Tijuana No!
| Tijuana No! | |
|---|---|
.png) Band logo from the album Transgresores de la ley |
|
| General information | |
| origin | Tijuana , Mexico |
| Genre (s) | Ska-punk , Latin rock |
| founding | 1989 as NO , 2010 |
| resolution | 2002 |
| Current occupation | |
| Cecilia "Ceci" Bastida | |
Singing, percussion , flute
|
Mahuiztecatl "Teca" García |
| Jorge Jiménez | |
| Jorge "Borja" Velásquez | |
Drums , bass |
Alejandro "Alex" Zúñiga |
Keyboard |
Dardin Coria (Live 2010) |
| DJ Tijuas (live performances 2010) | |
| former members | |
singing |
Mayumi Hideyoshi (1997-2000) |
Singing, percussion |
Luis Güereña (1989-2004; † 2004) |
Singing, piano |
Julieta Venegas (1989) |
| César Ortega (1989) | |
| "El Kilo" Múzquiz (1989) | |
| Zamudio siblings (1989) | |
Tijuana No! (often without the exclamation mark Tijuana No ) is a Mexican ska-punk band from the border town of Tijuana .
The music group, founded in 1989 as NO , released three studio albums in the 1990s. In their mainly Spanish lyrics, the band dealt primarily with the politics of Mexico and the United States . Tijuana No! showed solidarity with indigenous and oppressed societies and criticized racist structures in many parts of the world. The band separated in 2002, but gave a few concerts until 2006 and reunited in 2010.
The Tijuana No! S musical style encompasses elements from numerous traditional and modern genres; The sextet was inspired by bands on both sides of the US-American-Mexican border.
Band history
prehistory
Before the band Tijuana No! was born, Luis Güereña organized shows by Mexican and American groups in Tijuana in the 1980s. As a child, Güereña became interested in music, which was popular in the USA and Europe at the time. In his youth he attended concerts by Genesis , Peter Gabriel , Black Sabbath and Led Zeppelin and later got to know jazz and punk rock . Güereña had his first own appearances in a band called Solución Mortal (German: "fatal solution"), where he had to smuggle the bassist of the group to appear in the nearby cities of Los Angeles and San Diego across the border, since he had no travel documents.
Güereña is considered a pioneer and promoter of Ska and Punk in northern Mexico. He introduced the new style of music to the Mexican audience in the 1980s by bringing punk bands from California to Tijuana. In this way, reputable but also controversial bands like the Adolescents , Black Flag , X , Bad Manners and the Dead Kennedys came to perform in Güereña's hometown. The concerts he organized were always related to his support for movements such as the Sandinistas and the FMLN, and later the Zapatistas ; Güereña himself supported pro-Soviet movements in Central America, respected Maoism and was inspired by the Revolutionary Internationalist Movement founded in 1984 .
The creation of the band
In 1988 the band Radio Chantaje ("Radio Blackmail") was founded, which over the years has become Tijuana No! developed. The band's founder and drummer was Alex Zúñiga, who invited Julieta Venegas to join his project as a vocalist. Radio Chantaje mainly showed influences from The Clash , The English Beat , the Sex Pistols , Bob Marley , Iggy Pop , The Damned , the Red Hot Chili Peppers and The Specials .
Alejandro Zúñiga met Luis Güereña a little later when he was collecting money for left-wing political rebels in El Salvador and Nicaragua at an event organized by Güereña . Zúñiga suggested Güereña join the music group. From Alex Zúñiga, Julieta Venegas, Jesús “Chuy” González (guitar), Omar Veytia, Luis Güereña and Mahuiztecatl “Teca” García a new formation was created, which was named Chantaje . With this line-up, the band was active for about a year and a half. Chantaje had her first appearance at the end of 1988. A demo record from this time, which is assigned to the music style Ska and Punk, is considered to be the basis of the later band Tijuana No!
When the media interest in Chantaje increased, a dispute arose within the band: Güereña wanted to give Chantaje a more political image and spoke about his plans in interviews without discussing them with his bandmates. Chantaje dissolved a little later. Güereña went to Los Angeles to work with John Doe , but was persuaded to come back by Zuñiga, who supported his demands. Güereña and Zúñiga founded the band NO in 1989 , which was to devote its time to social and political issues.
In the founding phase, El Kilo Múzquiz and César Ortega were other members of the group. A little later, fifteen-year-old Cecilia Bastida first joined the band as a new drummer, soon switched to keyboard and became one of the first women in Latin rock to gain prominence . Meanwhile, Venegas left the band to start a successful solo career. She said she never intended to stay with the band forever and that the group's realignment made her feel limited. Still, she left the formation on good terms. The Zamudio siblings were also with the band for a short time. When they left NO, the group consisted of Cecilia Bastida, Teca García and Luis Güereña, and Jorge Velásquez, Jorge Jiménez and Alejandro Zúñiga. From this sextet came three musicians from Mexico City and three from Tijuana.
The way to a name and record deal
The new formation first rehearsed in 1989 in the house of Zúñiga's parents. At first she played purely for herself and did not think about commercializing her music as none of the members was dependent on the financial success of this project. In the early 1990s, the band gained increasing attention through provocative live performances, from the beginning of their live performances they captivated and dominated their audience. Enrique Lopetequi, a Uruguayan journalist for the Los Angeles Times , described the group as follows at the time:
“Tijuana No! is even more electrifying now, jumping from ska to reggae and from rap to World Beat collages without sacrificing its punk foundation. The group fills each song with so much color that it sometimes seems as if the band is trying to put everything it knows into every number. "
"Tijuana No! is now even more electrifying by jumping from ska to reggae and from rap to world beat collages without sacrificing their punk foundation. The group fills each song with so much color that at times it seems as if the band is trying to put everything they know into each number. "
In 1990, she appeared as the opening act of Fabulosos Cadillacs and Maldita Vecindad on. In the bi-national band competition Duelo de Rebeldes they prevailed against all competing bands from Mexico and the USA and won $ 5,000 , which the band invested in their first own recordings.
