It is a given that rock and roll is most certainly American by birth. Also undeniable is how its seeds have taken root all over the globe, not just in other English-speaking countries, but in lands where it was morally reprehensible to enjoy or perform it. Or where it could land you in jail or worse. (Behind the old "Iron Curtain" of the former Soviet empire, for instance.) In the Spanish-speaking world,it quickly gained a fanbase early on, due to the US' close proximity to Mexico--for decades the Hollywood of Latin America--and the power of its rebellious, youth-oriented attitude.
But long before Carlos Santana first fused Afro-Caribbean rhythms with blues-based rock and roll in late '60s San Francisco, there was nueva ola ("new wave"): a hugely popular Latin American musical movement of the '50s and '60s in which current rock and roll hits were translated into Spanish--with liberties in translation frequently taken--and recorded and performed by the youth stars of the day. "Hang on Sloopy" became "Lupe"; "This Diamond Ring" was soon "Este Diamante", etc. etc.
Throughout the '70s and early '80s Latin America seemed more in tune with exploring its musical roots and as such, rock music took a back seat to native sounds and the burgeoning nueva trova protest music. But there were always bands writing and performing rock music, and in the late '80s potent scenes started popping up all over the place, with Mexico and Argentina--both with a health tradition of rock music throughout the years--at the forefront.
And then, something interesting happened: the significant influx of Latin American youth into the US brought with it the rock music of their native countries, and soon enough rock en español bands started popping up in cities with significant Spanish-speaking populations, like New York, Los Angeles, Miami, Chicago, San Francisco, and across the state of Texas. The first half of the '90s was the scene's golden era here in the US, with homegrown acts--many of which, in a cool display of multi-culti fusion, had non-Spanish speaking, non-Hispanic members in their lineups--performing alongside big-name bands touring the US from Argentina, Colombia, Mexico, Venezuela, and Spain, among others. It was the next big thing. And then it wasn't.
So, what happened? Good question.
Depending on who you ask, that particular line of inquiry breeds a sort of Rashomon effect--named after Akira Kurosawa's classic film Rashomon, "in which a crime witnessed by four individuals is described in four mutually contradictory ways"--but "5"er Carolina Gonzalez, posting on her Sound Taste blog, has taken the bait and risen to the challenge of finding out why rock en español died a quiet death here in the US. (She's also touched off a bit of a shit storm in the process. Heh, heh.) Definitely an interesting read, and worth checking out. (Oh, and you'll find a [ahem] familiar blogger among those opining in the comments section.)
