1. Lia García Vcrástcgui and María Esther Pérez Salas, eds. Tlaxcala, tina historia compartida S. XIX, t. 13, (Mexico City y Tlaxcala: Instituto de Investigaciones Dr. José María Luis Mora, Gobierno del Estado de Tlaxcala, primera edición: 1990), pp. 78–79.

2. Presently these puppets can be seen in the display case entitled “Genesis” in the National Puppet Museum (El Museo Nacional del Títere) in Huamantla, Tlaxcala.

3. Beezley, William H., Mexican National Identity: Memory, Innuendo, and Popular Culture(Tucson: University of Arizona Press, 2008), pp. 98–148.Google Scholar

4. Some authors report that Don Margarito Aquino was of Italian origin, but town chronicles claim he was a native of Huamantla, Tlaxcala.

5. Matien Fossey traveled throughout the republic during the years 1831 to 1838, and attended the San Agustín fair; in his Viaje a México he left a splendid description of the cockfights in this center of pleasure and extravagance. See “peleas de gallos en Mexico,” Fondo La Carpa, CITRU, INBA, Colección Armando de María y Campos No. 042, pp. 15–17.

6. Rojas, Yolanda Jurado, El teatro de títeres durante el porftriato: Un estudio histórico y literario (Puebla: Benemérita Universidad Autónoma de Puebla, 2004), pp. 66.Google Scholar

7. Martín Letechipia Alvarado, “Historia de la Compañía de Títeres Rósete Aranda,” pamphlet for the Dirección de Turismo, Zacatecas, Zacatecas.

8. Maza, Luis Reyes de la, El teatro en México en la época de Juárez (1868· 1872) (Mexico, Instituto de Investigaciones Es téticas, UNAM, 1961), pp. 19–20.Google Scholar

9. Merlin, Socorro, “Vida y milagros de las carpas”: La carpa en México 1930–1950 (Mexico: INBA, CITRU, 1995), p. 86.Google Scholar

10. La Patria, Nov. 14, 1880; Altamirano, Ignacio Manuel, “Los espectáculos,”; La República, Nov. 28, 1880;Google Scholar Prieto, Guillermo, in Memorias de mis tiempos (Paris & Mexico: Vda. de C. Bouret, 1906), praised the rápertorie of the company.Google Scholar

11. Rojas, Jurado, El teatro de títeres durante el porfiriato, p. 66;Google Scholar Montfort, Ricardo Pérez, Estampas de nacionalismo popular mexicano: Diez ensayos sobre cultura popular y nacionalismo, 2nd ed. (Mexico: Centro de Estudios Superiores en Antropología Social, 2003), “La China Poblana como emblema nacional,” pp. 40–49.Google Scholar

12. Beezley, , Mexican National Identity: Memory, Innuendo, pp. 98–148.Google Scholar

13. In the Orrin philharmonic, Curtí included a notable xylophone player who led the fanfare for equestrians, acrobats, and some times for the joyful patomines of the celebrated clown Ricardo Bell. Armando Morales Puente, Armando, , “Los títeres y las típicas,” La Prensa, 17 July 1932, pp. 1–4.Google Scholar

14. Aranda, Francisco Rosete, La compañía de títeres de los Rósete Aranda (Tlaxcala: Instituto Tlaxcaltcca de la Cultura, 1983), pp. 75–77.Google Scholar A complete analysis of the discourse is provided in Beezley, William H., “La Independencia y Vale Coyote: La formación del Identidad Nacional” 20/10 (Dec. 2009), pp. 68–86.Google Scholar

15. Alvarado, Martin Letechipia, Pastorelas zacatecanas: Teatro comunitario patrimonio de la cultural popular (Zacatecas: Instituto Zacatecano de Cultura, 2005), p. 9.Google Scholar

16. Montfort, Estampas de nacionalismo popular mexicano..

17. Mantecón, Alvaro Vázquez, Orígenes literarios de un arquetipo fìlmico: Adaptaciones cinematográficas a Santa de Federico Gamboa (México: Universidad Autónoma Metropolitana-Azcapotzalco, 2005), pp. 62–66.Google Scholar

18. See the play with sheet music: Chin-Chun-Chan: Conflicto Chino en un acto y tres cuadros, lyrics by Medina, Rafael and Elizondo, José F. Music by Jordá, Luis G. (México: Medina y Comp., Impresores, 1904).Google Scholar

19. Moore, Jerrold Northrop, Sound Revolutions: A Biography of Fred Gaisberg, Founding Father of Commercial Sound Recording (London: Sanctuary Publishing, Ltd., 1999), pp.17–18, 19.Google Scholar

20. Information on Villoldo, who wrote the first tango to be recorded, “El Choclo,” appears in Lamas, Hugh and Binda, Enrique, El Tango en la sociedad porteña, 1880–1920 (Buenos Aires: Abrazos, 2008),Google Scholar passim; and on the website www.todotango.com in the entry for Angel Villoldo.

