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fridaynightbordercrossing · 6 years ago

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IN LOVING MEMORY: OCTAVIO HERNANDEZ (1959 - 2015)

I was shocked when the phone ringed and got the call that told me the news of the death of the journalist, promoter, chronicler and music lover Octavio Hernández, a crucial character in this city on the rock music scene, as well as in cultural stances. Memories come to life again. . .

At that time, I began to listen to local radio programs, i was highly impressed by Octavio Hernández's incendiary verb in his nightly weekly radio show, El Arca de Neón, especially after the tragic suspension of a Maldita Vecindad show in the Palenque del Hipódromo.

Octavio from a young age decided his way through rock and after completing the academic part, he nourished himself with knowledge collaborating on Melodía 10 Años, then newspaper Uno Más Uno, until he reached Signore, the Mexicanized version of Playboy, where he became famous for an incident with a music promoter at a festival in Acapulco who clocked him blindsided. At the reedition of the Avandaro Festival in 2006, I remember that when I greeted Octavio, he told me: "Do you believe what just happened?, this motherfucker thinks I forgot what he did to me in Acapulco and now he is even hugging me!".

His love for music and reasons of affection took him to the south of the American continent, where he saw the future of rock in our language and in Portuguese too. So, he came with a vision, and it was common that he inevitably spoke of the big bands like Soda Stereo, Enanitos Verdes, Os Titas, and Caetano Veloso, as well as his beloved Radio Futura and other sparkling artists. He arrived in Tijuana and began the take-off of the Arca de Neón which was a guide of the present and future through the frequency of Estereo Frontera 102. 5, until crossing the border, where he started with El Acordeón, the first rock publication in Spanish in the USA.

Contests and shows like Duelo De Rebeldes and La Frontera Aquí, the first visits from Maldita Vecindad, Santa Sabina, Social Security, Los Fabulosos Cadillacs and others, we promoted by him. His pen set fire to the pages of El Precipicio in Diario 29 and continued to connect to his land via Ciudad Rock En Español, La Jornada and other newspapers and magazines.

In 1994, when I published my first fanzine, I began to frequent the Punto de Vista magazine office, where I went and collaborated for three years with great friends. One day (already in 95) on Madero Avenue, I ran into Octavio, I introduced myself to him and he responded as always, in the way he spoke to everyone, with that characteristic adrenaline and his mouth overflowing words that sounded like wisdom to me. Months later alongside another unforgettable friend, Ricardo Alarcón, we were working details of what would be the Tianguis of Rock and Culture. Coincided that Octavio was his friend, so, consequently, we coexisted in this place and we begin to have more approach. The day of the tianguis, I remember him very happy, hugging everyone, eating his sandwich and chatting. I remember him saying to me: "I'm going to see if, in those that follow, I'll bring the old demos I have from bands like Fobia, La Maldita and others".

One day, he invited me to collaborate on an event he was promoting, and we had a previous talk at the Rubén Hood, that little bar in the parking lot of Arena Tijuana 72. I accompanied him and another friend of his. We talked about a lot of stuff in music, but the most interesting thing was his painful story of the day of the tragic earthquake of 85, which changed his life completely, of his pain for those he lost. At that time, I had a social life, I moved everywhere as I pleased and coincided with my friends. He was a vital and necessary presence in events, for all of us. I remember the Festival of Alternative Culture, where he shouted to me "get off the stage" or his crazy turns with a bottle in hand in his beloved stage at Mexitlan while Los Enemigos took the stage. I'm sure that my writing style copied (or stole) his words, his ways of writing and even the way he always nervously walked around in events, as I saw when he brought legends like Pappo Napolitano, Ratones Paranoicos and Voodoo Glow Skulls, among others. And I forgot, he connected me to be interviewed for a documentary about the border scene for French television, I have never seen that show.

