Do You Rock in Your Language Gave it in the Mother-to-rock?

Do You Rock in Your Language Gave it in the Mother-to-rock?
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Some days ago, Rogelio Garza said in the diary The Reason that “our rock does not have its roots in the blues or rhythm & blues, but in the imitation produced from the television: Enrique Guzmán, Angélica María, César Costa… And to play rock there is to have, at least, a muddy of negritude”. In that sense, “or Johnny Laboriel weapon”, topped the signer. Beyond that the maker of Zig-zag. Readings for smoking made of to side the debut albums of groups such as The Insane Rhythm and The Black Jeans (just to name two examples), a question looms: how does the lack of “blackness” has defined the directions of the national rock?

There was a time when cyclical in the history of the music of the youth in Mexico. A phenomenon that took place at the end of the eighties of the last century, blessed by the Holy Trinity that then ruled the taste collective —shaped by Radio, TV and the music Industry— and baptized after the name of Rock in your Language. A lot has happened since that moment, when national groups like Caifanes and Bon and The Enemies of Silence measured their talents with the combos argentine as Dwarfs and Green Soda Stereo and Spanish as The Union, and Duncan Dhu. Wow, so much water has run since then —even on television— the word rock has lost the edge to be found, as it is today, with the tip blunt and rusty, absolutely harmless. This comes up because, yes, at the mass level was with the arrival of the phenomenon that the rock regained the showcase in the media after years of censorship, but without that Garza called negritude.

Indeed, the author of The bicycles and their owners you have reason. The blues do not form part of the musical roots deepest in the mexican and in the land of the tuna rock & roll (because before you had last) saw the light under the auspices of the tv. However, going beyond what the above-mentioned Holy Trinity used to bless, beneath the surface has always been possible to find music shear, cuffs proposals that confront, stimulate and go against the grain of the norm. Scratching in the underground are musicians who do that, in addition to appeal to what fincado by Chuck Berry or B. B. King, if that is what you are looking for, and who this firm has the evidence to prove it. But, is it true that, lacking in blackness, with the arrival of Rock in your Language, the rock ceased to be such to become pop, it will be in Mexico so there came the first death from the virus with which Elvis has infected the planet?

What Rock of truth?

“The net of the mexican rock is this: we had to defend ourselves as we could, by possessing a music that was not ours,” says Armando Molina, architect of the group The Machine’s Sound and a key figure for the festival of Avándaro. “What Rock of truth? Javier Bátiz, Armando Nava, Alex Lora, I and since, for counting ” continues Molina. Because the rock is blues; the rest are fusions. The rock ended when the us banned after Avándaro. Do you Rock in your Language? That was not rock, but pop.” In that role, makes about 25 years Alex Lora was holding what Armando today, he argues. He did it in a television programme (led by Verónica Castro). Having to face two members of Caifanes, noted that it was not attractive to the group of Saul Hernández due to The Tri the music of black roots was determined and Saul and his men nothing that they had. Referring to the band “Kill me because I’m dying”, revealed: “the net I do not like”.And even after he warned that when he spoke of negritude referred to the “Negro” Durazo and the Negrito Sandia, forgot to point out that to then the same Caifanes he had already nailed a stake into the chest of the rock, just the hand of a black: Tomasa.

Singing in English, make me the favor

But let’s leave the topic of cumbia for another time. We are in the blackness, in the idea that thanks to the brightness of their absence, the mexican rock just does not curdle. Let’s go before the birth of The Tri to find the trigger for this. For Mr. González (researcher of the topic and a member of the H. H. Bottle of Sherry), prior to the arrival of Rock in your Language things were not all well in the land of the country rock, and this occurred basically because they spoke a language alien, there was a misunderstanding verbal that in the long run dinamitaría a radical change. “At the end of the decade of the sixties, the mexican rock lost, as it began to sing in English, under the justification that this was the natural language of rock”. By his side, Molina recalls that “many groups came singing in English when the people wanted lyrics in Spanish, songs that speak of ‘Popotitos’”.The protagonist of Avándaro we cala especially the subject because, according to account, the mexican rock was well on track for then: “in the seventies we were at the same level as the musicians gringos, Bandit was at the level of Chicago talking about composition and performance, but unfortunately they sang in English, make me a favor. A bad example”.

Kenny (Kenny and Electrical), stresses how important it was for your generation to take back the Spanish, noted that “we headed back to the importance that is deserved, because the previous generation of flat what I was forgetting”.

