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      Vicente Fernández, ‘El Rey’ of Mexican Ranchera Music, Is Dead at 81

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      A beloved Mexican singer, Mr. Fernández was known for his powerful operatic range and marathon performances, delivered in a signature charro outfit and intricately embroidered sombrero.Vicente Fernández, the powerful tenor whose songs of love, loss and patriotism inspired by life in rural Mexico endeared him to generations of fans as “El Rey,” the king of traditional ranchera music, died on Sunday morning. He was 81.His death was announced in a post on his official Instagram account, which did not give a cause or say where he died. He had been hospitalized for months after a spinal injury he sustained in August, according to previous posts from the account.Accompanied by his mariachi band, Mr. Fernández brought ranchera music, which emerged from the ranches of Mexico in the 19th century, to the rest of Latin America and beyond. In his signature charro outfit and intricately embroidered sombrero, a celebration of the genre’s countryside origins, he performed at some of the largest venues in the world.He recorded dozens of albums and hundreds of songs over a career that spanned six decades. His enduring popularity was reflected in a series of industry accolades, including a place in the Billboard Latin Music Hall of Fame, a star on the Hollywood Walk of Fame, three Grammy Awards and eight Latin Grammy Awards. He sold tens of millions of copies of his albums and starred in dozens of movies.He was known for giving epic, hourslong concerts, communing directly with his fans and taking swigs from bottles of alcohol that were offered to him. Known fondly as “Chente,” he would tell his audiences that “as long as you keep applauding, your ‘Chente’ won’t stop singing.”Reviewing a 1995 performance at Radio City Music Hall for The New York Times, Jon Pareles wrote that Mr. Fernández “sang with operatic power and melodrama,” flexing his “ardent tenor” to “prodigious crescendos and a vibrato that could register on the Richter scale.”He continued to give marathon performances well into his 70s. At a 2008 concert at Madison Square Garden, Mr. Fernández held court for three hours. A lingering note, delivered in his “lively, if slightly weathered tenor,” could render the audience silent, Jon Caramanica wrote in his review in The Times.Vicente Fernández was born on Feb. 17, 1940, in Huentitán El Alto, in the state of Jalisco in western central Mexico. His father, Ramón Fernández, was a rancher and his mother, Paula Gómez de Fernández, stayed at home to raise their son.He grew up watching matinee movies featuring the Mexican ranchera singer Pedro Infante, an early influence. When he was 8, he received his first guitar and began studying folk music. He left school in the fifth grade and later moved with his family to Tijuana after their cattle business collapsed. He told The Los Angeles Times in 1999 that he took whatever work he could, laying bricks and shining shoes, and even washing dishes.“I’ve always said I got to where I am not by being a great singer, but by being stubborn, by being tenacious, by being pigheaded,” Mr. Fernández said. He gravitated to a public square in Guadalajara called Mariachi Plaza, where he performed for tips, he told The Los Angeles Times. His career took off after he won a competition called La Calandria Musical when he was 19, he said in a 2010 interview with KENS 5 of San Antonio. He moved to Mexico City where he sang at a restaurant and at weddings, and unsuccessfully pitched himself to local record labels.The labels came calling soon after the death in 1966 of Javier Solís, one of the most popular Mexican singers who specialized in bolero and ranchera music. Mr. Fernández then recorded his first albums, including hits like “Volver, Volver,” which elevated him to a level of fame that he had never envisioned, he told KENS 5. Other hits, including “El Rey” and “Lástima que seas ajena,” would follow.“When I started my career, I always had the confidence that I would one day make it, but I never imagined that I would reach the heights at which the public has placed me,” Mr. Fernández said.His public statements occasionally got him into trouble in his later years, such as when he said in a 2019 interview that he had refused a liver transplant because he feared that the donated organ might have come from a gay person or a drug addict. Earlier this year, he apologized after he was seen in a video touching a female fan’s breast without her consent while they posed for a photo.Mr. Fernández married María del Refugio Abarca Villaseñor in 1963. She survives him, as do the couple’s children, Vicente, Gerardo, Alejandra and Alejandro, a Grammy-nominated ranchera performer.Asked if a routine or exercise was a key to his longevity as a performer, Mr. Fernández told KENS that he walked every day for an hour and rode horses when he was home on his ranch. But when he was on tour, he said, “I don’t leave the hotels.”“Still, that keeps me healthy,” he said. “My voice is well rested. When I hear the public’s applause, I don’t know where the voice comes from, but it does for three hours. You’ll have to ask God to find out how he blesses me every time.” More