Towards the end of 1992, the group made their way to Mexico City to present a demo record to the Rock and Roll Circus label (now MEISA ). The label, which was one of the first in the country to support nuevo rock mexicano , signed NO and produced the album NO for them .
The band's live performances made the Culebra label , an independent sub-label of BMG , aware of them and bought Rock and Roll Circus all the rights to market the record. Culebra signed a contract with the group for three CD productions. During this phase, the formation learned that there was already a cover band with exactly this name in Ciudad Satélite (near Mexico City) . However, the band wanted to stick to the NO , as they had already become known by this name. As an alternative, the name of her hometown came into play, which was added to the No ( No! De Tijuana ); the final name was Tijuana No! set.
With the word Tijuana in the band name, Tijuana No! not only to draw attention to their geographical origin, but even more to the problems of the city. Tijuana is a city of drug dealers , migration and the maquila industry. The no! should express that the group rejects everything that is inconsistent with the political, social and existential needs of the population.
Jorge Velásquez added that both words have an international meaning: There is only one Tijuana and everyone in the world knows the word “No”.
From "Pobre de Ti" to "Transgresores de la Ley"
The song Pobre de Ti ("You armer"), which was written jointly by Venegas and Zúñiga, played a decisive role in the sudden success . According to Venegas, the song and its lyrics came about very spontaneously and quickly. Although Venegas left the band when they were collecting material for an album and Bastida had taken over the vocal part in the meantime, some fans identified Venegas with this song and asked her to do it in their solo performances. In 1992 the first single was presented on the Plaza de Santo Domingo and material was collected for the video for the song. In 1992 the band met Fermin Muguruza and Negu Gorriak for the first time at the Rola 92 festival in Mexico City, Guadalajara and Hermosillo .
The first successes with Pobre de Ti followed in 1994 with the release of the album Tijuana No! , which is identical in content to the album NO from the rock and roll circus times, but was remastered in Los Angeles . This Ska-heavy work contains twelve other songs in addition to Pobre de Ti , including the first songs with very critical lyrics, such as La Migra , Niños de la Calle (" Street Children ") and Soweto , while the first song Cowboys is an instrumental theme. With Manu Chao and members of Maldita Vecindad y los Hijos del Quinto Patio - Roco and Sax are given as musical advice - Tijuana No! considerable support in the realization of your first work. Manu Chao had met several local bands during a stay in Mexico, with Tijuana No! was one of the formations that surprised him the most.
The sextet quickly managed to rally fans of Latin rock and alternative music . In the year between the release of her debut album and her second album, Tijuana No! through Central and North America. Nevertheless, the band members remained true to their ideological and social roots and continued to perform at politically motivated fundraising events, for example at the Big Top Locos in Los Angeles in 1994 and 1995 alongside bands such as Rage Against the Machine and Youth Brigade .
In the mid-1990s, the group turned its attention increasingly to the situation in the southern Mexican state of Chiapas , where the Ejército Zapatista de Liberación Nacional (EZLN) first appeared in early 1994. As a result, they dedicated their second album, Transgresores de la Ley ("Crossing the Law", 1995), to the Zapatista rebels. Noteworthy songs from this album include the title track, in which the EZLN spokesman appears in the form of a greeting, the clash cover Spanish Bombs sung by Bastida and the Borregos Kamikazes recorded with Manu Chao . This album was recorded in San Sebastián in the Basque Country with Fermin Muguruza. The time in the studio was followed by further tours through Latin America and the United States.
“Contra-Revolución Avenue”, recompilations and separation
Culebra broke up in 1995 on an expensive production with disastrous sales and then canceled all contracts with alternative bands. Tijuana No! Meanwhile suffered from the physical distance between Tijuana and the Mexican capital, where the label was based, which is why the band decided to focus their attention on the Californian market and the Latinos in the USA. Following a joint concert with the band La Castañeda , BMG US Latin showed interest in a CD production in the USA. Tijuana No! then signed a contract with this label.
With the third album, released in 1998, the group tried to enter the US music market. Luis Güereña said that it was important that as many people as possible heard her music and that their political demands would no longer only be heard in their home country. To achieve this, Tijuana No! Contra-Revolución Avenue invited artists from all over the world as guest musicians, whereby the album should symbolize the crossing of boundaries such as language, genre and nationality. Among the 13 songs on the CD are collaborations with Rasta - Punker HR from Bad Brains , Chicano rapper Kid Frost , Kid Caviar from Horny Toad and Fermin Muguruza from the Basque underground band Negu Gorriak. The manager of Tijuana No !, John Pantle, also took part in the recordings as a trombonist.
Tijuana No! also focused on this album on exposing oppression and hypocrisy in Latin America. The album title Contra-Revolución Avenue is a reference to Avenida Revolución , Tijuana's main tourist street, where mass tourism, the sex trade and poverty are equally evident. Teca García explained that the band sees itself as an "extension" of the voice of the poor and the oppressed. The album cover for Contra-Revolución Avenue was designed by the artist Winston Smith , who combined stereotypical images of Mexico with violent images of "what actually happens" into a collage .
In the preparation phase for this last studio album, various events suggested that the band had already reached their zenith: Bastida left the group in 1997, but returned in 2000. She has since been replaced by Japanese-born punk singer Mayumi Hideyoshi. In the meantime, Zúñiga had created the Los Alex formation .
Since Contra-Revolución Avenue in Mexico was not on the market, it came to a rift between the band and BMG. To bring out a new CD for the band, BMG released the concert recording Live at Bilbao , Spain in 2000 , which had already been recorded in May 1996. The band unsuccessfully campaigned for a set consisting of the live recording and their third studio album to be offered in their home country. Rock milenium was released in 1999 and Rock en Español in 2001 - Lo mejor de: Tijuana No (“Spanish-language rock music: the best of Tijuana No”). On these two best-of CDs, which are both part of a compilation series, all works by Contra-Revolución Avenue have been omitted. Juntos , a CD released in 2002, consists half of songs by Tijuana No! and Maldita Vecindad y los Hijos del Quinto Patio .
