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Testing 12. I'm speaking now with Mr Mike Acosta, who is the son of Guadalupe Costa who as far as I know really started the whole record business in San Antonio, San Antonio. She said, could you tell me Julio Acosta? What is your birthday? When were you

00:00:27.340 - 00:01:10.750

born? You and when did you come to the United States? Uh Me. No. And what was the town he was born in, in, in Mexico, in the Pueblo del Pueblo, Mexico, Lagos de Jalisco, Jalisco. Call me papa the of the cat. Uh huh. No idea what

00:01:11.699 - 00:01:35.559

he said. He said that he started to have to learn to work with his father when he was 14 years old. What sort of work did your father do? Did he play music or build instruments? She could come in the car, Vaja to of a man

00:01:36.870 - 00:02:26.339

not be making now poorer man. Did, did you learn to play contra bajo from your father? Uh huh. And when you came here to San Antonio, were you mainly a musician or instrument maker? It's just l instrumental E uh traval the tus the Count the Count

00:02:26.929 - 00:03:06.529

the T in Cordo ta. I said a queer. Hey uh with Christine having contact with Christine was, was Mr Mats here about to say he was already here. Yeah. OK. Said behold, is that little, were there any really good instrument makers that you knew that worked

00:03:06.539 - 00:04:15.399

for you? Uh Buenos aqui San Antonio? Mm No. Said the nice. No. Come on comma Yeah, Mr OK. We see each other o in a place. So later I get it come get for a man. But did he say? Yeah,

00:04:15.619 - 00:04:32.399

what did he told by hand? You know, he just come from Mexico and work for what's the to, I don't know but uh you know, he would, you know, sun down to turn up, you know. Yeah, hold him to Mexico. It was too hard. So it

00:04:32.410 - 00:04:52.880

went for about six months and I remember that if you went in business, set up across the script, what, what were the most popular instruments that you made when you first came to San Antonio? Which, which instruments, the violin or guitar or one of the diesel

00:04:54.000 - 00:06:04.600

on the stick? But we, my stent is Mando uh PLOS Cian. No era man alone. Pero. No era correspondent. Yes. No, no. OK. Eh hm. When did the, do you remember when the bajo sexto became popular? When did that come in here? No.

00:06:16.589 - 00:07:05.250

Incorporate pa pa pa pa eight. Um What, what year was this? Do you remember be uh you doing that? And um this is your own shop. This was your own shop. And how did you get into the record business? Into

00:07:05.260 - 00:07:58.089

discourse? How did, when did you get into discourse? A request? OK. Full of in Kino. And they OK. OK. They, they did not have microphones then did they record in the big horn? I don't know what you call the, the A OEM tata

00:07:59.690 - 00:08:32.969

Cortinas. I can now the real, you know, and I said to you that this is so Masto. OK. Correct. And no Acuerdo El seor de de la parato. A no, no. Let me that a much stage. Could you tell me roughly what he said there? Well,

00:08:32.979 - 00:08:55.940

if it were recorded, they said you, you know like a sub roof with a blanket so you can hear that the lawyer of it. Yeah, but I was curious they did not have microphone, no microphones, no electrical process. No, it was a acoustic. A big horn.

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Huh? Did you know where did they set this up? Did they go into a hotel here? Where did they make the recordings? One of the first in the, in the, in the ne they met at Disco was not on

00:09:39.640 - 00:10:44.820

the I I got that. Let me get back to the Marta for let them put them into the, do you remember the first artist Canciones Artos that you recorded for? Ok, because you live, you live because they're all in the Ira Roy.

00:10:46.570 - 00:11:55.309

Uh Lupe Martinez. Roger. What else? No, but before them before them. The I know not me but an Esen Gonzalez and Gail Gonzalez. Con Este California May Gonzalez. Yes. Gonzalez in May Gonzalez. And now Papa Ismael

00:11:55.320 - 00:13:20.179

Gonzalez. El papa f Gonzalez. Gonzalez. No. Uh Ks Duetto Acosta loo. You don't remember the way to a post. I remember that. Who was the man that came from? OK, to contact you originally? You know that? OK. OK. I

00:13:20.309 - 00:15:09.859

here for, did you, did you supervise the recording of Cuarteto Carta Blanca, which was Lydia Mendoza Padre Bene Conal. You looking. But uh, but he, he doesn't remember who the first people was that he recorded. No, no. Yes,

00:15:13.869 - 00:15:49.359

no. Mas Pancho. And um, were you the only dealer in? OK. Records or did they have others who sell? OK. Records? No. OK. A a Ma Casas Auna was here about the same time that your father started. Uh huh. They used to play together, they play

