Arturo V. Pichardo
Introduction
Los Angeles is one of the largest and most influential multicultural centers of the U.S and the world. People from all over the world have gathered in this city to give its unique flavor and chemistry. They include Native Americans, Europeans, Asians, Africans, and Latin Americans. A lot of them are first generation immigrants, while others are four or fifth generation. This mixture is constantly observed throughout the city: Bilingual Theater (Spanish/English), Chinese and Japanese New Year Celebrations, Festivals of Philippine, Korean, and Jewish arts, Native Intertribal Marketplace, Irish Fair and Music Festival, Mardi Gras, and African Marketplace and Cultural Fair. These cultural endeavors pump into the city an incredible array of heritages and influences. But Los Angeles has not been able to bring these cultures together in total harmony. The Watts (1965) and Los Angeles (1992) riots stand as a frightening reminder of this fact. Our city was founded by immigrants and our country in theory welcomes immigration, but there is a feeling of xenophobia and racism towards the newcomers: especially if they come from third world countries. Sometimes these feelings grow to political proportions and the attack becomes a threat towards our multiculturality. Proposition 187 is an example of this paranoia and misunderstanding. It blames the immigrants (especially if they are from Latin America) for the state of the economy and does not look into what these immigrants bring into our country: job skills and culture.
Music is one of the most pervasive expression of our world cultures. It is a manifestation of joy and feelings of people. The medium serves as an outlet for celebration and frustration. The Japanese and Chinese use music to celebrate the new year, in weddings of different cultures music is indispensable, Punk music vents the anger of youth, Blues singers tell the sad love stories, etc. Thus music of different styles have made their way to Los Angeles: Greek, Armenian, Asian, European, Jazz, Reggae, Mariachi, Rock, Caribbean, African, etc. Although we have the access to listen to any style of music in the city, we often neglect to do so. Maybe because we do not understand the language, or maybe because we have not made a conscious effort to look for it.
Rock en Español is one of these music trends that has come to Los Angeles and has fought to survive amid other music scenes. Among Latinos the music genres of Mariachi, Salsa, Romantic, Banda and other folk music have enjoyed the support of the community. Rock en Español has struggle through its humble beginnings to survive and maybe, to become the next big thing among Latinos and non-Latinos alike.
In this project , we consider the phenomenon of Rock en Español and how it developed against the prejudice and discrimination of the establishment. In the first section, Rock and Roll Boomerang, we discuss the history of this genre in Latin America (using Mexico as the example) and its gradual acceptance. After considering the development of this music in Mexico, we jump to cover its beginnings in Los Angeles in Inside Out Explosion. Here we describe the changes of the scene and how it has affected some of it's followers. In the third section, L.A. En Español, we cover the ripening of the scene in the second half of the '90's, and how it's commercialization is inevitable. Rock and Roll Boomerang may have more of an academic feeling because it is based on documents and books that deal with historical facts. The other two sections are based more on observations, interviews and opinions of different people involved in the movement. Rock and Roll Boomerang
Rock en Español is not new. It has been around since the 1950's, although its beginnings are much more different than the Anglo rock in England and the U.S. While the Anglo rock created its own mixture of rhythms and lyrics, its Latino counterpart only tried to imitate it. A lot of the early bands material was translated songs of American bands,
Most songs from the early years were covers sung either in English or awkwardly translated in to Spanish ("Hotel Descorazonado," "Rock de la Carcel," "Pedro Pistolas," "Un gran pedazo de amor") Gradually, however, the translated covers of American hits became more than literal adaptations; Mexican rockeros began rewriting the lyrics. (1)
From the start Rock and Roll was seen as a threat to the culture in Latin America. Mexico is the most obvious example of this xenophobia and discrimination, especially from the authorities and the establishment. Rock was (and still is) misinterpreted as an Anglo invention. The authorities ignore its origins (Jazz and Blues) and the different influences it has received form other cultures (African, Caribbean, etc.) The music was supposed to corrupt and entice the young people to behave wild and suicidal,
