This collection consists of materials documenting the Castor Advertising Corporation, Castor SG&B, and Castor Spanish International, which specialized in reaching Hispanic audiences.
Archival materials documenting the Castor Advertising Corporation, Castor SG&B, and Castor Spanish International. This collection includes correspondence, business records, awards, a copy of Fernández's MBA thesis, photographs, newspaper clippings, magazines, a DVD containing an interview with Fernández, and advertising reels recorded on VHS tapes, cassettes, and 16mm film.
This collection is arranged into four series.
Series 1: Background Materials, 1961-2001, 2018
Series 2: Advertising Materials, 1969-1987
Series 3: Newspaper Clippings and Publications, 1968-2000
Series 4: Audiovisual Materials, 1960-2007
Biographical / Historical:
Castor A. Fernández Capote was born in 1943 in Havana, Cuba and moved to the United States in 1961. Fernández first lived in Miami, Florida but moved to New York City soon after. He attended City College of New York where he received his Bachelor and Master of Business Administration in Marketing. For his MBA thesis, "Market Segmentation through Television Advertising," Fernandéz focused his research on the potential for Spanish-language media to engage the Spanish-speaking market of New York. Fernández began his nearly four-decade-long advertising career in firms throughout New York City such as Link Advertising and Palmer Advertising. In 1968, Fernández established his own advertising firm called Castor Spanish International, focusing specifically on marketing designed for to the multiple groups of people described under the umbrella term "Hispanic." In 1989, Castor Spanish International merged with the Miami-based advertising corporation, Garcia-Serra & Blanco Advertising, to form a new agency: Castor SG&B. The agency dissolved the merger in 1990 and Fernández established Castor Advertising Corporation. Fernández retired from advertising in 2002. Throughout his decades-long career, he and his agencies did work for many major American corporations such as Café Bustelo, Citibank, McDonald's, Coca-Cola, Anheuser-Busch, Kmart, Richardson-Vicks, and Heublein Incorporated.
Collection donated to the Archives Center in 2018 by Castor Fernández.
Collection is open for research.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Use of original papers requires an appointment and is limited to the Washington D.C. research center. Use of audiovisual recordings with no duplicate access copy requires advance notice.
The Louis Pomerantz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Louis Pomerantz papers, 1937-1988, bulk 1950s-1988. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection is provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
In 2004, Hispanics were the largest minority group and the fastest-growing segment of the U.S. population, having more than doubled since 1980 and accounting for half the total population growth since 2001. In the preceding decade, the highest rates of Hispanic growth had been not in California, Texas, New York, Miami, Chicago, and other long-time Latino strongholds, but in states such as Arkansas, Indiana, Michigan, North Carolina, Virginia, and Wisconsin. Hand in hand with the burgeoning Latino population came an infusion of Latino music, usually called música latina in the windows and bins of record stores or entertainment venues.
In the United States, a "parallel universe" of Latino performance exists alongside the English-dominant mainstream. The Latin music and media industries are a powerful presence in American life, and their influence is increasing. The sounds of música latina and the voices of musicians themselves help us understand the struggles, aspirations, and joys of Latinos in the process of making the United States their home.
As with other cultural minority groups in the multicultural United States, Latino communities have often used music to express themselves in the public commons - civic celebrations, ethnic festivals, cultural education programs, and political events, for example. Many kinds of music that were historically intended for private occasions - such as for social dancing or for religious devotion - take on new meaning as they are moved into the public realm in order to send a message of identity: "We are Dominican" (or Mexican, or Cuban, or Puerto Rican, and so forth). Some musical styles, forms, and repertoires have deep, "core-culture" associations and/or "stage performance value" to please broad audiences with a strong stamp of cultural identity. These become symbols, aimed either at a new, broader audience or at the same community audience but with the new purpose of defining group identity.
At the same time that forms of music (and dance) have become vehicles for creating social identity, they have also become means for creating a new sense of community. Music in any society is a social magnet, a way of bringing people together, the major attraction at a myriad of social events. But among Latinos in the United States, this role has been expanded and its importance heightened. Music has become a primary vehicle for reuniting people who share a similar background and recreating their lost sense of community - especially for a dispersed immigrant Latino community, or for a Latino minority culture living among people of other cultural backgrounds who speak languages other than Spanish.
