicynthe decided to cut school.
He'd been playing the guitar since the age of eight
and decided he want to focus exclusively on music. And
his dad said.
Speaker 1 (08:48):
You don't want to go to school and I'll put
your apps to work.
Speaker 2 (08:56):
That's scary what you just did there? Do you do
that to funny?
Speaker 1 (08:58):
Oh my god, No, no, that's true. I could never.
I would cry before I spoke like that to my child.
And by the way, saying that out loud made it
way scarier for me than it was for you. Like
I'm scared of angry parents. But how is this for scary?
Milking cows at two am in a graveyard in the
middle of a windstorm.
Speaker 2 (09:18):
What kind of Scooby do? And the Mystery cruise? Shit
is that a graveyard?
Speaker 1 (09:24):
No? Mystery's ear just the life in the boonies. Visenta's
father punished him for dropping out of school by making
him a ranch hand. He'd wake him up at two
am every night and send him out to round up
the cows who roamed free through the grounds.
Speaker 2 (09:40):
Okay, so when I picture free range cows, I don't
picture goth cows chilling in a graveyard reading poetry.
Speaker 1 (09:47):
And yet these scooby Doo goth cows were wandering around
the family graveyard, and little Vicente, rightfully so was terrified.
Speaker 2 (09:56):
Basito like those cows probably sounded like zombie at night
four in the morning.
Speaker 1 (10:01):
Yeah, I was going to say, but that's not all.
They lived right by the valley of the Rio Grande Santiago,
which meant canyon winds, which on its own is enough
to ruin your brunch into panga. But these winds were
blowing cowshit at me, sent his.
Speaker 2 (10:16):
Knees, and after all that, he had to milk the cows. Yeah,
that's not it.
Speaker 1 (10:22):
He also had to go to town and sell the milk.
Speaker 2 (10:25):
Fuck that take me back to school.
Speaker 1 (10:27):
Right, And yet he sent this stuck with it for
three years.
Speaker 2 (10:32):
But after literally wading through the shit, our boy got
a win a literal first place to win in a
singing contest in Guadarajara.
Speaker 1 (10:41):
From there he started to sing at restaurants and in weddings.
Speaker 2 (10:44):
You know, the usual track, until the cows came home
to Roos.
Speaker 1 (10:49):
No, wait, I think you mixed up two different sayings there.
Speaker 2 (10:52):
Well, his dad's milk business went under, is like what
I was trying to say. So, just as little Vicenta
was starting to see some validation of his talent as
a singer.
Speaker 1 (11:00):
The family found itself seeking work opportunities elsewhere, and so
we sent them along with his parents and sisters, were
off pit, the one we go there.
Speaker 2 (11:10):
So often on this show. Should we be looking at property?
Speaker 1 (11:13):
I mean, I think there needs to be an entire
podcast just about the one. H Like, what the fuck
was going on there? Well, we'll do some zillowing off
mic to see what prices are like right now? Interest
rates are not great in the US, but maybe they're
better in Mexico. And unlike some of our other icons,
we sent the fer Fernandez did not end up performing
and getting immersed in the Bordertown music scene.
Speaker 2 (11:33):
Ke and his family went there to do manual labor,
and it might have made a miss the cows.
Speaker 1 (11:39):
We sent the washed cars, shine shoes, and at night
he washed dishes at a restaurant called La Caasica. Eventually
he would join his father and work as a bricklayer
at construction sites we sent them.
Speaker 2 (11:50):
Would watch his father struggle to carry buckets of cement
mix around the construction site, and instead of thinking karma's
a bit bobby, he said to himself, someday I'm going
to be someone important and my father won't have to
carry cement. There's our Aquarius son Taurus Moon.
Speaker 1 (12:07):
After getting hernia as a teenager, visent them would move
on from the heavy lifting and take work painting houses.
He sang as he worked and delighted his coworkers so
much that everyone wanted to share ships with him.
Speaker 2 (12:20):
Who wouldn't want a front row seat like that?
Speaker 1 (12:22):
After years of work, the family finally returned to Guentitan
in the late nineteen fifties. There we sent this finally
was able to embrace working as a singer.
Speaker 2 (12:32):
He worked at bar Circuit along with local mariachi's singing
covers of Josel Ferro Jimenez here in his tips night
after night. But soon something else caught his eye. Or
should I say someone.
Speaker 1 (12:46):
On a sunny Sunday morning we sent this spouted a
young woman coming out of church. Her name was Maria
del Grefuchio Abarca Villa Seignor, but just just better known
as Kukita, the woman who had become VI sent what.
Speaker 2 (13:01):
Vicente made the first move, So he gave Couquita a
single flower in the middle of the town square for
everybody to see. Honestly, it sounds like he took it
from a bedro in pantemovie.