Films like The Blackboard Jungle were pulled from movie theaters and newspapers apprised the populance of the dangers of rocanroleando: gang violence, lax morality, and, especially, the destruccion of la cultura nacional. Maybe the single thing the government, the Catholic Church and the Marxist left could agree on was that Mexican youth was imperiled by the protestant, decadent and individualistic North. (2)
During the early seventies Mexico had its own version of Woodstock, and the authorities used this to give their final blow to the rock movement. The festival took place in a little town not too far away from Mexico City called Avandaro. The government and the media portraited the event as a perversion of the youth, and a excuse for drugs,
Television, press and radio...filled the Mexican mind with morbid images and lies, thus the common person pictured Avandaro as being a gross bacchanal of excess, and never saw the event as a needed gathering for the Mexican youth, who was crying out for something like this, an intense ritual full of magic between individual beings. They wanted to celebrate life; not overthrow the government or make a political statement. (3)
It almost took ten years for Rock en Español to come out of the underground scene and develop into something more than just a copy of Anglo Rock. During the early 1980's most of Rock en Español bands that received media attention were from Argentina (Soda Stereo, Miguel Mateos, Charlie Garcia) and Spain (Miguel Rios, Mecano, Radio Futura). There were, however, several Mexican bands that survived despite the lack of support (El Tri, Kenny y Los Electricos, Rostros Ocultos, Ritmo Peligroso) of record companies and a larger general audience. One of the most original rock bands from this time was Botellita de Jerez. It was the only band that mixed Mexican folk music, culture and satire in their music.
It wasn't until the late 1980's that the Mexican media shifted its attention towards the Mexican bands, although the support was not widely spread. To this day, Rock en Español continues to crawl in hopes of one day gaining a wider acceptance. The movement in Mexico, Argentina and Spain also triggered an effect in the Latino community in Los Angeles. Formerly, bands use to come from other countries to play here, now Los Angeles (and other U.S. cities) is producing its own local bands. The beginning is similar to what happened in Mexico and the media is just starting to realize that there are many L.A. bands with their own rhythms and styles,
The emergence of Rock en Español in L.A. is analogous to the rise of rocanroll in Mexico. In Mexico , everyone was into bands from Argentina, the so-called 'Invasion Sudaca.' When they got tired of that, the Mexicans started checking out the rock bands in their own back yards. Similarly in L.A., although they inspired us, we got tired of (Mexican groups Maldita Vecindad and Caifanes). We wanted our own bands. (4)
With the brief history above, Rock en Español made its way from the U.S. to Latin America and back to Los Angeles. It has been remodeled and enhanced to fit and to appeal the multicultural background of the Latino community that lives and struggles in our society today: Chicanos, Salvadorian, Nicaraguan, Honduran, Peruvian, Chilean, Venezuelan, Guatemalan, Argentinean, Cuban, etc. Rock en Español is now a mixture of different ethnic rhythms, sounds, and styles and the definition of the word "Rock" is stretched to the point of breaking. Rock no longer belongs to the Anglo crowd.
Inside-out Explosion
Rock en Español began its struggle in Los Angeles in the mid1980's with the arrival of the Mexican band El Tri in 1985. El Tri gave the very first Rock en Espan~ol concert at El Teatro Blanquita (Whittier Blvd. and Soto St.) (5). Also around this time La Cara del Rock was being born in Downtown Los Angeles on Broadway Street. This record store was founded by Edmundo Hernandez out of the need for a true Rock en Español outlet,
When I came to L.A. ,back in 1985, I started to look around for Rock en Español music but the choices were limited. The record stores in L.A. did not have any interest in this music, therefore I decided to start my own store. I had experience from working at El Chopo (a rock music swap meet) in Mexico city. My main idea was to create a mini Chopo here where kids could find underground and urban music.(6)
With these two milestones in the birth of the local Rock en Español scene, new local bands started to hatch in the Los Angeles area: Eclipse, , Purpura, L.A. Mixer, Felix and the Katz, Sin Tregua, Cero Maldad, Sin Tregua, Estruendo, Mountain King, and Hermana Luna are just a few examples.