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      ‘Fauna’ Review: Narcomythologies

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      This lean meta-drama tackles the fictions typically associated with Mexican culture with droll humor and bold conceptual play.In “Fauna,” the Mexican Canadian filmmaker Nicolás Pereda teases with and deconstructs the fictions typically associated with contemporary Mexican culture in a lean 70-minute running time that abounds in droll humor and bold conceptual play.At first, the film starts out like a deadpan indie comedy heavy on the cringe: Luisa (Luisa Pardo) and her boyfriend Paco (Francisco Barreiro) drive out to a depopulated town in the Mexican hinterlands to visit Luisa’s parents for the weekend. Once they’ve reached their destination, they encounter Luisa’s churlish brother, Gabino (Lázaro Gabino Rodríguez), unfolding a tense, awkward dynamic that only worsens when Luisa’s father and mother arrive.When Luisa’s father (José Rodríguez López) takes the two men out for a beer, Paco — who plays an actor in the Netflix series, “Narcos: Mexico” — is asked to reprise his role right then and there, pitting his nervous disbelief against dad and Gabino’s stoic entreaties. Barreiro, who in real life acted in the drug trade drama, is eventually pushed to perform a monologue drawn directly from the finale of the first season, resulting in one of the most exciting, and wonderfully mortifying bits I’ve seen in quite a while.Pereda then deftly reorients the film by bringing to life the plot of a hard-boiled novel that Gabino is midway through reading. The actors from the first half of the film are recycled in this nested narrative, playing detective story archetypes involved in narco-adjacent intrigue ripped straight from the original characters’ dreams.Brimming with postmodern flourishes, “Fauna” calls attention to the slippery nature of performance and identity, lodging a complex, yet highly engrossing critique of narco culture’s influence on Mexican storytelling — and it does so without a drop of that pesky didacticism.FaunaNot rated. In Spanish, with subtitles. Running time: 1 hour 10 minutes. In theaters. More

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      Jimmy Kimmel: Texas in Crisis, Ted Cruz Says, ‘Adios, Amigos’

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      #masthead-section-label, #masthead-bar-one { display: none }Winter StormsliveLatest UpdatesMapping the ImpactTexans DesperateConnection to Global WarmingHow to HelpAdvertisementContinue reading the main storySupported byContinue reading the main storyBest of Late NightJimmy Kimmel: Texas in Crisis, Ted Cruz Says, ‘Adios, Amigos’“Snake on a plane, right there!” Kimmel joked. “Headed, ironically, to the very place he tried to build the wall around.”“And on a day when the most newsworthy landing should have been the NASA Rover successfully touching down on Mars, instead, it was a senator from Texas touching down on Cancún,” Jimmy Kimmel said on Thursday.Credit…ABCFeb. 19, 2021, 1:04 a.m. ETWelcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.Feeling the HeatLate-night hosts couldn’t resist coming down on Senator Ted Cruz for taking a trip to Mexico after a winter storm left millions without power and water in his home state, Texas.“Snake on a plane, right there!” Jimmy Kimmel joked on Thursday. “Headed, ironically, to the very place he tried to build the wall around.”“Hundreds of thousands of Texans are still without power. And on a day when the most newsworthy landing should have been the NASA Rover successfully touching down on Mars, instead, it was a senator from Texas touching down on Cancún.” — JIMMY KIMMEL“While his fellow Texans are freezing with the power out, Ted Cruz did what any great leader would do when his state needs leadership most — he booked a flight to Mexico and said, ‘Adios, amigos!’” — JIMMY KIMMEL“Ted Cruz! No, man, you got to be [expletive] me, dude! Your people are literally eating snow right now, and you’re jetting off to Cancún? I’m not even mad that you were selfish — I’m mad that you were so stupid. How can you be in politics for 10 years and still have no idea how bad this would make you look. What were you thinking?” — TREVOR NOAH“I mean, seeing Ted Cruz skip town for the beach has been very frustrating for the people in Texas. But on the other hand, it has been really exciting for the people in Cancún who got to meet him on the street: ‘Wow, bro, I didn’t know that Señor Frog was a real guy. That was awesome.’” — TREVOR NOAH“I mean, look, I get that Ted Cruz is tired. The man deserves a break after trying so hard to overthrow the government, but this is not the time, Ted!” — TREVOR NOAH“When your constituents said they need clean water, they didn’t mean go find a wet T-shirt contest in Cancún.” — TREVOR NOAHThe Punchiest Punchlines (Total Ted Cruz Edition)“And what is even worse is that when he got caught, instead of owning up to it and apologizing, he acted like a total Ted Cruz.” — TREVOR NOAH“Seriously, Ted Cruz blaming his daughters for this is just gross. Being a good father means putting them on a bus, not throwing them under one.” — TREVOR NOAH“Oh, I see — we all got this thing wrong. Ted Cruz wasn’t going on vacation, people; he was just chaperoning his girls on the flight to Cancún. So, in some way, this was like a reverse ‘Taken’: [imitating Ted Cruz as Liam Neeson] ‘I want you to know that I am a man with absolutely no skills whatsoever, and I’m going to safely accompany my daughters on this trip.’” — TREVOR NOAH“He booked his return ticket at 6 a.m. this morning, after he got busted. But I guess we were supposed to believe he was just chaperoning his wife and kids to Mexico and was planning to come back the next day all along, with a carry-on bag stuffed like a piñata.” — JIMMY KIMMELThe Bits Worth WatchingDesus and Mero weighed in on “The Bachelor” host Chris Harrison stepping away from the show after recent controversy.Also, Check This OutCredit…The New York TimesThere’s something for everyone in the essential works of Toni Morrison in celebration of what would have been her 90th birthday.AdvertisementContinue reading the main story More