After Tijuana No! In 2002, when they announced that they would soon be dissolved, they went on a farewell tour of Mexico and Europe. In December 2002, the band officially split up as part of the Extremo de Guadalajara Festival . Güereña had previously stated in an interview (on October 25, 2002) that the group was internally divided, that the other band members would no longer take the project seriously, Zúñiga just wanted to play Bastidas songs and that he had announced his departure from the project .
After the official dissolution
Despite the official separation in 2002, Tijuana No! in November 2003 in Mexico City and Berlin . An appearance in the KTS Freiburg was planned, but was canceled. At that time, Güereña was not a member of the group. Because his statements had become "too extreme", he had to leave the group, according to the manager of the band.
On January 11, 2004, Luis Güereña died of a heart attack at the age of 45 in northern Tijuana . On this occasion, Zúñiga, García, Bastida, Velásquez and Jiménez played some concerts in Tijuana, Mexico City and Los Angeles in his honor. Some of the bands that attended these tribute events were previously sponsored by Güereña or had worked with Tijuana No! joint gigs. Tijuana No! did not go on tour, as fans hoped, and did not appear at every concert with all five remaining members. On April 14, 2006, a last concert for the time being took place in Multikulti with the remaining original line-up. Güereña's vocal part was performed by Luis Sandez, member of the Samadhi band and long-time friend of Güereñas.
In 2006 the band was recorded with Pobre de Ti in the Paseo del Rock Mexicano in Mexico City.
Further career of the musician
Cecilia Bastida became a background singer and keyboardist in Julieta Venegas' band in 2000 and stayed with her until 2007. She now lives in Los Angeles and has been working on her entry into a career as a solo artist since 2005. Bastida recorded her first demos with the help of producer Jason Roberts ( Control Machete , Plastilina Mosh ), Joselo from Café Tacuba and Ozomatli bassist and Grammy winner Wil-Dog Abers, and in May 2010 her debut album Veo la marea was released .
Alex Zúñiga is the director of the Multikulti cultural forum and event center in Tijuana. Jorge Jiménez is the guitarist of the band Agresores , founded in 2004 , which was created in homage to Güereña and has released a CD with Tixuanarkía . Teca García now lives in North Hollywood and founded the indie reggae rock band Tijuanos with some friends at the end of 2006 , which, like Tijuana No! dedicates sociopolitical issues from a Zapatista point of view. García is the singer and guitarist of this formation. From members of Mercado Negro and Tijuana No! the group Mercado No Identificado was created , to which Zúñiga and Jiménez belong and for which Bastida was already a guest musician. That formation toured in 2004 under the name Tijuana No! also through Germany.
reunion
On the occasion of the 11th edition of the Festival Iberoamericano de Cultura Musical Vive Latino , from April 23 to 25, 2010 in Mexico City, Tijuana No! again. During their one-hour gig on the final day of the festival, the band received support from Julieta Venegas, with whom they performed Pobre de Ti . In a press conference after the concert, Teca García, Jorge Velázquez, Jorge Jiménez and Alejandro Zúñiga confirmed the possibility of an “official return” to the stage. Zúñiga noted that the band was now feeling driven to record a new album and to go on tour, but had problems on stage the first time they performed together in a long time.
On July 31, 2010, Tijuana No! on the occasion of its 20th anniversary, a concert in the Auditorio Municipal in Tijuana. Since then the band has made occasional appearances. In 2015, Tijuana No: Transgresión y fronteras (director: Pável Valenzuela Arámburo) was a documentary about Tijuana No! released.
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music
Influences
Tijuana No! themselves stated that the most formative influences on their work were the works of Jello Biafra (singer of the Dead Kennedys ), John Doe from X , The Clash and the X-Ray Spex . According to Josh Kun , Associate Professor at the University of Southern California , the band was musically inspired by US punk bands as well as by groups from Tijuana, which is why the band should not be understood as a national (Mexican) construct. Their albums are strongly influenced by the musical advisors and producers involved in them: This is how Tijuana No! described as stylistically close to Maldita Vecindad and Transgresores de la ley as permeated by the Basque radical rock Fermin Muguruzas.
In the beginning the band, according to Güereña, was mainly influenced by British ska ( The Specials ). For himself, punk rock was always essential, whereas Velásquez was influenced by classic rock , Pink Floyd and Paul McCartney . Zúñiga, on the other hand, was primarily shaped by New Wave .
Genre and style characteristics
Characteristic of the music of Tijuana No! are the numerous style influences that range from modern genres such as Ska-Punk , Latin Rock , Reggae , Metal , Drum and Bass and Hip-Hop to world music and traditional styles from all over the world. According to Luis Güereña, however, the band did not pay attention to fit into certain musical genres. Their sound is a fusion of what everyone brings into the group, the most important characteristic of their music is their diversity.
All these stylistic influences are considered to be the cornerstone of the "explosive, danceable sound" Tijuana No! S. Some songs show stronger genre influences than others. Cowboys and parts of Fantasma (both from the album Tijuana No! ) And Sin Tierra from Contra-Revolución Avenue are very close to ska; Niños de la Calle , the rest of the song Fantasma , Fiesta de Barrio (all Tijuana No! ) and part of Sin Tierra are characterized by reggae . Kill Steal , Sí , Ali Baba (y sus 40 mil ladrones) , La Migra (all Tijuana No! ), Transgresores de la ley from the album of the same name and Travel Trouble and Killing Brothers from Contra-Revolución Avenue are due to their electric guitar riffs to be assigned to different rock genres. Pobre Frida (Transgresores de la ley) is characterized by a baritone saxophone theme; On Contra-Revolución Avenue there is also a hardcore rap- stressed number with Stolen at Gunpoint .
In addition to percussion instruments, drums, electric guitars, electric bass and wind instruments , Tijuana No! in her works various traditional Latin American instruments such as pre-Columbian flutes and a snail horn in the introduction to Transgresores de la ley or a pan flute for the melody of El Cóndor Pasa , with which the song Renace en la montaña begins. This mixture of traditional and popular musical elements emphasizes on the one hand the legitimacy that the band represents the feelings and interests of the audience, and on the other hand it promotes the identification between musicians and audience.