Felix and the Katz was formed by Felix Mejorado; a singer from Tecate, Baja California. His band enjoyed a short success in Los Angeles in the mid 1980's. In those early days his band played with Los Lobos, The Plugz, and The Illegals; and they also went to Mexico for a couple of short tours. They played songs in both English and Spanish, and were one of the pioneers of the Rock en Español movement. Felix and the Katz has never enjoyed the mainstream success that other bands have had but he does not lose his passion and optimism about the genre,
I know I'm one of the early ones in this scene and I'm still struggling to get bookings for my band in L.A. In Mexico is another thing; over there our music is more popular and we have no problem having sold out gigs [down there]. But you know even though I am not as popular as Mana or Caifanes, I feel I have accomplished something. I have two full albums released and younger bands always come for advice. It makes me feel good to see that the scene is growing and maybe someday see L.A. as the new capital of Rock en Español.(7)
The scene very slowly continued to flourish with the Latinos but it had to wait until the end of the decade for the thrust that would make a dent in the L.A. music scene.
For the LA Latino community it was very hard (if not impossible) to find media outlets that gave information regarding the of Rock en Español movement: concerts, new bands, CD releases, videos, etc. There was a need for an entity that would supply information on what was going in the scene. Thus, the Club Rock en Español was born. It was founded by Chicanas Yvonne and Flora Gomez in 1988; who felt it was time for a fan club for their favorite Rock en Español bands. The club helped the people involved in the movement to come closer. The rapport among musicians and fans was a warm relationship,
This fan club, which initially consisted of about 25 members, grew to over 150 within months on practically word-of-mouth alone. People began throwing backyard parties and concerts, and out of necessity -and a lack or resources-these backyard makeshift venues worked to galvanize the local espan~ol movement. A sense of community among local musicians and fans was developing. (8)
An anonymous fan that has been following the local movement for approximately four or five years, remembers this time with nostalgia "At the beginning everybody knew each other. It was like a big family, whenever you went to a gig you would see the same people, and everybody will say hello to you."
Another milestone in the L.A. movement was the creation of La Banda Elastica. In the earliest stages it was a simple four page photocopied magazine that was distributed free at the gigs. La Banda Elastica was founded by Emilio Morales, who wrote most of the articles in it, and Maria Madrigal, who took the photographs. The magazine gave the movement the necessary exposure; fans and promoters benefited from it,
...the mag was soon gaining the attention of record companies who had artists on their rosters geared towards s Spanish-speaking audience. Corporate ads soon followed, which not only helped to keep the magazine alive, but allowed to flourish. (9)
After a fan base was recognized, promoters and media would follow the dollar sign. Major rock acts from Argentina and Mexico started making L.A. a regular stop and local dance clubs started having Rock en Español nights. In the opinion of one fan this is when things started to change, "As soon as Leonardo's (Long Beach music club) realized there was money involved in this movement, they started their Rock en Espan~ol nights. But the thing is, that this and other dance clubs...did not play true Rock en Español. What they played was anything but rock (Luis Miguel, Paulina Rubio, Timbiriche, etc.)."
Every weekend local bands would play in empty warehouses, in people's backyards and venues like the Hong Kong Low. Los Olvidados, Maria Fatal, Voz D' Mano, Ley de Hielo and Juana la Loca (now Pastilla) were some of the L.A. bands that helped created the Rock en Español experience among the Latino youth,
To me, that was what the whole scene was about. People got together and had a chance to see each other after working all week. You have to remember, the scene was made up of mostly hard-working immigrant kids. (10)
The weekly concerts at the warehouses and people's backyards were open to anybody that wanted to listen to Rock en Español. There was no cover charge (maybe a donation), no ID required, and people would bring their own beer. They were a great place to enjoy music and socialize with other Latinos. There were some that did not have legal papers to be in this country, but that did not matter because music was the reason to be there. It was a place to enjoy the company of friends and music,
At the beginning of the movement a lot of people that used to go to this gigs did not have papers. But they used to come for the fun of the music. Nobody asked for ID, and people would bring their beer to the place. Now the scene seems to be more selective.(11)
The big corporations (BMG, Sony Latin, EMI, and WEA) started to market more bands from Latin America and Spain in the L.A. market. There was a surge of cassettes and compact discs at the record stores but no local bands. Los Angeles was not a valid source of Rock en Español; it was a source of only income and money for these big labels,
Unfortunately for U.S.-bred bands, the major Latin Labels like BMG, Polygram and Sony Latino tend to produce releases by established international acts like Mexican Caifanes (now known as Los Jaguares) and lately, U.S. -based acts in traditional genres like salsa, banda, and Latino R & B. (12)
Since none of the major labels were going to take the risk of signing U.S. talent, there was the need for a local force to do it. Enter Aztlan Records, a San Francisco -based label with the aim of supporting U.S. Latino talent. It is the first American label with their focus totally on Rock en Español. The support created by this label gave the opportunity to local bands to pursue a Rock en Español career. Several of the musicians in these bands not only had a daytime job, they also had sometimes to play traditional Latino music at parties in order to make some money. One example is Maria Fatal, an L.A. band that signed with Aztlan records more than a year ago. After years of playing nortesa and ranchera music at parties they have turned their efforts a hundred percent to Rock en Español,
As our signature riff at the end of a set, we'd play something from Metallica, and people at these quinceaseras would stare in shock. To us, rock has always been an international language. (13)
The signing of King Chango (a New York-based band) by David Byrne's Luakabop Label, the simultaneous release (in Spanish and in English) of Voodoo Glow Skulls' Epitaph debut album Firme and the support from the punk label Grita! Records have added momentum to the Rock en Espan~l scene.
