Victor 17599 - Heidelberg Quintette (Billy Murray, Robert D. Armour , Will Oakland , Steve Porter , William F. Hooley) Across The Rio Grande 1914 - Music & Lyrics by Ernest R. Ball , George Graff , Dave Reed, Jr. The United States occupation of Veracruz, which began with the Battle of Veracruz, lasted for seven months and was a response to the Tampico Affair of April 9, 1914. The incident came in the midst of poor diplomatic relations between Mexico and the United States, and was related to the ongoing Mexican Revolution. The United States occupation of Veracruz, which began with the Battle of Veracruz, lasted for seven months and was a response to the Tampico Affair of April 9, 1914. The incident came in the midst of poor diplomatic relations between Mexico and the United States, and was related to the ongoing Mexican Revolution. The United States involvement in the Mexican Revolution was varied. The United States' relationship with Mexico has often been turbulent. For both economic and political reasons, the American government generally supported those who occupied the seats of power, whether they held that power legitimately or not. Prior to Woodrow Wilson's inauguration, the US military focused mainly on just warning the Mexican military that decisive action from the US military would take place if lives and property of North Americans living in the country were endangered. The U.S. had helped the Mexicans achieve independence and supported Benito Juárez in his overthrow of emperor Maximilian, but had also forcefully annexed half of Mexico's territory after the Mexican--American War and supported dictators like Porfirio Díaz, while its ambassador to Mexico, acting without authority, conspired to assassinate legitimate president Francisco Madero. The United States had also sent troops to bomb and occupy Veracruz and engaged in cross-border skirmishes with Francisco "Pancho" Villa and others.
Somos Raza magazine offers this short but well researched overview of the Mexican Revolution. It is still a rough version, but as soon as possible we will upload a newer more polished version. Our work is purely voluntary, free from corporations and government institutions - everything we do, we do on our own. We seek to improve conditions in our community, especially to raise cultural and poltical awareness among barrio youth. For more information on our community youth work visit http://somosraza.org. Somos Raza is a youth project of Union del Barrio. For more information on Union del Barrio visit http://uniondelbarrio.org. This video is a production of Somos Raza youth magazine in commemoration of the 20 of November, 2012. Camera and audiovisual production by Laura Moreno, Harry Simón Salazar, and Leyla Torres. Postproduction and editing by Harry Simón Salazar. Rendition of Carabina 30 30 by Laura Moreno. ------------------------- La revista Somos Raza ofrece este corto pero bien hecho resumen de la Revolución Mexicana. No hemos terminado la traducción, pero al momento que lo hacemos lo compartiremos. Nuestro trabajo es netamente voluntario, independiente de corporaciones y instituciones oficiales -- todo lo hacemos por nuestra cuenta. Lo que hacemos es para mejorar las condiciones en nuestra comunidad, y levantar la conciencia cultural y política de la juventud. Para más información sobre nuestro trabajo comunitario entre jóvenes visite http://somosraza.org. Somos Raza es un proyecto juvenil de Unión del Barrio. Para más información sobre Unión del Barrio visite http://uniondelbarrio.org. Este video fue una producción de la revista juvenil Somos Raza, elaborada para la celebración del 20 de nov 2012. Camarógrafia y producción audiovisual y por Laura Moreno, Harry Simón Salazar, y Leyla Torres. Postproducción y edición por Harry Simón Salazar. Música - Carabina 30 30 - por Laura Moreno.
William Thomas "Billy" Murray (1877 - 1954) was one of the most popular singers in the United States in the early decades of the 20th century. Born in Philadelphia, Pennsylvania, the son of immigrants from Ireland. He became fascinated with the theater and joined a traveling vaudeville troupe in 1893. He also performed in minstrel shows early in his career. He made his first recordings for a local phonograph cylinder company in San Francisco, California in 1897. He started recording regularly in the New York City and New Jersey area in 1903, when the nation's major record companies as well as the Tin Pan Alley music industry were concentrated there. He was probably the best selling recording artist of the first quarter of the 20th century. In 1906 he started performing in duets with Ada Jones. He had a strong tenor voice with excellent enunciation and a more conversational delivery than bel canto singers of the era. On comic songs he, therefore, often sang slightly flat, which he felt helped the comic effect. As a devoted baseball fan, he is said to have played with the New York Highlanders (Yankees) in exhibition games. He was also said to have sometimes called in sick to recording sessions in order to go to the ballpark. Ironically, he never recorded baseball's "anthem" "Take Me Out to the Ball Game. Murray's popularity faded with changes in public taste and recording technology; the rise of the electric microphone in the mid 1920s coincided with the rise of the crooners. His "hammering" style, as he called it, essentially yelling the song into the recording horn, did not work in the electronic era, and it took him some time to learn how to soften his voice. While he continued to work, his singing style was considered old fashioned and less in demand. Murray made his last recordings in 1943 and retired to Freeport, Long Island, New York in 1944. He died in nearby Jones Beach.
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