By Eric Zolov
Through an engrossing research of tune and movie, in addition to fanzines, newspapers, govt files, corporation reviews, and diverse interviews, Zolov indicates how rock song tradition turned a risky commodity strength, whose creation and intake ideas have been formed via intellectuals, country enterprises, transnational and native capital, musicians, and lovers alike. greater than a heritage of Mexican rock and roll, Zolov's learn demonstrates the politicized nature of tradition below authoritarianism, and provides a nuanced dialogue of the results of cultural imperialism that deepens our figuring out of gender family, social hierarchies, and the very meanings of nationwide id in a transnational era.
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Extra resources for Refried Elvis: The Rise of the Mexican Counterculture
This was of course an idealization, but there was a great deal of truth in how such values were manifest in middle-class life. Reflecting on this, Rinc6n continued: - - My father was the ultimate authority; apparently everything worked and functioned according to what he said. But for that reason, my father had it quite well. He took charge of intervening in disputes when 28 / RefYied Elvis he wanted to; and when he didn't want to, he didn't. He had that privilege. While in reality, the standard for everyday behavior was set by my mother.
Considered a bold affront to traditional gender roles, one of the boyfriends angrily responds: "The problem with our times is that men have to feel like fools. Men are losing their quality as men. " his girlfriend retorts, clearly proud of her newfound economic and social independence, a reflection of real-life changes in middle-class gender roles. At this, the boyfriend stands up and challenges the rest of his friends to leave: "Whoever stays has no shame," he declares, before leading the boys away.
RCA's strategic use of its Mexican subsidiaries during this period is particularly revealing. It demonstrated the coincidence of a low-wage subsidiary operation, on one hand, with the exploitation of a native product for global export on the other. Beginning in 1959, RCA began to manufacture records at its Mexico City plant for export to the United States. RCA was responding to the small yet still significant demand for what it called "international records"; that is, foreign-language hits and specific market niches, such as Mexican American communities in the Southwest.