The 2004 Festival program was a signature component of a larger Latino Music Project conceived by the Smithsonian's Center for Folklife and Cultural Heritage. In 2001, the non-profit record label, Smithsonian Folkways Recordings, a division of the Center, launched its Latino Music Recording Initiative, entitled Tradiciones/Traditions, to expand Latino music holdings, to publish and disseminate new recordings, and to create a Web site offering bilingual educational materials. It was planned that the Festival component of the Latino Music Project would be sustained over an unprecedented four consecutive years, with each year's program shaped by a special theme highlighting a coherent constellation of issues in Latino music and culture. The program aimed to explore the historical roots and development of Latino cultures in the United States, contemporary social issues articulated in music and dance, and the role the music industry plays in the continuity and transformation of Latino musical tradition. The 2004 program laid out those themes and previewed what would follow in subsequent years (see also the 2005 2006 and 2009 programs).
Olivia Cadaval and Daniel Sheehy were Curators, with Russell Rodríguez as Guest Co-Curator; Nilda Villalta was Program Coordinator. An Advisory Committee included: Norma E. Cantú, G. Adriana Cruz Manjarrez García, Enrique Lamadrid, Steven J. Loza, Ana María Ochoa, Olga Nájera-Ramírez, and Carolina Santamaría.
This program was generously funded by the Smithsonian Latino Initiatives Fund and the National Endowment for the Arts. Additional funding came through Anheuser-Busch, Inc., with in-kind support through Delta Air Lines. Cooperating organizations included Arts of the Americas Institute - University of New Mexico, Radio Bilingüe, Univisión, and the Smithsonian Center for Latino Initiatives.
Enrique "Quique" Avilés, Geaner "DJ" Bruno, David Champion, Juan Dies, James Early, Joanne Flores, José Quetzal Flores, Martha González, Nancy Groce, Scout Mahler, Michael Mason, Olga Nájera-Ramírez, Danny Román, Eileen Torres, Cynthia Vidaurri
Chanchona San Simonense -- Chanchona San SimonenseWilmer Bladimir Díaz Hernández, 1987-, tumba, San Simon, El SalvadorLuciano "Chanita" Hernández, 1972-, violin, San Simon, El SalvadorEmilio Antonio Monteagudo Luna, 1980-, vihuela guitar, San Simon, El SalvadorHernán Moreno, 1954-, bass, San Simon, El SalvadorHector Antonio Moreno Hernán, 1963-, violin, San Simon, El SalvadorJosé Lucidio Sol Hernández, 1965-, guiro, tumba, San Simon, El Salvador
Emikeké -- EmikekéFelipe García Villamil, 1931-, batá, shékere, bells, güiro, conga, lead vocals, Los Angeles, CaliforniaValeria Esteba-García, shékere, bells, clave, chorus, dance, Los Angeles, CaliforniaTomasa Esteba-García, shékere, bells, clave, chorus, danceAtoyebi Esteba-García, 1985-, batá, shékere, conga, bells, chorus, Los Angeles, CaliforniaMiguel Esteba-García, 1984-, batá, shékere, bells, dance, Los Angeles, CaliforniaAjamu Smith-García, 1978-, batá, shékere, bells, clave, chorus, Los Angeles, California
Eva Ybarra y su Conjunto -- Eva Ybarra y su ConjuntoEva Ybarra, 1945-, accordion, San Antonio, TexasMax Baca, 1967-, bajo sexto, San Antonio, TexasGloria García, 1947-, vocals, San Antonio, TexasOscar García, bass, San Antonio, TexasAaron Holler, 1985-, drums, Pontiac, Michigan
Franklyn Hernández y sus Tipican Brothers -- Franklyn Hernández y sus Tipican BrothersFranklyn Hernández, 1959-, leader, lead vocals, accordion, Philadelphia, PennsylvaniaJesús Bonilla, güiro, Philadelphia, PennsylvaniaMiguel Gelmán, saxophone, Philadelphia, PennsylvaniaNino Hernández, electric bass, Philadelphia, PennsylvaniaRafael Tineo, tambora, Philadelphia, Pennsylvania