Speaker 1 (13:12):
Wait were we in that one?
Speaker 2 (13:14):
We should have been, I mean Avi.
Speaker 1 (13:16):
Later, Vicente would declare his love for Couquita in front
of his parents and asked her to be his wife.
She told him that she would make a decision by
the following Sunday, and when the day arrived.
Speaker 2 (13:27):
Coquita was like, oh my God, yes, yes, I like you.
And from there the two were inseparable.
Speaker 1 (13:32):
It was just like a Hollywood romance. That is until
we Sent This. Career started to rev up. In nineteen
sixty Vicenta Fernandez was the talk of Gualalajara.
Speaker 2 (13:54):
Tenthe as the vocals knew him, had made his TV
debut in La Calandria Mosical, the city's most popular TV
show at the time.
Speaker 1 (14:02):
Man, do you remember local TV celebrities?
Speaker 2 (14:06):
You know, we didn't really have them middle pass so,
but I will say, like the people who did the
news were local celebrities. I don't know why people thought
they were famous, but they're like local celebrities, So yes,
I do.
Speaker 1 (14:17):
One of my favorites was Gloria compos She was like
the anchor of the evening news in Dallas. Were worth
in the eighties us with her.
Speaker 2 (14:25):
Wait do stop? So the one that I'm thinking about.
Her name was Estella Castillo, and she had this show
called Estella Sisquellas and I remember it forever, and she
was like famous because she like would highlight schools that
were making a difference whatever a.
Speaker 1 (14:38):
Oh my god, so cute anyway. Chanta's TV debut was
another long awaited validation of his talents. He won first
place in a single contest featuring several other local vocalists.
Speaker 2 (14:50):
The prize was a modest thirty five vessels, but it
wasn't the point he was after. He wanted to know
for sure that he was a big fish in a
small pond.
Speaker 1 (14:59):
There was only one place to go in that situation,
and that was the biggest pond in Mexico for an
entertainer to that the Mexico.
Speaker 2 (15:07):
After spending years chilling in the graveyard with the cows,
and after watching his dad carry that concrete we sent
they wanted to go after his dream. But that meant
saying goodbye to Uquita.
Speaker 1 (15:19):
Told Couquita, I don't know how things are going to
turn out for you in me. You should find someone else.
Speaker 2 (15:25):
Honesty, bitch, I have heard that one. I have said
that one. Sorry, I just wanted to say that.
Speaker 1 (15:30):
I was going to say, don't be all victim. I
know you, I know how you operate. When we sent
there arrived in too that the Mexico, he found himself
in a familiar place, singing in a restaurant backed by Mariacci,
but the scale was unlike what he knew.
Speaker 2 (15:45):
This was one of those career launching spots where Mariacchi
singers paid their dues.
Speaker 1 (15:50):
All around the restaurant were larger than life stained glass
windows depicting Fiesta del barrio, Mariacci singing to tables, spectators
cheering on cock fights, friends toasting with tequila botellespigados as
far as the eye can see. Basically every cantina style
Mexican restaurant you've ever been to wants to be this place.
Speaker 2 (16:10):
Tendi ruled over Saturday nights at E La man Said,
where girls would ask him to sing in their ear.
The money was better than Waldrakara, and the crowds were.
Speaker 1 (16:20):
Way bigger, and though Tenta had said goodbye to com
keep them, he wrote to her daily over his time
in the city, telling her all about the goings on
intoe that the Mexico.
Speaker 2 (16:30):
Which let's talk about it. There is a bit of
fuck boyism in telling your girl to find someone else,
but then writing them every day like that is Legit mean,
I'm like, move on, but I'm going to text you.
Speaker 1 (16:42):
Okay. That's the thing though, But like, can we go
back to an era when men made this much effort.
Like I hear my single friends complaining. They're like, he
didn't text me, and I'm like, oh, well, maybe he's busy.
I'm like, these bitches were writing letters, yeah, licking stamps,
putting it in the mail using a pencil.
Speaker 2 (16:58):
Like the excuse now is the dude, it's because his
grandma died fourteen years ago.
Speaker 1 (17:03):
It's like, what zero excuses. If they like you, they
will that's it anyway. At any rate. Clearly, his goodbye
to Goquita wasn't goodbye forever. But that year, in nineteen
sixty three, he would say goodbye forever to somebody else.
Speaker 2 (17:21):
We sent this mother Baola had been battling cancer. He
returned home to say goodbye, and with her last breath,
his mother told him how proud she was of him.
Speaker 1 (17:29):
And in response, we sent the double down on all
his promises to become a musical idol and to always
take care of his family.