Another essential element in the music of Tijuana No! S is the fact that the band had three singers, Güereña, García and Bastida, whose voices had their own functions; some of the songs also feature voices from guest musicians such as Manu Chao, Fermin Muguruza, Kid Frost and Kim Deal . Güereña's growling-howling vocals were used primarily for the satirical punk lyrics. Bastida sang the melodious pop melodies with a hearty voice and Teca García, whose singing combines influences from folk , funk , rock and ska, also took over the rap passages. Güereña did not see himself as the singer of the group, but as its most important lyricist and “screamer”.
Content, statements and program
In his contribution (“The Sun Never Sets on MTV”: Tijuana NO! And the Border of Music Video) to the anthology Latino / a Popular Culture , Josh Kun writes about the band:
“Born and nurtured within the Tijuana-San Diego borderlands, Tijuana NO! concocts antigovernment, anti-US, anti-imperialist, anti-PRI, anti-racist, anti-NAFTA, pro-immigrant, pro-Zapatista, pro-anarchy punk explosives […] ”
“Born and raised within the border region around Tijuana and San Diego, Tijuana NO! anti-imperialist , anti-racist , pro-immigrant, pro-zapatista, pro-anarchic punk explosives directed against the government, the USA, the PRI and NAFTA to [...] "
Tijuana No! saw themselves as the mouthpiece of the oppressed on both sides of the border between the United States and Mexico as well as the Central and South American area. According to Luis Güereña, the band would sing about political awareness until the quality of life of the lower class worldwide improved. From the point of view of the opponents of the Mexican government, Güereña and the band were simply telling the truth about everyday injustice; the band represented that part of the Mexican population who were fed up with the old system and who believed they could destroy it and replace it with something better. The band did not describe themselves as political; Jorge Velásquez said of the band's motivation: “Often people don't know anything about the mess that happens in Mexico and hear them for the first time in our lyrics and announcements. Then hopefully think about it. "( Jorge Velásquez )
The group advocated their ideals not only in their texts, but also at benefit events such as Rock por Chiapas , Gira por la Libertad and Vibra Votán por las 3 señales or at anti-racist events in border camps near Tijuana. The numerous collaborations with musicians from all parts of the world symbolize the crossing of borders and serve to bundle the musical and intellectual potential of the artists, whereby language barriers, pigeonholing and nationalisms should be broken.
That the band was under contract with the multinational label BMG and their music videos were played on MTV , but at their concerts and in their lyrics, spoke out against the corporate expansionism and control that their label and MTV embodied, according to Josh Kun, from a Marxist point of view highly contradictory and inconsistent. Kun himself sees this as a strategy: Tijuana No! use technology and the capitalist mode of production to spread their messages.
Origin of the lyrics
The band's lyrics are written in Spanish , English and Spanglish and mostly worked out jointly by the band members: After a song had been composed, the members wrote individual texts, compared these suggestions and finally processed them into the finished letras . Some exceptions to this are the songs Pobre de Ti (text by Julieta Venegas), Spanish Bombs (cover of The Clash), El Sordo and Sí (César Ortega), Pobre Frida and La Esquina del Mundo (Fermin Muguruza) and that from collaboration with Contra-Revolución Avenue, composed by numerous musicians from other countries .
subjects
The Mexican-US border
Enrique Lavin defines Tijuana No! not according to their country of origin, but as “ US-Mexico border band ” ( Enrique Lavin , German: “USA-Mexico border band”). The geographic location of Tijuana on the border with the United States is described by Tijuana No! in La Esquina del Mundo ("the corner of the world") as " penúltima calle de Latinoamérica " (German: "penultimate street of Latin America"); inspired by Eduardo Galeano's work The Open Veins of Latin America , whose title they mention slightly modified in the chorus (original title: Las venas abiertas de América Latina ; in the lyrics: Venas abiertas de Latinoamérica ), speak Tijuana No! for the opening of the borders.
The song and the video for it were created in 1994, the same year as California Proposition 187 , which severely reduced the rights of illegal immigrants across the border. In the music video shot by Angel Flores-Torres, the band plays live on the beach near Tijuana in front of the border fence. According to Josh Kun, the song brings together lyrics about the political and artistic realities on the border and different musical styles that were invented and developed in both Americas; the song is not just one on or from the border or across the border, but a song that is the border (“ This is a song […] that is the border ”). Parts of the video for Pobre de Ti were also shot in the immediate border area; In the introduction, a graffiti on the border barrier reminds of the division of Berlin:
"Si el Muro de Berlin cayó éste por qué no"
"If the Berlin Wall fell, why not this one"
Güereña renounced the border any right to exist, injustice and inequality in Mexico he attributed to the dominance of the " Yankees " . Travel-Trouble from the album Contra-Revolución Avenue speaks of the “hypocrisy” of the capitalist system, in which there are no limits to environmental pollution and monetary transactions, while undocumented people are refused entry even though they have to cross the border to secure their subsistence .
Criticism of the USA
The intro to La Migra features a hectic conversation between two Mexican refugees on the US-Mexican border and the rustling of the rotor blades of a US Border Patrol helicopter . Güereña then parodies an INS officer in broken Spanish who uses a megaphone to tell Mexicans to go back to Mexico because they are too ugly for him. The song ends with the exclamation “ Fuck the USA!”.
La Migra and Gringos Ku Klux Klanes targeted California Governor Pete Wilson and racist anti-immigrant sentiment. During live performances, Güereña disguised herself as Uncle Sam , the Statue of Liberty or Pete Wilson with a Hitler mustache , showed the Hitler salute and shouted “Heil a California! Hail Pete Wilson! Heil a [California Proposition] 187! ”. He cursed the audience until they reacted angrily. These provocations should lead the audience to wonder about the origins of racism, discrimination and migration. Güereña often wore T-shirts with the imprint Beaner , an English-language exonymic ethnonym for Mexicans.
Imperialist history
In Stolen at Gunpoint , Tijuana No! and Kid Frost, in addition to further criticism of US migration policy, also commented on a historical component of US-Mexican relations: the Mexican-American War , which ended in massive territorial losses for Mexico. The musicians present themselves in the video as neo-revolutionaries on the hunt for Governor Wilson; by collaborating with a Chicano, they expose the "lie" of the border as a dividing line, says Josh Kun. The main goal of the song is the repopulation of the former Mexican territory by Mexican migrants.