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      ‘Anything for Selena’ Examines a Singer’s Legacy and Latino Identity

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      AdvertisementContinue reading the main storySupported byContinue reading the main story‘Anything for Selena’ Examines a Singer’s Legacy and Latino IdentityWhile the podcast is a biography of the Tejano star, it also weaves in the personal story of the host and examines why the singer has had a lasting effect on culture.Maria Garcia, the host and creator of “Anything for Selena,” in El Paso, Texas, where she was raised.Credit…Ivan Pierre Aguirre for The New York TimesFeb. 2, 2021Maria Garcia has a distinct memory of when her connection to Selena Quintanilla-Pérez began. It was the early 1990s and she was 7, watching the Tejano star perform on television.“She had this cascade of black hair, red lips, brown skin,” Garcia says in the first episode of the new podcast “Anything for Selena.” “She sang like she felt every single word of her songs, like the music was emanating from her body.”It was a pivotal moment for Garcia, the podcast’s host. Born in Ciudad Juárez, Mexico, and raised in El Paso, Texas, she struggled to figure out who she was and where she belonged, describing in the podcast how she felt “a rejection, a stigma, in both countries.” Yet, here was someone who looked like her, uncompromising in her biculturalism and appearance. Selena was Mexican as much as she was American. Her first hits, like “Como La Flor,” were in Spanish, but “Dreaming of You,” her posthumous English-language album, was a mainstream success and the 1997 biopic starring Jennifer Lopez further cemented her legacy.While the show, a 10-episode podcast co-produced by Boston’s NPR affiliate WBUR and Futuro Media, serves as a biography of Selena, it also weaves in Garcia’s personal story. And she makes the case for how the singer’s life and death (Selena was fatally shot by the president of her fan club in 1995) were profound flash points for Latinos like herself that had lasting effects on the cultural landscape. The episodes drop each Wednesday and are paired with Spanish-language versions.Selena was Mexican as much as she was American, uncompromising in her biculturalism and appearance.Credit…Arlene Richie/Media Sources/The LIFE Images Collection via, Getty ImagesI also grew up in Texas, 100 miles north of Corpus Christi, where Selena was from, and like Garcia, I am a first-generation Mexican-American. Whether it was at a quinceañera or blaring from the kitchen radio, Selena’s music was part of the soundtrack to life. Tejano music, which fuses Mexican, European and American influences, was an expression of what it means to be from Texas. She embodied all those influences.Garcia is currently staying in El Paso, where she spoke on the phone about the series and how much it hinged on a meeting with Selena’s father, Abraham Quintanilla, who is known to be very protective of her legacy. These are edited excerpts from the conversation.What was the inspiration for “Anything for Selena”?The podcast has been my own search to figure out where I belong in the world and how I belong in the world. Everybody who knows me knows that I have always been a huge Selena devotee from the time I was a little girl to my adolescence and to my early adulthood.The last home video I have with my father before he died, it’s of us dancing to Selena music. I realized there were all these moments in my life where Selena was there, and I really wanted to unpack why she felt so profound to me even in my 30s. I knew the answer was more than just she was this Mexican-American performer in the ’90s — a time when that really incentivized assimilation. I wanted to go even deeper and try to connect the dots through the decades and really try to do her legacy justice in music and in culture.The other thing about this series is that it’s partly a memoir about your upbringing and life on the border and struggling to fit in. It made me think of this saying in Spanish, “ni de aquí, ni de allá,” neither from here nor there. Why did you want to open up about that?I wasn’t thinking of it as a memoir when I started writing it. For me, I was telling this story because when I was 7 years old and I have the first memory of Selena, I didn’t have the language