Speaker 2 (17:37):
Tenta knew two things, and knew them well. That he
was born to sing and that Coquita was a love
of his life.
Speaker 1 (17:46):
So on Christmas Day, Tenta asked her if she was
saying anyone.
Speaker 2 (17:49):
And a true lover. No, she did have a new
man because Gokita ain't no weight around, bitch.
Speaker 1 (17:54):
And THENTA pulling another bed in fantam move told her,
you have ten minutes to leave him because you and
I are getting married in two days. I am not here.
This is this is I'm not here for this. This
is red flag, red.
Speaker 2 (18:06):
Flag, because nothing says romance like a count sound. Although
I guess we do do a New Year's kiss.
Speaker 1 (18:13):
And I guess Koukita was all about the red flags
because she went ahead and dropped her man and on
December twenty seventh, she and Vicent they were wet. They
would be together, you guys for the rest of his life.
Fah like end game.
Speaker 2 (18:30):
That's crazy. Well, but things didn't start off easy if
you sent this. Hustle brought him to at asadape a
cabaret where he worked over time, not only singing but ficando,
which sounds like it's more than what it actually is.
Speaker 1 (18:45):
Fichando is basically when an employee gets the patrons to
buy them a drink in exchange for a little conversation,
thus enabling them to spend more money at the bar
and earning the employee a kickback.
Speaker 2 (18:58):
And now you know what Maddy chiefs and strippers having common.
Speaker 1 (19:02):
Viichando and occasionally some sequence. Sure enough, Cente would earn
more money from fichando than from singing, which meant very
long hours.
Speaker 2 (19:12):
But fortunately we sent that didn't stay long at elsaape.
Soon he joined some of Mexico's most popular mariachi orchestras.
Speaker 1 (19:21):
El Mariachi Amanser, El mariachijsel Ula. Tenta's big Fish Seeks
Bigger Pond gambit was turning a result.
Speaker 2 (19:29):
Tenta was coming up and turning heads with his voice
wherever he went. He even started hanging out around CBS
studios in New Mexico in hopes of scoring on audition,
but try as he might, he couldn't catch anyone's ear.
Speaker 1 (19:42):
CBS already had a ranchetta singer, Javier Solis, and if
we've learned one thing about the recording industry on this show,
it's that they've long preferred a one and done approach
to Latin musicians.
Speaker 2 (19:55):
Tinty did get on the radio via Mexico's top radio
station at the time, x X No.
Speaker 1 (20:01):
Not Charlie, that's Ekis eh Echis.
Speaker 2 (20:04):
His on air performances upped his cloud, but our boy
wanted to get on WAX.
Speaker 1 (20:09):
As fate would have it, on April nineteenth, nineteen sixty six,
things would change for Vicente in a most unexpected way.
Javier Solis, Mexico's premier ranchetta singer, tragically died from complications
following surgery.
Speaker 2 (20:25):
And the guy's body wasn't even cold before CBS, along
with every major record label that turned Vicente away started
looking for someone to phil Solice's empty throne.
Speaker 1 (20:37):
And Vicente would give them the voice that they'd been
waiting for. We return now to our favorite evening variety show,
cim bren Domingo with host Raoul Velasco.
Speaker 2 (20:59):
It's nineteen seven and Mexican Ryan Seacrest. Excuse me introduces
Vicente Fernandez on stage to a massive television audience.
Speaker 1 (21:08):
Okay, you are warmer than last time, but still sacrilege anyway.
By nineteen seventy, the Vicenta Fernandez train had picked up
steam with three albums full of film soundtrack ready Ranchera tunes, But.
Speaker 2 (21:22):
The Vicenta Fernandez train would get steamy in a whole
nother kind of way in nineteen seventy with the album
Knie and Defense Appropia.
Speaker 1 (21:30):
In introducing Fernandez Simprendomingo, host Raoul Velascom christened him the
quote sexy cowboy now, in reference to the cover of
his latest album, on which the singer wore an open
Mariaki shirt revealing a full Bear Torso.
Speaker 2 (21:47):
Now listeners here, I'm becoming an icon. You know. We
like to ask the hard.
Speaker 1 (21:51):
Question, which is why journalistic integrity demands that we put
forth the question.
Speaker 2 (21:58):
So ken Vi Sente Fernandez getty.
Speaker 1 (22:04):
Short answer, yes, okay, okay, yes, a long answer only
in like nineteen seventy to nineteen eighty.
Speaker 2 (22:13):
Five per say less, say less.