Tijuana No! did not limit their criticism of imperialism and racism to the relationship between Mexico and the USA. They also dealt with rampant forms of racism in other regions of the world, for example in the song Soweto , in which Nelson Mandela was praised as a hope for the decades of oppressed black people in South Africa and as their leader.
Revolutions and solidarity with underground movements
In the acknowledgments on the Transgresores de la Ley record , Güereña mentioned the EZLN “and no one else”. The album, the title song and the accompanying video are a tribute to the " Zapatista Army of National Liberation ", which came into being in response to the North American Free Trade Agreement that came into force on January 1, 1994 and declared war on the Mexican government. Other representatives of the Mexican rock music scene also supported the indigenous guerrilla organization - Resorte , Maldita Vecindad, Santa Sabina and José de Molina also wrote songs about the events in Chiapas ; the relationship between the EZLN and Mexican rock is generally considered to be very close. In addition to the EZLN, Tijuana No! also the Peruvian " Revolutionary Movement Túpac Amaru " (MRTA), which is also deeply rooted in the indigenous population of the country.
With the song Transgresores de la Ley - translated as "transgressor", as the Mexican government called the EZLN - the band let the EZLN spokesman Subcomandante Marcos speak for himself. The video, shot by Leonardo Bondani, begins and ends like the song itself with a greeting from the subcomandante, to which the band members listen spellbound. The rest of the video shows pictures of a benefit concert for the benefit of the Zapatistas in front of the National Palace on the Zócalo and a protest march by indigenous farmers. Güereña noted that this song was written to provide moral support to the people of Chiapas and the Zapatista fighters. This song is very emotional for him and a signal to get up and wage war.
«No pasarán de este lugar - la resistencia, ¡ni un paso atrás!
A defender la dignidad gritando fuerte: ‹¡Tierra y Libertad!› »
“You will not get over this place - the resistance, not a step back!
Shouting out loud to defend dignity: 'Land and freedom!' "
In the chorus of this song, Tijuana No! two slogans from the Mexican Revolution and the Spanish Civil War . ¡No pasarán! (“No getting through!”) Was the battle cry of the anti-fascist republican fighters in the Spanish Civil War, to whom Tijuana No! commemorate with their cover version of the song Spanish Bombs . In the Mexican Revolution, the supporters of the rebellion leader Emiliano Zapata used the slogan ¡Tierra y Libertad! ("Land and Freedom!"), Which Zapata had adopted from the Magonist movement . Josh Kun describes the song Transgresores de la Ley as an homage to Zapata, which appears in the lyrics in the form of the slogan ¡Zapata vive! ("Zapata is alive!") Is mentioned by name. Signal words such as dignidad (“dignity”), libertad (“freedom”) and democracia (“democracy”), which also appear in the lyrics, are further Zapatista slogans that have now been picked up by social movements in many parts of the world.
System and social criticism
With Patético Cuadro , Tijuana No! their distrust of the Mexican media, especially television, and identified the lack of information as a crucial factor in the Chiapas conflict.
Lyrics about social issues were a common feature of Mexican rock music in the 1990s. In these songs, the artists mostly showed solidarity with lower social classes, such as Tijuana No! in Sin Tierra with the landless and in Niños de la Calle with the street children.
Tijuana No! also denounced the corruption in Mexican politics. Güereña often appeared at concerts against images of Carlos Salinas de Gortaris , the Mexican President from 1988 to 1994, during whose term of office several cases of corruption became known and which also included the signing of the NAFTA treaty and thus the uprising of the Zapatistas. In Borregos Kamikazes , Manu Chao sang as a guest musician “ Llegó el presidente, llegó la corrupción / Llegó el presidente, llegó el gran cabrón ” (German: “The president has arrived, corruption has arrived / The president has arrived, the big bastard has arrived "). In order to give the general public the opportunity to publicly announce their opinion on the social and economic situation in Mexico, Güereña occasionally gave the microphone to the audience during performances.
The Mexican de facto unity party PRI and the Mexican military referred to Güereña as a “ group of fucking mafiosos ” (German: “Group damned Mafiosi ”), which take everything away from the country that has “literally everything”. When the PRI gradually lost its influence around the turn of the millennium, he said:
«Me siento como un profeta. Muchos compañeros músicos entre ellos Saúl Hernández me han sugerido que me calle la boca y que no proteste tanto, pero a mí me vale. »
“I feel like a prophet. Many music comrades, including Saúl Hernández (note: singer of the Mexican rock band Caifanes ) suggested to me that I keep my mouth shut and not protest so much, but it's important to me. "
Güereña also criticized the Catholic Church, not through songs but through T-shirts. With a photomontage showing the Pope with a pregnant belly, he caricatures the Church's negative attitude towards contraception .
tribute
With their songs, Tijuana No! not only taking their toll on the modern MRTA and EZLN movements. In addition to Mexican national heroes such as Emiliano Zapata or Pancho Villa (for example in Somos Más , Stolen at Gunpoint ), the indigenous leader Tupaq Amaru II from today's Peru (in Renace en la Montaña ) and the South African Nelson Mandela (Soweto) are mentioned in song texts .
In Sin Tierra they mention the Madres de Plaza de Mayo , which has been protesting since 1977 against the " disappearances " of regime critics in Argentina . Portraits of Che Guevara were sometimes part of the set; Frida Kahlo , a Mexican painter who was convinced of Marxism, praised Tijuana No! in the song Pobre Frida :
«Ilusiones temerarias, mujer artista revolucionaria. [...] Pobre Frida, compañera Kahlo »
“Daring illusions, revolutionary artist. [...] Poor Frida, comrade Kahlo "
Voices about Tijuana No!