to articulate what she meant to me.There was this tension between these two parts of me, and to see somebody who embodied both of those parts fully in the States and in Mexico, who traversed the two countries without code switching, who was the same person on both sides of the border — I’d never seen anything like that. It struck me at a young age and it stayed with me all of my life.Garcia was filled with trepidation in meeting Selena’s father, known for tightly controlling the singer’s legacy.Credit…Ivan Pierre Aguirre for The New York TimesThe most recent episode has topics that listeners may find intriguing.We explore race pretty deeply in these next episodes. I have this theory that there is a direct historical lineage from Selena to today’s mainstreaming of big butts. Black women have always been at the forefront of celebrating curvaceous bodies, but there is this moment in the mid-90s, after Selena’s death, and particularly at the time of her biopic, when Latinas made it a feature that became desirable in the mainstream.To me, that story is about Latino identity’s fraught relationship with Blackness and the way Latinidad (the concept of U.S. Latino identity) has dehumanized and erased Black people while capitalizing on and obsessing over Black features. And the way that Latino identity has served to make these features palatable for white audiences.In the second episode, you talk about going to meet Abraham Quintanilla, Selena’s father. What was that experience like and did you have concerns about what might happen?Oh absolutely. I was terrified. I flew to Corpus Christi without any guarantee that he would even see me. We had been trying to acquire the music rights for Selena’s catalog. We had heard from the record label and they told us that not only the family rejected it, but that they were not supportive of the project.But I knew Abraham was one of the foundational keys to understanding Selena. It’s amazing how often and how devotedly she talked about her father. They had a creative bond over their craft, over music.He’s this really imposing character, especially in Spanish media. There’s been so much salacious coverage about him, and I wanted to get to know him as a person, without an agenda. I think he realized that after he spent some time with us and opened up.It felt like he let his guard down with you.And I with him. It was reciprocal.He is genuinely a complicated person. He admits that he was an incredibly demanding father. But he told me he has moments where he wonders if he had not pushed Selena to be a star, would she still be here? That’s a very real tension he has lived with for the last quarter century.Young mourners outside Selena’s home the day after she was killed in 1995.Credit…David J. Phillip/Associated PressThe series also discusses how after Selena’s death, Howard Stern became a flash point on how Latinos were portrayed in the media. It was startling to hear the rhetoric now (in a clip, he makes fun of her and the Latinos grieving her death; he later apologized). Do you think much has changed since then?A lot of people listen to that archive tape and feel distressed. I say this in the episode — this is his thing. But I really wanted to focus an episode on that because that is the moment in the Selena journey that it became clear to me how political [her death] was. To make fun of the people who mourned her was to dismiss the life of Latinos.When I heard this tape, all I could think about were the women in Juarez who have been murdered over generations and nobody cared. And it feels like to this day, nobody cares. So many of them looked like Selena. These are women who were poor and brown like Selena had been. But Selena was afforded a different path because she was born on this side of the border.Even if she did everything right, even if she played by all the rules, still to Howard Stern, her life didn’t matter. That’s the moment where her symbolism took off, the weekend after her death. After her death, her symbol then transformed even more. She became this vessel to look at the polemics, tensions and narratives around Latino life and its worth.AdvertisementContinue reading the main story More

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      Armando Manzanero, Mexican composer of hits by Luis Miguel, Elvis Presley, dead at 86