Speaker 1 (22:19):
Since we don't have video on this podcast, send us
it to him if you want us to add it,
and maybe iHeart will give it to us. Let me
describe the album cover. So it's Vicente in front of
what I'm guessing is inn a gothy plant, and he's
wearing like a baby sky blue shirt wide open with
a silk scarf, and he's holding his gigantic just kiddings.
(22:45):
I don't I know, no, no, no, no, it's not
x rayed. He's holding a very large belt buckle, smiling
with like his bare hairy chest open to the sunlight.
It was good.
Speaker 2 (22:56):
I don't know. You know, he wouldn't be able to
get it with this from.
Speaker 1 (23:00):
You mean this meaning your current state like this look.
Speaker 2 (23:04):
I think if it was buttoned up, I would have
liked it more.
Speaker 1 (23:06):
I think the whole reason people wanted to give it
to him and he could get it was because it
was open.
Speaker 2 (23:12):
Hello, yeah, I guess, I guess I get it. I
never have my shirt on.
Speaker 1 (23:17):
This was scandalous in Mexico in nineteen seventy, like fucking scandalous.
Speaker 2 (23:24):
I believe it. But I'll say this. You know, he's
like a men's man. It's like, oh what you don't
want to see, Like it's my chest relaxed. You see
me at the beach, I.
Speaker 1 (23:32):
Know, but just the way he's standing and like the
voice this was.
Speaker 2 (23:36):
Six dude, Stop it's getting hot over here. All I
have on is the radio.
Speaker 1 (23:42):
I mean, what about for you? Are we smashing our
passing yo?
Speaker 2 (23:46):
Till nineteen ninety bitch, I'm just kidding. Probably the same.
I mean, I also don't necessarily like Daddy's Like I
kind of like my age and he kind of he
kind of came out daddy looking like a man's man.
He's like that mat Yeah, like that man's man's man.
Speaker 1 (24:01):
He definitely has daddy energy. But you're right, even when
he was like unbebeh he still had like daddy energy.
Speaker 2 (24:07):
Yeah, he was like a signor like it felt like it. Well,
I blamed a zombie cows too, honest.
Speaker 1 (24:13):
Visend Fernandez had taken the romantic machismo of the Mariacci
to New Heights and become a genuine sex symbol in
Mexico as well as a masculine role model, because they
don't always go hand in hand.
Speaker 2 (24:27):
It's true and that right there is a four quadrant star,
so naturally. Two years later, Vicente Fernandez made the jump
to the silver screen.
Speaker 1 (24:37):
In dacosad Gobin, Fernandez plays a humble street taco vendor
who wins a sweet steaks run by a soap company,
and his prize a.
Speaker 2 (24:46):
New car, and the shiny new whip attracts new lady
friends and jealousy.
Speaker 1 (24:56):
This first movie set the template for several of his
future starring roles. A man of the people suddenly finds fortune,
drawing attention from the ladies, along with complications.
Speaker 2 (25:06):
More money, more problems, honey. It was the same blueprint
as his idol veterin Fante, the classic Mexican cowboy.
Speaker 1 (25:14):
This was an archetype whose roots reached back to the
very beginning of Mexican cinema's golden age in the nineteen thirties,
and while the seventies were a very different time in
the movie biz in Mexico, the everyman archetype still had
mass appeal.
Speaker 2 (25:29):
And more importantly, Tenta had sex appeal. When you paid
for a ticket to see the sexy cowboy on screen,
you were paying to hear a swoon worthy musical number
and picture yourself at the center of a steamy love
triangle between Mi Sente Fernandez and some other guy.
Speaker 1 (25:47):
Frednanguz was star in sixteen movies in the nineteen seventies
and twenty more in the decades that followed, including the
classics La Le del Monte, El Albanin and Piccaria Mexicani.
Speaker 2 (25:59):
Is Shado that went was on the big screen, the
small screen, and the airwaves, And just two years after
Mexican Ryan Seacres brought him on the stage, he became
an international sensation.
Speaker 1 (26:12):
With nineteen seventy two album Ariba Juan Fernandez found his
signature song Volver, one of the all time classics of
Rancherra music, earning him recognition with listeners on both sides
of the border.
Speaker 2 (26:27):
Vicente promised himself and then his mother that he become
a star again. The man is all about setting and
crushing his goals, But there.
Speaker 1 (26:36):
Were other promises that be sent. There was struggling to
keep behind the scenes. But that's next time. On becoming
an Icon on the next Becoming an icon vicent that
builds an idyllic home for his family, but what's really
going on behind those walls. Becoming an Icon is presented
(27:05):
by Sonoo and Iheart'smichael Duda podcast Network. Listen to Becoming
an Icon on the iHeartRadio app, Apple podcast, or wherever
you get your podcast
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Lilliana Vazquez
Joseph Carrillo
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