Musical reviews
In his CD reviews for the All Music Guide, Don Snowden repeatedly criticized the overly strong influences of their mentors and the lack of their own tonal identity. The band's debut work shows too strong influences from Manu Chao and Maldita Vecindad y los Hijos del Quinto Patio; the group act out their influences without the music ever assuming its own shape. In his review of the successor Transgresores de la ley , Snowden emphasizes once again that the album Tijuana No! aimless and incoherent seem “ compared to the very short 32 minutes of tightly focused arrangements and highly dramatic music on their second album ” ( Dan Snowden , German: “compared to the very short 32 minutes of tightly focused arrangements and highly dramatic music on their second album "). Ultimately, according to Snowden, the question of the band's musical identity remains unanswered; the Jamaican rhythms from the debut album were inundated by the Basque radical rock by producer Fermin Muguruza. Snowden sticks to this judgment even after the publication of Contra-Revolución Avenue , emphasizing once again that Tijuana No! there is still no tonal identity. The band only shows real musicality when Ceci Bastida takes over the lead vocals. The most remarkable thing, besides the unresolved question of their identity, is that guests with big names always take part in their recordings.
"Unfortunately," Cecilia Bastida, who is described as one of the few outstanding female singers of Spanish-speaking rock ( rock en español ) alongside Andrea Echeverri of the Aterciopelados , was rarely given the lead vocal on the first two albums, wrote the US music magazine Frontera .
Other voices claim Tijuana No! would have had a big head start in their musical style within the Mexican scene, Luis Güereña was even referred to as a pioneer of rock, ska and punk music in northern Mexico after his death. According to one of many band descriptions, the “legendary” band “mix elements from ska, pop, rock and traditional Mexican music into an energetic synthesis [...] which, coupled with their consistently political lyrics, gives them a truly unique vitality” and them is the most influential punk band in Mexico, if not South America.
Programmatic pioneering role
According to The Rough Guide to Rock , Tijuana No! by other socially critical bands in Mexico, on the one hand, because their works include songs with a clearly revolutionary character. On the other hand, their titles are stylistically not clearly Mexican, as they used heavier genres than previous bands in Mexico. Laura Hightower called the band the most haunted and argumentative of a new rock music movement. In other band descriptions, Tijuana No! Described as the first Mexican ska band with a political background, Enrique Lavin called Tijuana No! the most political of all Mexican bands in the CMJ New Music Monthly in July 1998 . Serge Dedina called Tijuana No! as a pioneer of an “entire alternative music and art scene”.
Josh Kun wrote that the band's music videos push for "the development of a new grammar of globalization ":
“The music videos of Tijuana NO! urge us to develop a new grammar of globalization that disarticulates dominant ideology form technical systems of material production, one that properly accounts for the way musicians and videomakers are manipulating mass media against their will as modes of emergent citizenship and tools for social change, while denouncing and dismantling the prescribed models of citizenship and the structures of racism, imperialism, and colonialism that these tools are packaged in. "
“The music videos from Tijuana NO! urge us to develop a new grammar of globalization that treats dominant ideology and technical systems of material production separately, one that correctly explains how musicians and video-makers manipulate mass media against their will as forms of emerging citizenship and as instruments for social change while denouncing and dismantling the prescribed forms of citizenship and the structures of racism, imperialism and colonialism into which these instruments are packaged. "
Accusation of anti-Semitism
During a performance in Mexico City, Luis Güereña said it was no coincidence that no Jews were in the World Trade Center during the terrorist attacks on September 11, 2001 . Because of this and because of the Hitler salute in the stage shows, the band was accused of anti-Semitic tendencies. A gig in Germany was canceled because the band did not distance themselves sufficiently from Güereña's statement from the organizers. Alex Zúñiga affirmed that the band was neither anti-Semitic nor anti-Jewish and that Güereña, who was no longer part of the band at that time, was solely responsible for his statements.
Political scientist John Holloway described these utterances and anti-Americanist slogans as "hardly surprising" and "more than understandable" in view of the role that the United States had played in Latin America: power was equated with the United States and anti-Americanism increasingly acceptable. In these circles, anti-North Americanism would "almost by definition" be linked to anti-Zionism and not infrequently also to anti-Semitism, said the Mexican Jewish columnist Esther Shabot .
Catalog raisonné
| Discography | ||
| title | publication | Remarks |
|---|---|---|
| Studio albums: | ||
| NO | 1992 | the independent label Rock and Roll Circus appeared |
| Tijuana No! | February 15, 1994 | revised version of the album NO ; BMG Culebra label |
| Transgresores de la ley | January 10, 1995 | BMG Culebra label |
| Contra-Revolución Avenue | April 7, 1998 | BMG US Latin label |
| Live CD: | ||
| Live at Bilbao, Spain | June 6, 2000 | BMG US Latin label |
| Best of: | ||