21. Chamosa, Oscar, The Argentine Folklore Movement: Sugar Elites, Criollo Workers, and the Politics of Cultural Nationalism, 1900–1955 (Tucson: University of Arizona Press, 2010).Google Scholar

22. Mendoza, Zoila S., Creating Our Own: folklore, Performance, and Identity in Cuzco, Peru (Durham: Duke University Press, 2008), pp. 2–3, 44, 47, 49.Google Scholar

23. Mantecón, Vázquez, Origenes literarios, pp. 9–10.Google Scholar

24. Uno más Uno, 16 October 1983.

25. Albarrán, Elena Jackson, “Children of the Revolution: Constructing the Mexican Citizen, 1920-1940” (Ph.D. dissertation, University of Arizona, 2008).Google Scholar

26. “Época de oro del teatro guiñol de bellas artes, 1932–1965,” Centro Nacional de los Artes (CNA) CD, edited by Marisa Jiménez Cacho with research support by Francisca Miranda Silva.

27. Leglise, María Patricia Pensado and Etchegaray, Leonor Correa, Mixcoac, un barrio en la memoria (México: Instituto Mora, 1996), pp. 64–66.Google Scholar

28. Revista Escenia (UNAM) 62, n. 3 (Marzo, 1983), p. 2.

29. Alvarado, Letechipia, Pastorelas zacatecana, p. 9.Google Scholar

30. Albarrán, Elena Jackson, review of Alberto del Castillo Troncoso, Concepts, imágenes y representaciones de la niñez en la ciudad de Mexico, 1880–1920,” Estudios de Historia 33 (May/June 2007), 123–129, esp. 127. Sec Castillo Troncoso, pp. 226–227.Google Scholar

31. Blair, John G., “First Steps Toward Globaliztion: Nineteenth Century Exports of American Entertainment Forms,” in Wagnleitner, Rcinhold and May, Elaine Tyler, eds. “Here, There and Everywhere”: The Foreign Politics of American Popular Culture (Hanover, NH; University Press of New England, 2000), p. 21.Google Scholar

32. [Victor, J.] Rosales, and [Herrera, Rafael] Robinson, , “Proceso de un borrachito” in Mùsica del 900 (Mexico: Asociación Mexicana de Estudios Fonográficos).Google Scholar

33. Angulo, Mercedes Meade de, “La empresa nacional de autómatas de los hermanos Rósete Aranda” (Paper read at the Coloquio de Teatro de Tlaxcala, July 1994).Google Scholar

34. “Discurso patriótico por Juan Pico de Oro,” CNA. A puppeteer in San Luis Potosí, during a talk Beezley gave there in April 2006, performed this speech as a drunkard during the question and answer period.

35. “Soidadanos” was a mangled pronunciation of “citizens” as well as a play on words.

36. Pierce, Gretchen, “Sober Revolutionaries: Ethnicity, Class, and Gender in the Anti-Alcohol Campaigns in Mexico City, Oaxaca, and Sonora, 1910–1940” (Ph.D. dissertation, University of Arizona, 2008).Google Scholar

37. See reference to Vale Coyote as the precursor of Palillo and Cantinflas in Uno Más Uno, 16 Oct.1983. Expediente “Rósete Aranda, Francisco.” El Centro de Investigación nacional de los artes escénicas y teatrales “Rodolfo Usigi,” CNA.

38. For a discussion of the increase of bureaucracy and documents in modern life, see Dundes, Alan and Pagter, Carl R., Work Hard and Ton will be Rewarded: Urban Folklore from the Paperwork Empire (Bloomington: Indiana University Press, 1978).Google Scholar

39. One starting place for the study of memory and music is Berger, Anna Maria Busse, Medieval Music and the Art of Memory (Berkeley: University of California Press, 2005).CrossRefGoogle Scholar

40. “El Vale Coyote, Libretos de obras para títeres de la Compañía Rósete Aranda. Centro de investigación nacional de los artes escénicas y teatrales “Rodolfo Usigli,” CNA.

41. Ibid., p. 1

42. Mitchell, Stephanie and Schell, Patience A., eds., The Women’s Revolution in Mexico, 1910–1953 (Boulder, Co: Rowman & Littlcfield, 2006),Google Scholar and Sluis, Ageeth, “A City of Spectacles: Gender Performance, Revolutionary Reform, and the Creation of Public Space in Mexico City, 1915-1939” (Ph.D. Dissertation, University of Arizona, 2006).Google Scholar

43. Mantecón, Vázquez, Santa de Federico Gamboa, p. 14 Google Scholar

44. “Sangre Azteca,” Libretos de obras para títeres de ia Compañía Rósete Aranda. Centro de investigación nacional de los artes escénicas y teatrales “Rodolfo Usigli,” CNA.

45. “El Charro Negro,” Libretos de obras para títeres de la Compañía Rósete Aranda. Centro de investigación nacional de los artes escénicas y teatrales “Rodolfo Usigli,” CNA.