00:15:49.500 - 00:16:58.559

together to play together. He said when they came from Mexico before they go to business with the third la. You know, you know, because you know that you know the in the house you come over here every day. Hm

00:16:59.239 - 00:17:48.349

hm. Hang with the whole family. Uh uh uh did the family make records? The familia de Acosta Disco back then? In the twenties, you know, a course of my joy. A course I see you. It was, he was, he was the only Costas la la Senora

00:17:48.800 - 00:18:37.390

Acoa. But the Lord President Boco Lucio Costa Mila Costa. But you see there were records issued as Orchester Acosta. A Mariachi Acosta. Was it the uh course trio Alamo? This is a, you know, a a cost us

00:18:40.030 - 00:19:12.439

there wasn't necessarily a family. No, no, but you know what do you call it? The cam can say we can say that. Yeah. Um the you see this. Yeah and La Gente agent put his name over there. It is a fee. Um Do you remember hearing

00:19:12.449 - 00:20:47.349

accordion players when you were young when you were a? No, no, no. When did he first hear the little? Yeah. Fie to Kahlo the Mexican? No, no. The de la cordon, Nova and violin. Contra. Hi. We understand that. Yeah. No,

00:20:53.329 - 00:22:02.949

I, but they, they don't, they do that. It uh let me see. Did you, did you always lead an orchestra all throughout the twenties and thirties? Did you lead an orchestra? Ramos? Ocho O you can Mariachi,

00:22:03.880 - 00:23:30.130

you can do Pino Mariachi and Del Ma. OK. Pa do you remember the instruments that a mariachi band had back then? In the, in the, let's say 1920 what kind of instruments were made? OK.

00:23:31.780 - 00:24:06.390

I can, I can ta ta ta ta did he sing with? No, he, he gave it a thought. We were the singers. I played with him. I stopped there in 1929 and 11 years old. I'm 59. I'll be 59 again in May Could, could you give

00:24:06.400 - 00:25:25.800

me your birthday? Uh May May the May the 18th Mayo di di 18 at 10 years old at the time I was they moved here to Yeah. Do you have any remembrances of the revolution in Mexico? Nada? En la

00:25:29.589 - 00:26:34.640

de los, so la Neces Para and re Del Campo. I Amos. Oh, which is worth us. Save more jobs. I mean a are you convention? I see I put in my favor to la Gente is a co gente de

00:26:34.739 - 00:27:14.089

Ranches. You left. I told you that the yo guage, you know the still come. Yeah, the, the, the carga a Ayara Zapata Tener Peru Prague tore right there for you. Why? No. Hey, talk to you. I hear you. I hear you. Lo lo around there. OK.

00:27:16.140 - 00:28:57.709

Do you 2311 to a Chihuahua pa. It, it, no, but, but la Compania de tru toca el Bajo, Mira el Contra, Cuerda and la la to de just made the de la la contra going night up by

00:28:57.780 - 00:30:23.280

End Encarnacion. And I it was a, it was a convention over there, you know Canal Dominguez Jack. What? Kim bea OK. One that, oh, I got a clue. Now, Leslie, I go, I'll have to have all those. Oh my God,

00:30:25.739 - 00:31:46.329

the, the Spagnoli and the p live to Spagnoli. You know the, come up in the ca and come on down, you put it inside the, you know, take it away from it. They give it 30. Now, when you came to Laredo? Nuevo,

00:31:46.760 - 00:33:02.040

Laredo. Where did you play? Did they have a boys town or no? The Ban Ca Component Puerta to lo, ok. The same Con Con Cabria. No. Can we call it? Yeah.

00:33:02.290 - 00:33:28.729

No, I'd like to know all the different kinds of places that he would play with his band. Like in balls or at weddings or in San Antonio. Well, even in Laredo, look at what is similar to she. Mhm. Mhm. Look to Ca, in El Casino. When

00:33:30.510 - 00:34:50.989

come I come a lot. He said, does he remember what kind of an orchestra he had that? What were the instruments in his little band in Laredo? Trombone, clarinet all the way. No, ma no, no, nobody is. No. Mas

00:34:51.520 - 00:36:32.830

Cortines trombones left over. Where did they get the, and El Santo? Oh, good. That's the thing you get over to the, the, the music who made the arrangement for his orchestra? It's already been

00:36:32.840 - 00:37:08.629

made here. You mean the sheet music? Trombone places from Mexico who was born? His brother was still over there? And do you remember some of the more favorite tunes when you were playing in, in Laredo? Like around 1915? What were some of the more popular tunes?

00:37:08.679 - 00:38:49.219

Uh Songs Can LEPP? No. Was it what? Robert PS. No, there's one, one is it, I've seen Pussy but I won where to stick my KCBK opposite of ale. Mm. No.