| Rock milenium | January 12, 1999 | Both of the band's best-of CDs are part of a series of compilations by various Mexican musicians and bands; Label BMG US Latin (both) |
| Rock en Español - Lo mejor de: Tijuana No | August 21, 2001 | |
| Sampler contributions: | ||
| Alternative - culebra | March 26, 1996 | with Transgresores de la Ley |
| Rockmania in Spanish | February 25, 1997 | with Pobre de Ti |
| Lo Mejor del Rock 1993 | June 17, 1997 | with La Migra and Niños de la Calle |
| Lo Mejor del Rock 1994 | June 17, 1997 | with Spanish Bombs and La Esquina del Mundo |
| Reconquista !: The Latin Rock Invasion | 1997 | with Transgresores de la Ley |
| Rockmania in Spanish, Vol. 2 | February 10, 1998 | with La Esquina del Mundo |
| Live from the Latino Laugh Festival, Vol. 1 | May 19, 1998 | with Sin Tierra |
| 100% rock | December 15, 1998 | with Spanish bombs |
| Amodio eta gorrotozko kantak / Canciones de amor y odio (1984–1998) | 1998 | with La Esquina del Mundo ; Compilation organized by Fermin Muguruza |
| Rockmania in Spanish, Vol. 3 | March 23, 1999 | with Nadie Dijo Nada |
| 100% rock 1999 | December 14, 1999 | with Gente |
| Latin Rock Explosion Vol. 1 - La Explosión del Rock Latino | July 17, 2000 | with Pobre de Ti and Spanish Bombs |
| Brigadistak Sound System | September 17, 2001 | Harria (together with Fermin Muguruza, John Pantle and Mikel Abrego ); CD by Fermin Muguruza |
| Rock en Español - Lo mejor de: En Vivo | October 9, 2001 | with Pobre de Ti ; Live sampler from the same series as Rock en Español - Lo Mejor de: Tijuana No |
| Juntos | April 23, 2002 | with Pobre de Ti , Ali Baba (y sus 40 mil ladrones) , La Migra , Spanish Bombs and Golpes Bajos ; half of this CD consists of songs by Tijuana No! and Maldita Vecindad y los Hijos del Quinto Patio |
| Rock the Latin Groove | October 21, 2002 | with Pobre de Ti |
| Divas del Rock | February 5, 2002 | with Pobre de Ti |
| 15 Años de Rock en Tu Idioma | July 23, 2002 | with Pobre de Ti , Ali Baba (y sus 40 mil ladrones) and La Migra |
| Ska'n Dalo | September 14, 2004 | with Pobre de Ti and La Vaka |
| 30 skirt pegaditas | January 4, 2005 | with Pobre de Ti |
| Videography | ||
| song | from album | Director |
|---|---|---|
| Pobre de Ti | Tijuana No! | Angel Flores-Torres |
| La Esquina del Mundo | Transgresores de la Ley | Angel Flores-Torres |
| Transgresores de la Ley | Transgresores de la Ley | Leonardo Bondani |
| Stolen at Gunpoint | Contra-Revolución Avenue | Leonardo Bondani |
literature
- Roberto D. Hernández: Sonic Geographies and Anti-Border Musics: “We Didn't Cross the Border, the Borders Crossed Us” . In: Arturo J. Aldama, Chela Sandoval, Peter J. García (Eds.): Performing the US Latina and Latino Borderlands . Indiana University Press, Bloomington 2012, ISBN 978-0-253-00295-2 , pp. 235-257 (English)
- Josh Kun: “The Sun Never Sets on MTV”: Tijuana NO! and the Border of Music Video . In: Michelle Habell-Pallán and Mary Romero (eds.): Latino / a Popular Culture . New York University Press, New York / London 2002, ISBN 0-8147-3624-6 ; Pp. 102–116 (English)
- Josh Kun: Audiotopia. Music, Race, and America . University of California Press, Berkeley / Los Angeles / London 2005, ISBN 0-520-24424-9 (English)
Web links
- Tijuana No! on last.fm : in Spanish , in German
- Winston Smith: Cover art for the album Contra-Revolución Avenue and Live at Bilbao, Spain
- Tijuana No! at Discogs (English)
Individual evidence
- ↑ a b c d e f g h i j k l m n Laura Hightower: Tijuana No! Biography , on musicianguide.com ; accessed on November 10, 2008
- ↑ a b c d e Luis Güereña Fallce ( Memento from April 29, 2010 in the Internet Archive ), on rockinphoenix.org (Spanish)
- ↑ a b c d e Josh Kun: Unresting Luis Güereña, 1959–2004 ( Memento of February 2, 2010 in the Internet Archive ), on bostonphoenix.com ; accessed on November 10, 2008
- ↑ a b c d e Nicolai Garcia: Remembering Luis Güereña: Voice of Tijuana No! , on revcom.us ; accessed on January 19, 2016
- ↑ Tijuana No! llora la muerte de su cantante , on radiochango.com , January 18, 2004; accessed on May 26, 2009 (Spanish)
- ↑ a b Tijuana No! 'S History , on arrigui.tripod.com ; accessed on December 15, 2008 (Spanish)
- ↑ a b c d e f g h i j k l m n o Octavio Hernández: Tijuana No !: Transgresores del ska y el punk ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , on laopinion.com , February 22, 2001; accessed on November 10, 2008 (Spanish)
- ↑ a b c d e f g h i j k l m José Manuel Valenzuela and Gloria González: Luis Güereña: Transgresores de la ley ( Memento from May 17, 2014 in the Internet Archive ), on imjuventud.gob.mx , interview from March 1998 (SWF format, Spanish; 1.6 MB)
- ↑ a b Contribution to Ceci Bastida on bmi.com ; accessed on November 10, 2008
- ↑ a b c Octavio Hernández Díaz: Julieta Venega's El rock tiene cara de mujer on laopinion.com , October 19, 2000; accessed on November 11, 2008 (Spanish)
- ↑ a b c d e f Frontera Magazine: Interview: Tijuana No! ( Memento of March 8, 2009 in the Internet Archive ), on illvox.org (English)
- ↑ a b Links e Historia del ska y del rock , on galeon.com ; accessed on November 10, 2008 (Spanish)
- ↑ Solange García: Tijuana No! quiere revivir ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , on eluniversal.com.mx , December 18, 2005; accessed on November 12, 2008 (Spanish)
- ↑ a b c Mike Tajobase: La historia del Ska en México , on lahaine.org ; accessed on November 10, 2008 (Spanish)
- ↑ a b c d e Tijuano No !: Critic's Review , on msn.com ; accessed on November 11, 2008
- ↑ a b Band biography ( memento of the original dated February 5, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on manuchao.com.mx ; accessed on November 11, 2008 (Spanish)
- ↑ a b c d Legendary crossover polit skareggaepunk from Tijuana, mexico ( Memento from January 22, 2008 in the Internet Archive ), band biography on openairamberg.de (German)