José Gutiérrez y Los Hermanos Ochoa -- José Gutiérrez y Los Hermanos OchoaJosé Gutiérrez, 1942-, requinto, Veracruz, MexicoMarcos Ochoa, 1944-, jarana, Veracruz, MexicoFelipe Ochoa, 1950-, harp, Veracruz, Mexico
Lorenzo Martínez y Reflexiones -- Lorenzo Martínez y ReflexionesLorenzo Martínez, Sr., 1954-, violin, Albuquerque, New MexicoRamona Martínez, danceRoberto Martínez, Sr., 1929-, vihuela, Albuquerque, New MexicoRoberto Martínez, Jr., 1963-, guitar, Albuquerque, New MexicoRoberto "Robby" Martínez, 1945-, bass, Albuquerque, New Mexico
Mariachi Los Camperos de Nati Cano -- Mariachi Los Camperos de Nati CanoNatividad "Nati" Cano, 1933-, director, vihuela, Fillmore, CaliforniaSergio Alonso, 1975-, harp, Sylmar, CaliforniaJesús Guzmán, 1964-, violin, Pico Rivera, CaliforniaIsmael Hernández, 1969-, violin, Whittier, CaliforniaPedro Hernández, 1976-, guitarrón, La Puente, CaliforniaMartín C. Padilla, 1979-, violin, San Fernando, CaliforniaArturo Palacios, 1941-, guitar, Whittier, CaliforniaJavier Rodríguez, 1969-, trumpet, Los Angeles, CaliforniaJosé M. Ramirez, West Covina, CaliforniaJimmy Kyle Cuellar, Bakersfield, California
Viento de Agua -- Viento de AguaHector "Tito" Matos, 1968-, director, lead singer, requinto, tumbandero, barriles de bomba,Santruce, Puerto RicoJuan Gutiérrez, 1951-, seguidor, barriles de bomba, chorus, Bronx, New YorkRoberto Cepeda, 1954-, seguidor, punteador, singer, dance, Bronx, New YorkSammy Tanco, 1941-, maracas, güiro, singer, New York, New YorkJoksan Ramos, 1970-, cuá, punteador, requinto, singer, Astoria, New York
Son de Aquí, Washington, D.C. metropolitan area -- Son de Aquí, Washington, D.C. metropolitan areaMarco Antonio Alzamora, 1970-Jhonny Miguel Ayquipa Caycho, 1981-Andy Javier Caceda Angulo, 1976-Wilfred O. Garcia Gallardo, 1967-Christian Gonzales, 1979-Marciano Gonzalez, 1953-Gustavo Joel Hurtado Hernandez, 1969-Yuan Loyola, 1979-Adrian Reyes, leader, Chantilly, VirginiaCarlos Rubio, 1974-, bongosAlberto Tirado, 1970-Julio Cesar Torrejon, 1976-
Fraternidad Sangre Boliviana, Arlington, Virginia -- Fraternidad Sangre Boliviana, Arlington, VirginiaMelissa Almaraz, Jancaria Alvarez, Andrea Ampuero, Erick Bacarreza, Sergio Canelas, Isabel Cardenas, Adriana Carrillo, Letcia Carrillo, Ronald Choque, Vivian Gillen, Gonzalo Gutiérrez, Aurora Gutlerrez, Daniela Lameles, Nelson Lameles, Pablo Lijeron, Ariel Lisarazu, Diego Lopez, Jasmin Mendoza, Maribel Meruvia, Marcelo Molina, Marvin Monterosa, Alex Navia, Gabriela Peredo, Juan Carlos Peredo, Mauricio Peredo, Michelle Peredo, Ximena Peredo, Rosas Roger, Claudia Siles, Dante Suarez, Maria Tapia, Hector Tolentino, Ricardo Tolentino, Tatiana Tolentino, Lizeth Torrico, Mauricio Torrico, Raul Torrico, Roxana Torrico, Claudia Urrutla, Leo Vallejos, Kattya Via, Ivan Villanueva, Edward Viscarra, Enrique Viscarra
Los Tecuanes, Manassas, Virginia -- Los Tecuanes, Manassas, VirginiaAdriana Burgoa, Iliana Burgoa, Masiel Burgoa, Carlos Cordero, Julio Cordero, Sadie Cordero, Halmar Guerrero, Isaac Guerrero, Vicente Guerrero, Guadalupe Muñiz, Blanca Navarro, Luis Ramírez, Ana Reyes, Armando Reyes, Jose Luis Reyes, Lorena Reyes, Luis Reyes, Luz Rodríguez, Nil Vargas, Inés Velasco
Felipe García Villamil, 1931-, sacred drums and ritual objects, Los Angeles, California
Francisco González, 1953-, strings, Goleta, California
José Gutiérrez, 1942-, -- jarocho -- instruments, Veracruz, Mexico
Carlos Molina Saénz, 1961-, -- llanero -- traditional instruments, Meta, Colombia
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or firstname.lastname@example.org for additional information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Smithsonian Folklife Festival records: 2004 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.