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Chicano punk : ウィキペディア英語版
Chicano rock

Chicano rock is rock music performed by Mexican American (Chicano) groups or music with themes derived from Chicano culture. ''Chicano Rock'', to a great extent, does not refer to any single style or approach. Some of these groups do not sing in Spanish at all, or use many specific Latin instruments or sounds. The main unifying factor, whether or not any explicitly Latin American music is heard, is a strong R&B influence, and a rather independent and rebellious approach to making music that comes from outside the music industry.
Chicano rock is the distinctive style of rock and roll music performed by Mexican Americans from East L.A. and Southern California that contains themes of their cultural experiences. Although the genre is broad and diverse, encompassing a variety of styles and subjects, the overarching theme of Chicano rock is its R&B influence and incorporation of brass instruments like the saxophone and trumpet, Farfisa or Hammond B3 organ, funky basslines, and its blending of Mexican vocal styling sung in English.〔http://americansabor.org/musicians/styles/chicano-rock〕
==Overview==

There are two undercurrents in Chicano rock. One is a devotion to the original rhythm and blues and country roots of Rock and roll. Ritchie Valens, Sunny & the Sunglows, The Sir Douglas Quintet, Thee Midniters, Los Lobos, Malo, War, Tierra, and El Chicano all have made music that is heavily based on 1950s R&B, even when general trends moved away from the original sound of rock as time went by.
Chicano rock 'n' roll star Ritchie Valens, was a Mexican-American singer and songwriter influential in the Chicano rock movement. He recorded numerous hits during his short career, most notably the 1958 hit "La Bamba." Valens died at age 17 in a plane crash with fellow musicians Buddy Holly and J.P. Richardson on February 3, 1959. The tragedy was later immortalized as "the day the music died" in the song "American Pie." 〔http://www.biography.com/people/ritchie-valens-38193#early-life&awesm=~oGaYZ0CViTy7QI〕
Another characteristic is the openness to Latin American sounds and influences. Trini Lopez, Santana, Malo, and other Chicano 'Latin Rock' groups follow this approach with their fusions of R&B, Jazz, and Caribbean sounds; but all of the groups and performers have some of these influences. Los Lobos in particular alternates between R&B/roots rock and the Tex-Mex/Latin rock style.
The 1958 hit song "Tequila!" was written and sung by the saxophone player Danny Flores (not to be confused with Danny David Flores, a former member of Renegade) and performed by The Champs. Flores, who died in September 2006, was known as the "Godfather of Latino Rock."〔(A toast to 'Tequila!' singer - Press-Telegram )〕
In the mid-1980s Chicano teen rock band Renegade landed on the international music scene, sporting a combination of heavy metal instrumentation with more pop oriented melodies, resulting in a new subgenre, termed "commercial metal". The four teens—Kenny Marquez on lead guitar and vocals, Luis Cardenas on drums and vocals, Tony De La Rosa on rhythm guitar and vocals and Danny David Flores on bass guitar and vocals—have been referred to as Chicano rock gods, amongst Mexican-Americans.〔Ritmo Beat Magazine Article, (Renegadeusa.com )〕 Renegade or Los Renegados as they are called in Latin-America, went on to sell more than 30 millions units worldwide,〔David Hasselhoff Introducing Renegade at 30 Million Platinum Sales Award event, (Youtube.com )〕 with a series of hits in Mexico, Canada, Japan and the United Kingdom, and to a lesser extent, the United States.
Groups like Ozomatli and Quetzal had led the new wave of Latin Rock groups that fuse multiple musical genres.
Ozomatli has been mixing rock, hip-hop, funk, cumbia and Chicano low-rider low. They do not have a category for Ozomatli because they mix genres and music together to where they are one, much like how they have spread their music around the globe. Their song “City of Angels,” has presented Latino rock on the foreign lands of America and has spread in the state of California. 〔http://www.pbs.org/sound-tracks/quick-hits/ozomatli/〕
Quetzal, the groundbreaking band from the barrios of East Los Angeles has been creating heartfelt Latin folk and roots-rock music for over a decade. With the successful tours and concerts alongside the likes of Los Lobos, Ozomatli, Taj Mahal and Michelle Shocked, Quetzal has proven beyond doubt their ability to play intimate clubs and large arenas alike—and gaining hardcore fans at every stop. The band combines rock, Afro-Cuban, country blues, and jazz elements to support the wide-ranging, bilingual and supercharged vocals of Martha González. The retro-futuristic mix has garnered praise from critics the LA Times calls them a "world-class act" and support from such luminaries as Los Lobos. Quetzal simultaneously forges a sound that makes you dance and contemplate change.〔"Event." An Evening with Legendary Chicano Rock Band QUETZAL. N.p., n.d. Web. 02 June 2014〕
Another musician to consider includes Robert Lopez aka El Vez-The Mexican Elvis. Robert Lopez aka El Vez started operating an art gallery called “La Luz de Jesus” and created a show dedicated to Elvis. Since Lopez’s impersonator did not meet his expectation El Vez was created. El Vez’s first performance was in Memphis, Tennessee on August 16, 1989. Lopez started making karaoke tapes while running his gallery.Most of his music does not include sacred topics, but it doesn’t mean he doesn’t respect them. His goal is to blur the line between what is sacred and profane allowing him to have wide age range in his audience. He has been releasing albums since 1994 continuing to use satire and humor in his songs to express revolutionary views. His lyrics are like history lessons containing strong, clear, radical message.Some teachers and professors use his music to teach history and Mexican American Culture! This is means Chicano rock can also be used as part of the education system as well as politically activism〔Larson, Susan. "Rock and Revolution: An Interview with El Vez, the Mexican Elvis." Arizona Journal of Hispanic Cultural Studies 1.1 (1997): 141-152.〕

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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