Rock festivals have increased the following in Los Angeles. Mariluz Gonzalez helped found El Guateque, a festival for music and to gather food for the homeless. Most of the bands that have played in the Guateques I, II and III have been mostly from the U.S. (Los Skarnales, Los Olvidados, King Chango, Maria Fatal, Las Quince Letras, etc.) The Revolucion festival started back in 1994 with the idea of bringing Rock en Espan~ol bands with Anglo acts (Live, Adrian Belew, and Redd Kross). But the strange thing is that only Mexican bands played there (Santa Sabina, La Castan~eda, Maldita Vecindad and Caifanes). After the first year no other Anglo bands played again. La Banda Elastica also organizes its own kind of festival and is organized during their anniversary celebration which is cover in part III of this project.
L.A. en Español
A new kind of Revolucion is evolving in Los Angeles nowadays. Rock en Español is starting to make a space for its own local bands. Their music is also finding a way to record stores and on to some radio stations. Aztlan Records has been busy signing and distributing several of domestic talent: Ley de Hielo, Maria Fatal, Orixa, and Pastilla. They also have promoted Ley del Hielo and Maria Fatal outside the U.S. Las Noches Dragon is a series of concerts organized by La Banda Elastica every Sunday at the Dragonfly (Santa Monica Blvd. corner with Wilcox). The idea is to provide a space for established as well as new upcoming local talent. .
Now that the support is growing and the media is shifting its attention, the inevitable is beginning to manifest: the commercialization of the local Rock en Español. Even though La Banda Elastica has supported the movement from its humble beginnings, some fans feel the magazine has betrayed them. La Banda Elastica every year celebrates their anniversary with a ceremony to give their Rock Awards plus an array of performances with groups from different countries. Last year anniversary's celebration merged with the Revolucion '96 rock festival at the Universal Amphitheater and here a problem arose: only one local band played, and the ticket prices were a comparatively high,
Many of us boycotted Revolucion '96 at the Universal Amphitheater. The tickets were too expensive. Seventy five dollars for pit tickets, that's outrageous. Most of the kids that go to this kind of shows are working class people or students. They cannot afford such a hefty price. What happen was that they put on the bill too many leading bands from Mexico (Maldita, La Lupita, and Fobia), then they figure they can charge what they want. They did not take the fans into consideration. (14)
The positive side of this commercialization is that more groups are receiving exposure. We are starting to hear of bands from Houston (Skarnales), Chicago (La Malinche), New York (King Chango), San Francisco (Orixa, Lodo y Asfalto), and even from other parts of the world; Guatemala (Alux Nahuatl), and Colombia (Atercipelados).