46. The film starred Tito Guizar and Ester Fernández and was directed by Fernando de Fernández. Drawing on ranchero music, it initiated the film genre.

47. Representative of these films is El Charro Negro (1940), with Pedro Armcndáriz.

48. “La vuelta al mundo por Mamerto o el silbato prodigioso,” Libretos de obras para títeres de la Compañía Rósete Aranda. Centro de investigación nacional de los artes escénicas y teatrales “Rodolfo Usigli,” CNA.

49. Aurrecoechea, Juan Manuel and Bartra, Armando, Puros Cuentos. La historia de la historieta en México, 1874–1934 (Mexico: Editorial Grijalbo. Consejo Nacional para la cultura y Los Artes, 1988), pp. 230–237.Google Scholar

50. Strother, David Hunter and Stealey, John Edmund III, Porte Crayon’s Mexico: David Hunter Strother’s Diaries in the Early Porfìrian Era, 1879–1885(Kent, Ohio: Kent State University Press, 2006), p. 409.Google Scholar

51. Miracle, Michele Jeanine, “Imaginings at the Judas Tree: The Pardon Tales of Miss Mexico” (M.A. Thesis, University of Arizona, 2003);Google Scholar Macías-González, Victor M., “The Case of the Murdering Beaut): Revolutionary Mexican National Myth, 1921–1931,” in Buffington, Robert and Piccato, Pablo, eds. True Stories of Crime in Modern Mexico (Albuquerque: University of New Mexico Press, 2009), pp. 215–247.Google Scholar

52. Suzanne Pasztor, “Homeopathic Medicine in a Revolutionary Age” (Presentation at the Pacific Coast Conference on Latin American Studies, Claremont, CA, November 2007).

53. Taibo, Paco Ignacio II, “Inquilinos del D.F., a colgar la rojinegra,” Anuario 3 (1983), pp. 99–126 Google Scholar for Mexico City, and Wood, Andrew Grant, Revolution in the Street: Women, Works, and Urban Protest in Veracruz, 1870-1927 (Wihw-ington, DE: SR Books, 2001) for rent strikes in Veracruz.Google Scholar

54. E. Baptista founded Peerless in 1921 and Gcnnett Records in Indiana did the early pressings of their records. The label mostly released popular music with some dance bands and tunes from the U.S. See Wikipedia, ; Kenney, William Howland, Recorded Music in American Life: Tf)e Phonograph and Popular Memory, 1890–1945 (New York: Oxford University Press, 1999), p. 69.Google Scholar Kenney says that Columbia opened a recording studio in Mexico in 1904 and Victor in 1905; in the 1920s, companies established record pressing plants. Intriguing aspects of the recorded music business can be found in Sudhaltcr, Richard, Ralph Peer: The Great Enabler (forthcoming from Yale University Press).Google Scholar

55. Plata, Gabriel Sosa and Villar, Alberto Esquivel, Las mil y una radios: Una historia, un análisis actual de la radiodifusión mexicana (México: McGraw-Hill, 1997);Google Scholar Hayes, Joy Elizabeth, Radio Nation: Comunication, Popular Culture, and Nationalism in Mexico, 1920–1950 (Tucson: University of Arizona, 2000).Google Scholar

56. Mora, Carl J., Mexican Cinema: Reflections of A Society, 1896–2004 (Jefferson, NC: McFarland & Company, 2005;Google Scholar 3rd edition), and Nevares, Batriz Reyes, Tlje Mexican Cinema: Interviews with Thirteen Directors (Albuquerque: University of New Mexico Press, 1976).Google Scholar

57. Lara, Agustiín, Cien años, cien canciones (México, Editorial Oceano, 2000), p. 28.Google Scholar

58. Mantecón, Vázquez, Santa de Federico Gamboa, p. 36.Google Scholar

59. The number of strikes in the early 1930s was lower than that for the 1920s. For the history of labor during this period, see Carr, Barry, El movimiento obrero y la política en Mexico, 1910–1929 (México: Secretaría de Educación Pública, Dirección General de Divulgación, 1976) and Marxism and Communism in Twentieth-Century Mexico (Lincoln: University of Nebraska Press, 1993).Google Scholar

60. “El Padre Hidalgo,” Libretos de obras para títeres de la Compañía Rósete Aranda. Centro de investigación nacional de los artes escénicas y teatrales “Rodolfo Usigli,” CNA.

61. Calzada, Jesús, “Títeres: Cia. Rósete Aranda” (Mcxico: 1989), p. 1, Biblioteca, CNA.Google Scholar

62. Rubenstein, Anne, Bad Language, Naked Ladies, and Other Threats to the Nation: A Political History of Comic Books in Mexico (Durham: Duke University Press, 1998) provides a stimulating discussion of this theme.Google Scholar

63. El Vale Coyote, Libretos de obras para títeres de la Compañía Rósete Aranda. Centro de investigación nacional de los artes escénicas y teatrales “Rodolfo Usigli,” CNA.