Rock music in Mexico

Born in Texas in 1928, Ríos arrived in Mexico in 1944 and began recording in 1955 with many musicians (and their orchestras), such as Héctor Hallal, Jorge Ortega, Pablo Beltrán Ruiz, and most importantly, with Mario Patrón and his Estrellas del Ritmo.

Ríos became very popular at the time due to her starring roles in films like "Las locuras del rock and roll" (1956) and "La rebelión de los adolescentes" (1957), but she later married Mario Patrón and in 1960 she went with him to Europe, where they stayed for many years.

Fearing a "Moral Crisis," the PRI-controlled government imposed restrictions on rock music and films, in an effort to protect the "Buenas Costumbres," or proper family values, by "avoid[ing] noxious or disturbing influences on the harmonious development of children and youth."

This combination of factors created the "Refrito" movement of the 1950s and early 1960s, where Mexican rock musicians reworked foreign songs to fit in with into the restrictions on music.

One group in particular, Los Teen Tops was very popular in Mexico and in many other countries of the Hispanic world, specifically in Argentina and Spain; their recordings "La plaga" and "Popotitos" are considered some of the most representative of the era.

The counterculture movement is generally agreed to have its roots along the USA-Mexico border, particularly in Tijuana, where the geographical proximity allowed for easier access to foreign music.

After winning a local contest, they signed a contract with Polydor Records, and their single "Nasty Sex" was a #1 hit in Mexico in 1971, the only rock song from a Mexican band to achieve such a feat in that decade.

With the Avandarazo effect at its height and the hippie movement waning worldwide, few bands survived the curbs; though the ones that did, like Three Souls in My Mind (later El Tri), remained popular due in part to their adoption of Spanish for their lyrics, and had a dedicated following.

Performers like Víctor Jara, Violeta Parra, Inti-Illimani, Los Folkloristas and local Óscar Chávez among many others denounced in their songs the atrocities of the military juntas, all of which experimented with even worse repression than Mexico during the Tlatelolco incident, that governed most of the countries from Nicaragua to Tierra del Fuego, and curiously the cafes cantantes thrived, as long as nothing was overtly critical of the Mexican government in general.

Later, the musicians were dubbed 'Los Urbanos', because although they played acoustic guitars, the themes of their lyrics revealed the adverse conditions the working class had to face in the big cities, and blues forms were incorporated in their compositions.

Many others continued to surface, but Rockdrigo's untimely death during the earthquake of 1985 in Mexico City skyrocketed his already legendary status, and thus he is considered the most influential exponent of both rock urbano and música rupestre.

Initially the trading took place inside the facilities of the museum, but by the end of the year the increasing number of attendees became too large for the venue, as collectors sought records that were otherwise impossible to get from established outlets.

The gathering extended to the street right in front of the museum, and several stands were erected, transforming the event into a tianguis, a kind of outdoor flea market or bazaar.

The museum and the National University eventually broke ties with the tianguis, stating that it had got out of hand, and due to increasing friction with local residents, the government soon tried to ban it.

As well as the original record trading, other products sold and displayed at the event include clothing, posters, movies, handicrafts, magazines, books, instruments, and other rock-related paraphernalia.

Influential Spanish rock bands like Hombres G, Mecano, Radio Futura and La Unión took over the spotlight with their experimental sounds and melancholic lyrics[clarification needed].

Mexico’s music culture saw a newly inspired generation of rock bands emerge in response such Caifanes, Maná, Ritmo Peligroso, Botellita de Jeréz, El Tri and the Micro Chips.

Their genres vary considerably, but they include COhETICA, El Gran Silencio, Genitallica, Jumbo, Kinky, Panda, Plastilina Mosh, The Warning, Volován, Zurdok and the heavy metal band IRA.

The all-female heavy rock band, The Warning became internationally successful from the 2020s, making several concert tours in North-America and Europe, performing on major music festivals[14][15] and even promoted by MTV.

Bands such as Sak Tzevul, Hamac Caziim, and Los Cogelones have been some of the most prevalent in the modern Indigenous rock scene, with each bringing their own distinct style through their cultural dress and language.

"[19] In the 1990s and 2000s, a number of performers have attained international renown, including alternative rock acts such as Santa Sabina, Café Tacuba, Fobia, Caifanes (now Jaguares), Julieta Venegas, ska band Maldita Vecindad, and synthpop group Mœnia.

Mexican indie rock gained greater visibility internationally, thanks in part to streaming platforms and festivals like Vive Latino and Corona Capital, which provided exposure for both new and established artists.

Bands like Siddhartha, Ximena Sariñana, and Girl Ultra helped bring Mexican indie rock into the mainstream while embracing global trends like electronic music and R&B.

As streaming platforms and social media became even more influential, the Mexican indie rock scene continued to grow, reaching a wider audience and establishing itself as a significant force in the global music landscape.

Alternative groups and artists such as Motel, Reik, Allison, Panda, Hello Seahorse!, División Minúscula, Zoé, Natalia Lafourcade, and Insite have received mainstream success in Mexico and throughout Latin America.

The indie music scene in Mexico has produced bands such as Porter, Austin TV, Animal Gang, The Copper Gamins, inspired by The White Stripes, from more remote central Mexico,[22] Los Dynamite, Chikita Violenta, Los Jaigüey, Secret Agent, Bengala, and Hello Seahorse!, who often write lyrics in English and have toured alongside American indie rock bands throughout Latin America and the United States.