Even so, this music is now finding a wider outlet for release; although at times this seems untrue. It often becomes a sort of treasure hunt here in L.A. to simply find what one is looking for. The following is a list of stores that have special sections for Rock en Español, both domestic and international:
Ritmo Latino (5515-19 Santa Monica Blvd. corner with Western Ave.) A record store that caters to the Latino community but focuses primarily on what sells the most: Banda, Salsa, Tejano and Romantic. Their Rock en Español section includes the worst bubblegum pop (some Menudo style groups are included here), and some romantic stuff. Some fans of Rock en Espan~ol feel that it is insulting that even Ritmo Latino does this. Their stock is always missing CD's from major bands. Soda Stereo, La Castaseda, Charlie Garcia and Fito Paez are some of the neglected artists in this store. The only advantage here is that one may sample anything in the store before buying.
Tower Records (8840 Sunset Blvd. intersection at Holloway) Is probably the only major record store that has an actual section for Rock en Español, although their stock is usually missing CD's. The prices are sometimes cheaper than Ritmo Latino (one or two dollars difference). However, you cannot hear the music before you buy, unless is part of the listening stations they have for the new releases.
Virgin Megastore (8000 W. Sunset Blvd. corner with Crescent Heights) Probably the biggest and most spacious store in the Hollywood area. It is worth to visit just to see the size of this store. As for their Rock en Español stock, they keep it with the rest of the Latino music: Banda, Salsa, Tejano, Romantic and Bubblegum pop. Why do they mix all this styles into one section? Go figure. Their stock is also lacking, and whenever they sell out of one group they appear to seldom reorder (i.e. Victimas del Doctor Cerebro, La Castaseda, etc.). Often the prices are as good as at Tower Records. You cannot hear the music before you buy it, and they seldom put Rock en Español at their listening stations.
Blockbuster Music (1440 Vine St. one block south of Sunset Blvd.)Their selection is probably the poorest from these three chain record stores. They also mix rock with other Latino music. You can listen before you buy, as with Ritmo Latino.
The Wherehouse (7127 W. Sunset Blvd. corner of La Brea) Their selection is a little better than Blockbuster Music. Their main appeal is their thirty day guarantee. If you don't like the CD for whatever reason, you can exchange it for another CD within thirty days of purchase. This of course makes it more enticing to sample new and upcoming bands without fear of wasting your money or being stuck with a CD you despise.
Aaron's Records New and Used (1150 N Highland Ave. one block north of Santa Monica Blvd.) Most of their Rock en Español is new. The prices are competitive, and their selection is decent for an independent record shop.
Rockaway Records New and Used (2395 Glendale Blvd. half a block west of Silverlake Blvd.)Sometimes good used Rock en Español CD's show up at this record shop and you cannot beat their prices. They are the cheapest of all of them. Don't waste time in their new CD's section.
La Cara del Rock (744 S. Broadway St. corner of 8th St.-Downtown L.A.) The only record store that specializes in Rock en Espan~ol. Many people feel intimidated because this record store is inside a swap meet called El Globo. Here you will find the best selection of underground music from all over Latin America and Spain. They do special ordering for any title and their CDs are moderately priced. This store is run by its owner who is always happy to recommend new music and he can even let you listen before you buy. The store also sells shirts, posters and other memorabilia. It is probably the best store of it's kind in LA.
Still with all this music available there is no Rock en Espan~ol station in L.A., although there are programs that include this music in their rotation. The few stations that have been created to support this format (like Radio Ritmo, 98.3 FM), they have disappeared because of lack of support. Some of the radio programs that are available on the dial are hard to tune in certain areas of the city, but it is worth checking out since they play new music from the scene,
Rock Express Primera edici—n 1090 AM 6 pm to 9 pm Sundays
Rock Express Segunda Edici—n l090 AM 10 pm to 2 am Sundays
Caracol Puccini KPFK 90.7 FM 6 pm to 6.30 pm Sundays (One of the most radical radio shows with anarchist overtones)
Rock en Espa–ol RADIO KALI 1430 AM 6 pm to 8 pm Monday thru Friday
La Maquina (with DJ Alexx) 98.3 FM 7 pm to 9 pm Saturdays
La Onda 106.3 FM 9pm to 3am Saturdays
Travel Tips for Aztlan (with Mark Torres) KPFK 90.7 FM 10 pm to 12pm Saturdays (They play alternative music form the American and Rock en Español scenes. They often have live interviews).
Cosmic Barrio KPFK 90.7 FM 1pm to 2pm Sundays (Rock en Español at its purest. Too bad they only have one hour to play their music).
