Prospectus

Finding the Mexican root in the feedback:

How Chicano Rock and Roll made Mexico’s Rock more Mexicano

By Jorge N. Leal

Statement of Topic and Primary Research Question

Ever since the inception of rock and roll as a youth musical expression in the United

States, Mexican-Americans have been at both ends of the music stage. Standing on top of

the stage, as performers and, in front of the stage as part of enthralled audiences. The

prevailing notion in academic literature is that Mexican-Americans first embraced rock

and roll as an assimilation instrument into the American mainstream society, while the

latter sub-genres of rock music, such as punk, new wave, etc were used as tool of

resistance and the affirming of themselves as a ethnic youth subculture.

However, there is yet unexplored angle, the implications of rock and roll as exchange

instrument for the Mexican-American youth and the Mexican youth. On the other side of

the border, a parallel process occurred. Rock and roll created a new vehicle for the

Mexican youth to express themselves in a politically restrictive society. In Mexico, rock

and roll provided one of the few outlets for unrestricted expression for the youth and

allowed to create a distinctive youth culture that manifested differently according among

different class groups.

The Mexican-American youth and the Mexican youth expressed themselves and utilized

rock and roll to assert and themselves as a subculture, but most significantly, the music

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and its environment fostered the reaffirmation of their cultural identity.

There were then, parallel rock and roll music expressions being created by the youth on

both sides of the border. The inquiry that this study will deal with is: What were the

intersection points between Rock and Roll made by Chicanos and their cousins the

Mexican rocanroleros? But, most importantly, why are these meeting points important

and relevant in understanding the youth cultural identity formation?

Statement of Proposed Argument and Thematic/Theoretical Framework

The intent of this study is to find the connections, parallels and intersection moments

between Chicano Rock and Roll and Mexican Rock and Roll, and how these moments

assisted both the Mexican rockeros and the Chicano musicians in their quest to create a

Mexican identity seep deep within the youth subculture.

This paper will be situated within the theoretical framework of the definition and creation

of youth subcultures in industrialized nations. This approach will focus on the Mexican

American youth. To analyze the Mexican youth the thematic approach will be enhanced

by the theories on subalternaty, particularly as Mexican intellectual circles utilized rock

and roll to propagate ideas not in synch with the P.R.I. party line. Moreover, protagonists

on both countries will be profiled as organic intellectual and their impact on their

community pondered. Finally, the musical production of both scenes also shared

intentions when it comes to resistance against the establishment, therefore the theory of

resistance through music will be present in this study as well.

The argument this study attempts to support is that while both music scenes developed in

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parallel with each other, there are points of intersections and most importantly these

junctions created a continued dialogued that assisted both the Mexican youth and their

pocho cousins in their cultural reaffirming process as part of the a youth subculture and

as members of the Mexican diaspora.

Statement of Intervention in Existing Literature

This paper will build upon and engage with literature that has defined and analyzed

subcultures, popular culture and resistance through artistic and intellectual expression. A

starting point of literary engagement will be the work produced by scholars emanating

from Birmingham School of Cultural Studies. The seminal work on youth subcultures

“Resistance through rituals: youth subcultures in post-war Britain”(1976) edited by Stuart

Hall will be a launching pad. The use of iconography and symbols will also be analyzed,

therefore the work of Dick Hebdige “Subculture: the meaning of style” will provide

context and method of study.

Moreover, the work performed by American theorist George Lipstiz regarding the

cultural expressions emanating from Mexican-American the East Los Angeles barrio will

also be brought to the conversation, his essay is included in his book “Time passages:

collective memory and American popular culture” (2001).

The question of subalternaty in Latin American has been pondered by Gareth Williams in

his book The Other Side of the Popular (2002) and will provide useful framework to the

question of subaltern expression in Mexico and well as in the United States. Another

Anthology that will be approaches the subculture topic is “Generations of Youth: Youth

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Cultures and History in Twentieth-Century America”(1998) edited by Joe Austin and

Michael Nevi Willard.

This paper will also engage with studies that have analyzed the social and cultural impact

of rock and roll in Mexico. Eric Zolov’s “Refried Elvis: the rise of the Mexican

counterculture”(2002) stands out as the most authoritative polemic that delves into the

subject and it is necessary to include this text in the conversation.

A concise study on Mexican popular culture should include the perspective of Mexican

scholars. This conversation involves the work of scholars José Manuel Valenzuela and

Violeta Torres Medina will be included. Valenzuela’s A lá Brava Ese” (1988) deals with

the punk subculture in Mexico as well as his study on cultural studies in Mexico (2003)

will be brought into the conversation. Torres Medina’s “Rock-Eros en concreto: genésis e

historia del rockmex” (2002), provides a historiography on rock and roll produced in

Mexico and a basic sociological overview of the impact in Mexico’s society.

Statement of Sources and Methodology

The following study will examine secondary sources written by academic scholars in

several fields such as musicologists, anthropologists and musicians themselves

chronicling the trajectory of Mexican-Americans in rock and roll as well as the rise of

rock and roll in Mexico. Moreover, this effort will examine periodicals published in Los

Angeles (La Opinión, Los Angeles Times) and Mexico City (El Universal, El

Informador) to shed light about the opinions and attitudes Mexican society and cultural

critics espoused in regards to rock and roll.

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Statement of Proposed Organization of Project

This project will first details the emergence of rock and roll in both the Mexican-

American barrios and in Mexico’s metropolises. It will continue with describing the

reception of Rock and roll in the youth as well as in the general population. Starting from

this foundation, this effort will expand on the purpose and impact of rock and roll in the

youth of both of the Mexican-American youth in the Diaspora and the Mexican youth.

This study will then identify and analyze the intersection points in lyrics, imagery and

symbolism. Lastly, a conclusion will be reached and proposed.