By Eric Zolov
Through an engrossing research of tune and picture, in addition to fanzines, newspapers, govt records, corporation reviews, and diverse interviews, Zolov indicates how rock song tradition grew to become a unstable commodity strength, whose construction and intake options have been formed by means of intellectuals, nation enterprises, transnational and native capital, musicians, and fanatics alike. greater than a historical past of Mexican rock and roll, Zolov's learn demonstrates the politicized nature of tradition less than authoritarianism, and provides a nuanced dialogue of the consequences of cultural imperialism that deepens our knowing of gender relatives, social hierarchies, and the very meanings of nationwide identification in a transnational era.
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Extra info for Refried Elvis: The Rise of the Mexican Counterculture
Y hasta aqui lleg6. . ' Te lo brindo yo. For a society already attuned to the mambo the gyrating hips of Elvis Presley were scarcely scandalous. Rather, what would ultimately matter to Mexicans was rock 'n' roll's affronts to patriarchal values. Even the valence of singing in English came to have dual meaning: on one hand English conveyed a notion of cosmopolitanism, yet on the other it underscored the dangers of foreign cultural influence on the Mexican family. 1° Rock 'n' roll's early popularity among adults must be seen not only in the broader context of a cultural tradition of incorporating novel dance fashions to suit urban popular tastes but as a reflection of the transforma.
45 This strategy of internationalizing Mexican artists continued throughout the 1960s and was duplicated by the other major record c ~ m p a n i e s . ~ ~ All Mexican performers under contract with CBS Records, for instance, were now considered for an "exploitation plan" to include "globe circling t o ~ r s . " ~And ' in a reflection of the growing significance of the Mexican American population in the United States, in 1962 RCA also initiated another shift in tactics. No longer would distributors have to order directly from the RCA-Victor Mexicana subsidiary.
S. 48 If the record companies are to be credited with the promotion of Mexican music beyond the nation's borders, extending the nation's repertory of rancheras and romantic ballads to such disparate markets as Argentina, Japan, and Holland, at the same time these same companies served as vehicles for the torrent of foreign tunes into the Mexican market. "50 Rock 'n' roll was, of course, part of that torrent, though it was by no means alone. Moreover, access to imports, including rock 'n' roll, was restricted by economics, a fact adjusted somewhat as local pressings accommodated and later displaced such demand.