“They spoke of things that had to do with the reality of the country,” continues González, in a way that made its own identity was a determinant after the jipitecas —the local version of the hippies americans— it will show “very concerned about the Vietnam war when here, in Mexico, there were mass killings in the 68 and the 71”. What happened there? How reckless, naive?”, asks the percussionist to complete: “at the end, the mexican rock was a clash with reality. And the survivors of that madrazo were the ones who sowed the seeds of something new.”

The new image of the rock in Spanish

Under such a perspective, for the new generations of creators to move away from the blues seemed a natural step, as much as singing in Spanish, all with such a marking distance with respect to what is done by the litter prior, and so find their place in history. Then the quake of 1985, the young artists sought channels of diffusion away from the tv set branded as hegemonic: forums, such as The Nine, Rockotitlán and Tutti Frutti; radio stations such as Rock 101, and Space 59.From a certain perspective, these sites were degenerations of the holes fonquis that long ago operated as unique sites of exhibition; this time, however, had a momentum of improvement. The atmosphere ceased to be hostile, to be lived a spirit of community after the earthquake and that the musicians on stage to speak the same language that they heard was essential for that to happen.Get rid of the rhythm and blues that The Tri your way sought —only lighthouse firm during those years of darkness— peeked urgent and look for a professionalization of the spaces meant to mark line with the previous generations. The disc compilation Comrock (1985) symbolized the final blow, without it would be impossible to understand the explosion of Rock in your Language.

Then, in the basement, the thing was that was burning; however, under the spotlight found space a few groups, a few, like The Lovers of Lola, Neon, Phobia, and other more; all with discs pressed with the logo of Rock in your Language on the cover. To these musicians, Hugo García Michel (director of the defunct magazine The Fly) threw a question months ago: why the biggest influences of course rock made in our country are not the roots of the genre but the movida Spanish, argentine pop, and the baladistas ochenteros? In that sense, it should be clarified that the germ of the concept Rock in your Language was a contest of bands at the national level organized by the record label BMG, and that his ambition ever was to locate the Muddy Waters of mexico. That is to say, in the market plans of the campaign never considered that the River Churubusco is resembled to the Mississippi.

In the paper, the instigators of the project Rock in your Language it was quite clear that after the “golden age of rock in Mexico (Enrique Guzman, Cesar Costa, Los Teen Tops, Los Hooligans)” had not been observed as good sales as those presented by those who represent “the new image of the rock in Spanish (Flans, Timbiriche, Mecano, Laureano, Brizuela, etc)”, so that you had to take advantage of that momentum to accommodate a few local groups and so have several bundles of banknotes. Those were on the hunt for musicians to generate money, and his references to achieve this were characters like Emmanuel and Strawberries and Cream; that the squad is managed to conform to a gang whose “emergence was vital and necessary,” as the music critic Juan Carlos Hidalgo declared any time, can be described as a fortunate coincidence. So, sponsored by a record label, the new rockers took by storm the tv to the delight of the teenagers of the time; although with the annoyance of several of those who preceded them in the amplifiers, who observed how the black leather I was talking about Lora suddenly changed to color of coffee with milk.

Do youRock in your Language gave it in the mother-to-rock? Nothing to do

However, the loss of the blues “was a global phenomenon, not exclusive to Rock in your Language”, as claimed by Leoncio “Bon” Lara (Bon and The Enemies of Silence). So that would have questioned why nobody criticized in its time to The Smiths or Tears for Fears —to name just two examples— just after save distance with Robert Johnson. “It is true that from the nineties in Mexico was left to peel the blues —delves Bon— and I personally think that this has been very negative in many ways. Because you can not make rock if you do not know how to do blues, no this does not develop a sense of improvisation, are limited alone or flat out disappear, as today. It is just a way of understanding the musical structures and therefore it is more difficult to interact immediately with other musicians”.

Francisco Family (DLD) explains that the inclusion of synthesizers and drum machines in the music youth of those days was not the cause of the expulsion of the blues of the tuning forks: “in the eighties already sounded much synths, not everything was rhythm and blues; but the new wave, for example, was still rock. In the end, the choreography of Rock in your Language was perfect, I strongly believe that rock music in Mexico has evolved by leaps and bounds thanks to her.”

What spoiled things because the rock left to join the blues and preferred to merge with the pop?, asks Kenny to immediately resolve the doubt: “it is okay that you like more blues than pop, of course, each person has the right to choose, but of that to say that the generation of Rock in your Language gave it in the mother-rock, nothing to do. The pop will not fight with the blues. What is now called r’n’b is nothing more than pop with the essence of the blues; or what, what Rihanna is stupid?”. For his part, Family has a position on the matter: “but go, we have to accept that rock as such is not part of our roots, of our folklore. It is not our mother culture. For decades, only what we have borrowed for tropicalizarlo”. “I also came to think that —intervenes Walter Schmidt (journalist and member of groups such as Decibel, Size and Casino Shanghai), that the rock was not ours; but after fifty years of history in Mexico, I think that the rock is already part of our folklore. What or is there something more folkloric Tri dedicating a song to the blessed virgin?”.