- ^ Rebecca Gwyn Wilson: God Told Me to Skin You Alive , in the press archive on winstonsmith.com , May / June 1999; accessed on January 19, 2016
- ↑ Tijuana No. Historia ( Memento of December 23, 2007 in the Internet Archive ), julietavenegas.us ; (Spanish)
- ↑ a b Yuriria Pantoja Millan: Fallció Luis Güereña, promoter del punk rock , on jornada. unam .mx , January 21, 2004; accessed on November 11, 2008 (Spanish)
- ^ A b Roberto A. Partida Sandoval: ¡Ya No! , on zetatijuana.com ; Retrieved October 5, 2010
- ↑ a b c Koraktor December 2003 , on kts-freiburg .org ; accessed on November 11, 2008 (German)
- ^ Kai Wydra: Report on the concert on November 13, 2003 in Berlin , on wasteofmind.de ; Retrieved November 24, 2008
- ↑ Preparan adiós de Luis ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , on frontera.info ; Retrieved October 30, 2007
- ↑ Sonará hoy Tijuana No, on frontera.info ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. April 14, 2006; Retrieved October 30, 2007
- ↑ Tijuana No , on rockeros.net , accessed February 7, 2018
- ↑ Inicia Ceci Bastida como solista nuevo periodo en su carrera musical ( Memento of the original from May 17, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , on enelshow.com , May 26, 2010; accessed on June 14, 2010 (Spanish)
- ^ El Sol de Tijuana: Viene al Multikulti Flavio Mandinga , on oem.com.mx , March 23, 2007; accessed on November 11, 2008 (Spanish)
- ↑ Contribution to the Agresores on absolutepunk.net; accessed on November 11, 2008
- ↑ a b Contribution to Tijuana No! and the Tijuanos on laweekly.com ; accessed on November 11, 2008
- ↑ Appearance of the Tijuanos ( Memento of the original from November 14, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on myspace.com ; accessed on October 11, 2008 (Spanish)
- ↑ Homepage of Mercado No Identificado , last accessed on November 11, 2008 (English)
- ↑ a b JOKE e. V. lets the mountain rock again! , Description of the band on brennessel.com ; accessed on November 11, 2008 (German)
- ↑ Nayely Ramírez Maya: Julieta Venegas volvió a cantar con Tijuana No! , on cronica.com.mx , April 26, 2010; accessed on June 14, 2010 (Spanish)
- ↑ a b Melina Amao Ceniceros: Tijuana No !, transgresores del tiempo ( Memento from August 6, 2010 in the Internet Archive ), on la-ch.com , August 1, 2010 (Spanish)
- ↑ Cuauhtémoc Ruelas: Tijuana No: Transgresión y fronteras (2015) , on esquinadelcine.com , August 14, 2018, accessed on February 7, 2018 (Spanish)
- ↑ Appearance of Tijuana No! on myspace.com ; accessed on November 11, 2008 (Spanish)
- ↑ J. Kun 2002: p. 108
- ↑ a b c d Transgresores De La Ley: Critic's Review , on msn.com ; accessed on November 11, 2008
- ↑ a b band biography on livegigs.de ; accessed on November 11, 2008 (German)
- ↑ a b c Contra-Revolucion Avenue: Critic's Review , on msn.com ; accessed on November 11, 2008
- ↑ J. Kun 2005: p. 217
- ^ Laura Martinez: Cultural Hybridity in Mexican rock music , on norient.com , June 14, 2008; accessed on January 19, 2016
- ↑ a b Kolaborazioak - Colaboraciones - Collaborations 1984-2000 ( Memento of January 21, 2008 in the Internet Archive ), muguruzafm.com (Basque, Spanish, French and English)
- ↑ J. Kun, 2002, p. 104
- ↑ Torsten Eßer: Narco-música and Tecnogeist. Mexican Music from the 20th Century to Today , pp. 287f. In: Walther L. Bernecker , Marianne Braig , Karl Hölz, Klaus Zimmermann (eds.): Mexico today. Politics, economy, culture . Vervuert Verlag; Frankfurt am Main 2004. ISBN 3-86527-140-5 , ISSN 0067-8015 ; Pp. 563-606.
- ↑ Tijuana No !: Biography , on msn.com ; accessed on November 11, 2008
- ↑ a b J. Kun, 2002, p. 105
- ↑ J. Kun, 2002, p. 107
- ^ Frederick Luis Aldama: Why the Humanities Matter: A Commonsense Approach . University of Texas Press, Austin 2008. ISBN 0-292-71798-9 (English)
- ↑ a b Booklet of the CD Lo Mejor de Tijuana No!
- ↑ a b Enrique Lavin: Rock en español . In: CMJ New Music Monthly . No. 59, July 1998. ISSN 1074-6978 . P. 18 (English)
- ↑ J. Kun 2005: p. 193
- ↑ J. Kun, 2002, p. 110
- ↑ J. Kun, 2002, p. 111
- ↑ César Abilio Vergara Figueroa: Construcción de lo público y lo privado en la música popular masiva ( Memento of the original of August 28, 2008 in the Internet Archive ; PDF; 93 kB) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. on uam -antropologia.info (Spanish); Retrieved November 11, 2008
- ↑ a b J. Kun 2005: p. 197
- ↑ a b picture from a gig on October 26th, 2000 in Phoenix (Arizona) ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ J. Kun, 2002, p. 106
- ↑ a b c d Fábrica de polvo: El rock mexicano en los noventa. Capítulo II: La temática de las letras del rock mexicano ( Memento from June 18, 2009 on WebCite ); accessed on March 17, 2009 (Spanish)
- ↑ a b c J. Kun, 2002, p. 112
- ↑ J. Kun, 2002, p. 113
- ↑ J. Kun, 2002, p. 114
- ↑ Lukas Pötzl and Laurin Rötzer: No Pasaran , on heise.de , February 16, 2006; accessed on January 19, 2016 (German)
- ↑ Background: The Zapatista rebellion of Momo ( Memento from January 30, 2008 in the Internet Archive ), article on the EZLN in the online edition of kritische-masse .org , September 21, 2007
- ↑ Jonathan Buckley (Ed.): The Rough Guide to Rock, 3rd edition. Rough Guides, 2003; ISBN 978-1-84353-105-0 . P. 1088 (English)
- ↑ Serge Dedina: Wild Sea: Eco-wars and Surf Stories from the Coast of the Californias (Chapter Viva Luis! Punk Rock and Politics on the Border , p. 56f). University of Arizona Press, 2011. ISBN 0-8165-2903-5 . P. 56 (English)
- ↑ a b J. Kun, 2002, p. 103
- ^ A b Mary Kreutzer, Wolf-Dieter Vogel: Viva Osama! Latin America's left and its enemy, the USA . trend.infopartisan.net; accessed on November 11, 2008 (German)
- ↑ a b Koraktor January 2004 , on kts-freiburg.org ; accessed on November 11, 2008 (German)