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      #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesThe Stimulus PlanVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyArmando Manzanero, Influential Mexican Balladeer, Is DeadHe was known as one of the great romantic composers. His songs were performed by Elvis Presley, Andrea Bocelli, Christina Aguilera and many others.The singer-songwriter Armando Manzanero performing in 2017 in Alamos, Mexico. He was hospitalized with Covid-19 in the days before his death.Credit…Luis Gutierrez/Norte Photo, via Getty ImagesJan. 1, 2021, 1:28 p.m. ETArmando Manzanero, one of Mexico’s greatest romantic composers, whose ballads were performed by the likes of Elvis Presley and Christina Aguilera, died on Monday in Mexico City.Mr. Manzanero’s family gave his age as 86, though some sources have said that he was 85.His death was announced on national television by President Andrés Manuel López Obrador and by the Society of Authors and Composers of Mexico, of which Mr. Manzanero was president.“A great composer, among the best of the country,” and “a socially sensitive man,” Mr. López Obrador said.Mr. Manzanero had been hospitalized with Covid-19 and placed on a ventilator a week before his death, but his son, Diego Manzanero, said the cause was cardiac arrest following complications of kidney problems.In a seven-decade career, Mr. Manzanero wrote more than 400 songs, including hits like “It’s Impossible” and “Adoro” (“I Adore You”). He received a Grammy lifetime achievement award in 2014. He was also a lauded singer and producer.After touring with several well-known Mexican musical artists early in his career, he recorded his first songs in 1959 and released his first solo album, “A Mi Amor … Con Mi Amor” (“To My Love … With My Love”), in 1967. He went on to release dozens of albums, some of them consisting of duets.In 1971, Mr. Manzanero received a Grammy nomination for song of the year for “It’s Impossible,” a translation of his 1968 song “Somos Novios,” sung by Perry Como. The song, with a lush melody and syrupy lyrics, has remained popular. Elvis Presley recorded, as did Andrea Bocelli, in a duet with Ms. Aguilera.Luis Miguel sang several of Mr. Manzanero’s songs for his album “Romances,” released in 1997. A worldwide success, the album was credited with giving new popularity to Latin romance music, which had lost favor to some degree with the rise of Latin pop in the 1980s and ’90s.Often deceptively simple but imbued with tenderness and passion, Mr. Manzanero’s love songs have resonated for decades across cultures and languages.“A song has to be written with sincerity,” he told Billboard magazine in 2003. “It can’t be written with the desire to have instant success or passing success.” Rather, he said, it should be written to last.The Coronavirus Outbreak More