Finally, it is Molina who states that it is better to not have any illusions: “let’s be honest, neither the blues nor rock are part of our roots. Some snobs middle class decades ago we got us an electric guitar to create music as well, but the rock is not nor will it be our music. It is the truth. For some time we borrow and we managed to entertain the people, but when the public knew the real, it is all over”.

Who has seen Pink Floyd would seek to Chac Mool?

Interestingly, the time to which it refers Armando Molina, when the hearing was found with “the real”, coincides with the arrival of Rock in your Language. For him, this was a disadvantage: “the sad reality of the mexican rock is that one day appeared OCESA, with the news that I had already ready the Palace of the Rebounds to make played international. And, see, you tell me, what person coherent would come to see the Victims of Dr. Brain after seeing Kiss live? Who that saw the Rolling Stones has an interest in seeing Alex Lora? Who has seen Pink Floyd would seek to Chac Mool? What or who has seen Rod Stewart is going to want to see me?”. What Molina probably do not know is that thirty years from the emergence of Rock in your Language the concept has been brought back —but never was all— to resume their place as a good seller of tickets and discs; that is to say, following the game of analogies, the author of “Talking blues”, the public was not in the need to choose: currently, the spectators buy tickets to see The Cure with a momentum similar to that which they possess when they pay to see Caifanes.

The legacy of Rock in your language, in terms of tables for the local artists, was fed up benefit as it allowed the musicians to national codearan with their idols, and so, finally, profesionalizaran. In this role, Felipe Pérez Santiago (owner of the baton in front of the Camerata Metropolitana, every time that the Rock in your Language Sinfónico is presented) it matters little to him if the blues go or not in the formula; for him, “the songs of Rock in your Language are hymns. Several generations grew up listening to him or her and are already a benchmark of the culture in Mexico.” Philip argues that the power house of this agenda lies in the fact that “these are big topics that no longer belong to the eighties or nineties, no longer are exclusive of those who lived those days as part of the collective consciousness and therefore will continue to live for a long time.”

The song black desperate

The critical rock David Cortés points out that “we must not confuse market niches with musical expressions”. States that it must address the fact that the Rock in your Language“this is a label that left out many bands that also played rock in the eighties,” and that, in reality, only a tiny part of the rock that were made in Mexico formed part of the glob. Yes, there is another mexican rock, as the journalist has emphasized on other occasions. But with the same urgency and Familiar prompts to listen to with more attention “to what’s there below, beyond the ledge of rock media”, Polite requests to be objective, be clear that the fact that negritude has been extirpated from the country rock that is done in the mainstream it is not a signal of alarm: “the pop has been immersed in the rock forever”. Talking about the Mexico of the eighties, “it was not easy to get away from the Beatles, for example; what child could do it, how to abstract it?”.

Under the premise that our musical roots are not american and that this does not mean that we should slit the veins, the journalist suggests to take a heard Damn Neighbourhood and the Sons of the Fifth Patio; “if you do, you’ll notice that the group hijacked the popular culture that we all know, the legacy of people such as Juan Gabriel, but marking at the same time your distance”. It is Schmidt who continues with examples: “there is Bottle of Sherry, and their appropriation of folklore or The Canyon doing the bolero. And to top it all off are the ethno-rock and the cave. All of that can not be ignored. The disk The navel of the moon, of Luis Perez, came out in 1980; that is, how many years since we have ethno-rock? You can’t say that the pop came to end with the blues or the rock. No. But, instead, I could say that the rock has contributed to the enrichment of the folklore mexican”.

Ubiquémonos in England, when The Rolling Stones and The Yardbirds, among others, discovered the blues, that of the united States came from. What the then-young british calcaron that sound, made a faithful copy of it, or adopted it —as in Mexico it is made with rock & roll— to interpret it in their own way and from then on continue with the natural evolution of a genre promiscuous by nature? After finding the answer, trasladémonos to Neza, Ecatepec, Cuautitlán. Attend a marathon as at the end of every week take place there, in the dust, away from theRock in your Language Sinfónico, where the blues is still law under the motto of “urban rock”. There it is possible to find many answers. It is Schmidt who extends to us the invitation to clarify the picture: “there, in the margins, is where it speaks of Mexico’s hardest hit. If that is what you are looking for, in those concerts is very much alive in the blues, the song black desperate protest”.

Do You Rock in Your Language Gave it in the Mother-to-rock