Really, Chingo thinks nothing of it. That I sacrificed years in the music business so that it could be a nicer, smoother transition to having an audience? It was there that his Chingo Bling persona was born in earnest, during a Sunday-night radio show called Hip Hop Chop Shop, for which he spun tracks and hosted artists like Big Moe.
Herrera mostly credits his early exposure to working flea markets in San Antonio and, later, back in Houston. At the same time, that Eddie Murphy influence never left him.
While at Trinity, he first concocted the Chingo Bling persona as part of an on-air routine for his disc jockey gig at the KRTU student radio station. Herrera first began selling Chingo mixtapes around at local stores, flea markets, and wherever else in Texas he could find an audience.
The syndicated show got his music played throughout the Southwest on Chicano rap forums. Self-released on his own Big Chile Enterprises label, his first album, 's The Tamale Kingpin , was heavily anticipated, but by the release of his second album, the following year's 4 President , Chingo had become a regional star.
His record sales did not measure up to breakthrough artists on major labels, but his comedic appeal garnered widespread attention, including features on MTV and Telemundo as well as in several hip-hop publications.
And it didn't help that Herrera 's Big Chile imprint was also producing products like Chingo bobblehead dolls and hot sauce. Nonetheless, the local hoopla over Chingo translated into a heated bidding war among major labels like Bad Boy, Universal, Capitol, and Atlantic.
Amidst the rising tension concerning the influx of undocumented Latino and Latina immigrants in the late s, Herrera switched the title of his Asylum debut from Welcome to the Border to They Can't Deport Us All.
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