Artist: Chingo Bling
Genre(s):
Folk
Rap: Hip-Hop
Discography:
El Mero Chingon
Year: 2006
Tracks: 21
Tamale Kingpin
Year: 2005
Tracks: 16
Chingo Bling 4 Presedent
Year: 2005
Tracks: 35
By selling mixtapes and CDs straight verboten the tree trunk of his railcar, Houston knocker Pedro Herrera III rose to bump in the Southwest and among Latin rap fans doubling as the Mexican/Chicano self-parodying interpolate ego Chingo Bling. Donning the stereotypical getup of a buckaroo (Latino fieldhand) -- puncher struthio camelus boots and outsized belted ammunition buckles -- Chingo personifies his fun-filled, Spanglish lyrics and rap medicine jokes, sporting aliases like the Ghetto Vaquero and the Tamale Kingpin. Herrera's family emigrated from Valle Hermoso, Tamaulipas, Mexico, to Houston, TX, where Herrera was natural. To keep him away from the city's tumultuous metropolis life, his parents sent him aside to the esteemed Peddie School, a private boarding schooling in New Jersey, on a scholarship. He returned to Texas to go to Trinity University in San Antonio, majoring in marketing and business sector presidency. While at Trinity, he starting time concocted the Chingo Bling theatrical role as role of an on air function for his phonograph recording jockey gig at the KRTU pupil radio station.
Herrera first gear began merchandising Chingo mixtapes around 2001 at local stores, flea markets, and wherever else in Texas he could chance an audience. His big break came when he seized the chance to appear on Power 106's Pocos Pero Locos record in Los Angeles. The syndicated record got his music played passim the Southwest on Chicano rap forums. Self-released on his have Big Chile Enterprises label, his number one album, 2004's The Tamale Kingpin, was heavily anticipated, merely by the departure of his second album, the following year's 4 President, Chingo had go a regional star. His record gross sales did non bill up to breakthrough artists on major labels, just his comedic invoke garnered far-flung attention, including features on MTV and Telemundo as well as in several rap publications. Some of the attention, however, came from critics wHO intellection of him as just now a Latino version of a black Sambo, a racist caricature of Mexican/Chicano culture. And it didn't assist that Herrera's Big Chile imprint was too producing products like Chingo bobblehead dolls and hot sauce. Nonetheless, the local plug over Chingo translated into a het up condense bid war among major labels like Bad Boy, Universal, Capitol, and Atlantic. Asylum/Warner won out, signing Big Chile to an $80 meg distribution deal in 2006.
Amidst the rising tension concerning the influx of undocumented Latino and Latina immigrants in the late 2000s, Herrera switched the statute title of his 2007 Asylum debut from Welcome to the Border to They Can't Deport Us All. His cooperative promotional effort (which included erection a hoarding of the record album claim in Houston) john Drew out all types of backlash from national conservative pundits and local citizens alike. In increase to receiving several death threats, his father's tamale motortruck, brandishing the album promotional ad, was vandalized, injection at, illegally towed, and then, in the end, stolen. They Can't Deport Us All debuted at 11 on the rap charts, containing features from Baby Bash, Pitbull, Paul Wall, and Mistah F.A.B.