(Part of this list was courtesy of Retila Magazine).
The internet has been a more friendly place for the Rock en Español movement. Websites have been mushrooming in the past several moths and they range from, personal sites (i.e. people putting their thoughts and top ten lists) to magazines and other services. The major problem here is that approximately only one tenth of the U.S. population has access to the internet. Here is a list of the websites that offer thoughts, ideas, reviews, links and services regarding Rock en Español,
CAIFANES http://pc-webgeo.cicese.mx/peyote/caifanes/caifanes.htm
Maldita Vecindad http://icarus.uic.edu/~gcamac1/Maldita/maldita.html
LA PAGINA DE ROCK EN ESPANOL http://www.csun.edu/%7Ehbund148/
Rock en Espa–ol En Serio http://www.lamusica.com/rock.htm
rockframe.html http://www.toltecmedia.com/jacal/rockframe4.html
La Banda Elastica http://www.toltecmedia.com/lbe/lbe.html
RETILA MAGAZINE CONTENTS http://retila.com/links.html
La Pagina del Rock en Espa–ol http://icarus.uic.edu/~gcamac1/Rock.html
CONCLUSION
Rock en Español has come out of its hiding place to become a strong force in the Latino community. We need only to look at such weekly publications like the LA WEEKLY or the LA New Times to see that there are Rock en Español gigs constantly being announced. The venues are no longer confined to Latino only neighborhoods (like Whittier, Santa Ana, and Long Beach), but we find them also in West Hollywood (Roxbury, House of Blues, Billboard Live, etc.), and Universal City (Universal Amphitheater). The music is starting to reach a wider spectrum of the public, especially non-latino listeners. It is refreshing to find that there is a small group of Anglo-Americans and other people who do not speak Spanish but who dare to listen to Rock en Español,
I think people should broad their horizons more and try to open themselves up to something that is beyond their own personal culture. People become smug and too unwilling to listen to music that isn't in English. I really enjoy the different influences that so much Rock en Español has, like the folk influences that Maldita and Sergio Arau use. (15)
Although the commercialization of Rock en Español might not be appealing to some fans, it is however a reasonable step for the movement. Many musicians and people involved in the movement would like to dedicate themselves full time to the music. Thus there is the need for a steady cash flow to support their work and creativity; nobody likes to work for free. This, however, involves not only record companies, but the general public. It is the public who must place demand upon the record companies and record shops. So often, record labels release artists that go directly to the bargain bin in the used CD shops. If the labels listened more carefully to public demands, they might actually release better quality material. It is the fans who have the power in the end, but so often do not see it or ignore it. It is not only the responsibility of the people in the industry but also from the listeners, to make this growing movement successful.
.
.
NOTES
1. Martinez, Ruben. Other Side: Fault Lines, Guerrilla Saints and the True Heart of Rock 'n' Roll. New york: Verso, 1992.
2.ibid.
3. Hernandez Diaz, Octavio. "Avandaro Hace 25 Asos: La Noche en Que Mexico Tuvo su Segundo 68" La Banda Elastica Website. http://www.toltecmedia.com/lbe/lbe.html
4. Leon, Maria. "Rock en Español Makes Steady Progress in Its Ascent from the Industry Margins to the Mainstream." Frontera Magazine Fall 1996. Vol. 1, Issue 4.
5. Edmundo Hernandez, La Cara del Rock. Personal interview. April 19, 1997.
6. ibid.
7. Felix Mejorado, Felix and the Katz. Personal interview. April 26, 1997.
8. McDonald, Carey and Saucido, Paul. "Is this the New Face of Rock: Rock en Español Emerges from the L.A. Underground." BAM March 7,1997:504.
9. ibid.
10. ibid.
11. Anonymous fan. Personal interview. March 16, 1997.
12. Leon, Maria. "Rock en Español Makes Steady Progress in Its Ascent from the Industry Margins to the Mainstream." Frontera Magazine Fall 1996. Vol. 1, Issue 4.
13. Gozalez, Carolina. Untitled Document. Rock en Espa–ol En Serio http://www.lamusica.com/rock.htm
14. Anonymous fan. Personal interview. March 16, 1997.
15. Anonymous Anglo fan. Personal interview. March 29, 1997.
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