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      in Television

      ‘Break It All’ Celebrates the Oppositional Energy of Latin Rock

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Break It All’ Celebrates the Oppositional Energy of Latin RockA new six-part Netflix series explores half a century of music under pressure.Soda Stereo onstage in 1984. The band is one of many featured in “Break It All,” a six-part documentary series on Netflix.Credit…NetflixDec. 16, 2020, 4:33 p.m. ETLatin America has taken rock seriously. Seriously enough for governments to suppress it. Seriously enough for bands to sing about political issues, societal troubles and the spirit of rebellion. Seriously enough for fans to risk arrests and beatings to see a concert. While Latin rock can be thoroughly entertaining — catchy, playful, rambunctious, over the top — it rarely settles for being mere entertainment. There’s often far more going on behind the melody, rhythm and noise.“Break It All,” a six-part documentary series named after a song by Los Shakers that arrives Wednesday on Netflix, hurtles through the history of rock in Latin America, from the 1950s — when Ritchie Valens, a Mexican-American born in California, turned the traditional Mexican song “La Bamba” into an American rock ’n’ roll cornerstone — to the 21st century.“Rock ’n’ roll is a form of communication,” Àlex Lora, of the blunt and boisterous Mexican hard-rock band El Tri, says in the documentary. “And it would be illogical, since there are millions of people who speak the language of Cervantes, if we didn’t have our own rock ’n’ roll.”[embedded content]The documentary is narrated by the artists themselves, speaking about both their music and the times they lived through. There are glimpses, and often considerably more, of nearly every major Latin rock figure of the last half-century. The names of bands and performers rush by, many of them probably unfamiliar to listeners in the United States. For those who want a second listen, the documentary makers compiled a companion playlist on Spotify under its Spanish title, “Rompan Todo.”A prime mover and executive producer for “Break It All,” as well as one of its onscreen musician-historians, is Gustavo Santaolalla, who has won two Academy Awards for his film scores and has produced albums for rockers across Latin America, winning a dozen Latin Grammy Awards. His own group, Bajofondo — which mixes tango, rock, orchestral arrangements, electronics and even a bit of disco — is nominated for a Grammy this year in the Latin rock or alternative album category.“I believe the future of rock resides in women and in the third world,” said Gustavo Santaolalla.Credit…NetflixAs “Break It All” moves through the decades, it juxtaposes exuberant songs and concerts with contemporaneous images of dictatorships, coups, uprisings and crises. Musician after musician defines rock as “freedom.”“I had this idea forever,” Santaolalla said in a video interview from his home in Los Angeles. “I wanted to tell this story against the background of the sociopolitical ambience of the time. Even musicians that are part of the story don’t make this connection easily. But when you start to dig in and look at the big picture, you realize how similar the situations were, how the same things happened in many countries.”During his younger days as a longhaired rock musician, Santaolalla himself was arrested and jailed multiple times in Buenos Aires — though never, he recalled, for more than three days. “Rock is not associated with any political party,” he said. “It doesn’t hold a political flag. But nevertheless we were enemies of the state.”Latin rock, also known as rock en español or Latin alternative, evolved with eyes and ears on English-language rock. There’s Latin blues-rock, Latin psychedelia, Latin metal, Latin new wave; throughout the series, Latin rockers cite their American and British counterparts. So in some ways “Break It All” shows a Spanish-speaking parallel universe to the history of rock in the United States and England, particularly in its early years.“We wanted to have self-expression — music that was crafted by us, that talked about our daily life,” said Rubén Albarrán, the lead singer of Café Tacvba.Credit…NetflixIn the 1950s, bands like Los Locos del Ritmo and Los Teen Tops translated American rock ’n’ roll songs into Mexican slang; in the 1960s, bands like Los Shakers vied to sound like the Beatles.“In our early, early, early years, when we were little kids, we were trying to be like the Beatles and sing in English,” Santaolalla said. “And then we realized, no, we have to sing in our language. And we have to play in our own language.”The best Latin rockers have infused imported sounds with local legacies, moving beyond imitation to innovation — bands like Soda Stereo from Argentina, Aterciopelados from Colombia and Café Tacvba from Mexico. Along with all they learned from rock, those bands and others draw on tango, ranchera, cumbia and numerous other homegrown styles, creating hybrids that resonate with and ricochet off cultural memories.“We wanted to have self-expression — music that was crafted by us, that talked about our daily life,” Rubén Albarrán, the lead singer of Café Tacvba, said via video interview from his home in Mexico City. “We put the energy of rock music behind the concept of being inquieto,” which translates as restless, worried or uneasy. “To be moving all the time, and to break away from the rules of our society.”“Break It All” hops from country to country, more or less chronologically, but concentrates on Mexico and Argentina. “There’s great music in all the region, but I like to think of those countries as a battery,” Santaolalla said. “One pole is Mexico and the other is Argentina, the north and the south. Mexico is closer to the U.S., and Argentina is closer to Britain in terms of sound and perspective.”Maldita Vecindad onstage in 1987.Credit…NetflixThe documentary traces cycles of expansion, suppression and rebound, of growing ambitions and widening connections. Under dictatorships, rock was at times forced underground. In Argentina, after the singer Billy Bond incited an arena crowd to “break it all” and the audience smashed seats, rock disappeared from television and radio; recording projects had to be submitted to government committees. In Mexico, the country’s rockers were vilified for more than a decade — and shut out of mainstream performing spaces — after a 1971 festival modeled on Woodstock, Avándaro, where the band Peace and Love declaimed songs like “Marihuana” and “We Got the Power” and used obscenities during a live radio broadcast that was immediately cut off.But musicians persisted, and audiences supported them. Mexican rock started to resurface when radio stations were playing Spanish-language rock from other countries and Mexican labels wanted their own share of the market. Argentine rock got an unlikely boost when, after Britain won the Falklands War in 1982, rock in English was banned from Argentina’s airwaves.The arrival of MTV Latin America in 1993 brought a new, border-crossing solidarity to Latin rock. Musicians became more aware of kindred spirits abroad; they realized that they weren’t struggling alone. Individual or national missions began to feel like a movement. And they had plenty of targets: authoritarian governments, economic turmoil. The music continued to cross-pollinate — with electronics and hip-hop — and it began, though belatedly, to recognize women’s ideas and voices.Latin rock never broke the language barrier to reach English-speaking audience in the United States; that current commercial breakthrough belongs to reggaeton and the vaguer Latin genre called urbano, both drawing primarily on hip-hop and reggae.“In my 50 years in this, I’ve heard the phrase ‘rock is dead,’ ‘rock is finished,’ so many times,” Santaolalla said. “When we started the series three years ago, I said rock is in hibernation. But now I say rock is in quarantine. I believe the future of rock resides in women and in the third world — they are going to be the pillars of rock. They are going to bring the vaccine.”AdvertisementContinue reading the main story More