In general, however, Mexican racial identity was contentious enough for lawmakers to avoid moving forward with increased restrictions. U.S. Secretary of Labor James Davis, wrote, "The Mexican people are of such a mixed stock and individuals have such a limited knowledge of their racial composition that it would be impossible for the most learned and experienced ethnologist or anthropologist to classify or determine their racial origin. Thus, making an effort to exclude them from admission or citizenship because of their racial status is practically impossible." According to scholars of the period, however, most Americans at the time believed Mexicans' racial heritage was "impure". Even though Mexican immigration was never subjected to quota limits, U.S. immigration officials used increasingly stringent measures to limit entry. For itinerant laborers who lived in Mexico and worked in the United States, weekly disinfection mandates were regularized, and quarantine and "bath certificates" were required to be renewed weekly. Then, in 1924, the U.S. Congress approved the creation of the Border Patrol, led by the previous chief "Chinese Inspector", Clifford Alan Perkins. The Border Patrol began with headquarters in El Paso overseeing three district offices in Los Angeles, El Paso, and San Antonio. Beginning in the 1920s, visa controls and deportations became regular mechanisms to regulate Mexican immigration. Finally in 1929, Congress passed the Aliens Act of 1929, known as Blease's Law, which turned undocumented entry into the U.S. a misdemeanor and re-entry a felony. Up to that point, immigration violations were largely considered civil matters. Mexicans in Hollywood In the 1920s, Mexican entertainers entered American popular culture for the first time in U.S. history. Dolores del Río was an actress, singer, and dancer. Born and raised in Mexico, she and her husband left Mexico in 1925. Both were from upper-class families who were struggling in the aftermath of the Mexican Revolution. She began her film career in Hollywood almost immediately upon her arrival. She had roles on a string of successful silent films, including Resurrection (1927), Ramona (1928) and Evangeline (1929). While del Río was proud and insistent of her Mexican heritage, she was nevertheless mostly cast in non-Hispanic white roles, usually appearing as the romantic interest of white actors. Many considered her the most beautiful woman in the world in the 1920s and early 1930s, and she is widely regarded as the first major female Latin American star in Hollywood. In the 1920s, another Mexican