He offered two workshops related to the culture of rock in the CECUT, one by himself, and another with journalist Delia M, I remember that one when my good friend Humberto Huerta and me finished at her house in the Zona Norte at the end of the workshop. Octavio later crossed the street only when Estéreo Frontera took El Arca off the air abruptly, so he was offered to move to Stereo Amistad 99.7 in what I consider one of the best times for rock radio on the border, as they listened to their audience and took local rock music and was part of the daily rotation. I constantly called the show on the air, which was transmitted on a small table with a green tablecloth. Over time, Octavio was given control of the nights at the station and Corazón Eléctrico was born, the first attempt to have an independent alternative radio station, but, the new management ended the project due to "lack of rating and sales", as the new manager of the radio group commented directly to me on a phone call, when I innocently called to complain.

Octavio's path took him to La Banda Elástica Magazine, where he excelled covering all the ways of rock on the border. California and Tijuana were as one, opening the gates to bands of both sides...until one day at the Cecut announced his departure from the magazine, which, put some harsh distance between both sides, which was manifested in subsequent numbers related to rock history in Tijuana and USA on LBE. He wrote some essays about that in Perdidos En La Linea, Lumbre and others, until he landed a spot on Retila Magazine, where he was set up as the editor and assembled his dream team, I was included, the greatest honor for me, alongside with some of the best writers ever, but, the dream was short as the magazine ended after the economic crisis derived from an event that the magazine organized and was a disaster. we only work three numbers, but was incredible.

It was the stage where we hang out the most and had great mutual respect. He interviewed me for one of his most famous articles, Tijuana Mesopotamia, which was the title of his first chronicle book, where the text also appeared, previously published in La Jornada. I got the book and I appear in the acknowledgments. His pen appeared in a trendy magazine called Lumbre, which was a pretext to coincide in a night where we had an incredible gathering together with another dear friend, Ejival and other friends. He also wrote in No Cover, but only for the first edition.

Many of the stories that he wrote, I will reveal that they were versions, let's say, light, of how the events he wrote about happened, but his use of vocabulary to make the stories enjoyable is what I take away from...it's going to hurt remembering when he would stare at me and touch my head and tell me "pinche Rincon, you are quite a character" or his traditional "how are you, maestro?". He continued to collaborate with media such as Circulo MixUp, Cinemania and alongside his beloved friend Charly Alberti on yeyeye.com.

Suddenly, life changed. I remember he had a serious health problem, and after that, we met again when Roy Villela from Oxigeno Rock Shop called us to a magazine project. We met outside the Box Underground venue, and that day, there was a show featuring a band from Ensenada called Blue Mind. Suddenly, Octavio asks me if the man who was standing at the door was Raúl Ramírez, the famous and legendary Mexican tennis player, I say yes. Immediately he got up and went to greet Mr. Ramirez, who was accompanied by his wife, Miss Universe 77 Maritza Sayalero. Octavio reminded Ramirez of the wonderful afternoons with his usual dynamic, citing his legendary rivals as Jimmy Connors and Vitas Gerulaitis, but above all, his vibrant triumphs against the elite before a Ramírez who listened to him with pleasure and surprise. He went back to radio, at the now Fusion 102.5 for two more stints of El Arca De Neon, being the second the lengthiest one, finally, after all these years I went a couple of times, as that was something I put on the bucket list.

In recent times, he spoke more of the past than of the present, very little of the current market. He spoke of seeking to bring veteran artists of blues and old school rock to perform around here. He brought for shows bands like Santa Sabina (their last show before the passing of singer Rita Guerrero), La Barranca and Rubén Albarran from Cafe Tacuba. Worked a lot with the Interzona Festival and was featured on Canal 12 Televisa Tijuana on the Fusión TV show. We returned to coincide by mutual friends when he launched the Tijua Neo magazine alongside the journalist Fernando Del Monte, but issues made Del Monte leave the project. Later, he would leave El Arca show forever in harsh circumstances, however, he was able to return later to the show and others on the same station as a guest. I was invited to write for Tijua Neo in some issues, but then, for a series of stuff, we stopped talking for about three years. We never had any difference openly, but when we saw each other, I know there was some small tension, we agreed that it was already past and that we should start over.

We met in person in January of 2015, we greet in my frustrated birthday event at the TJ Arte y Rock Cafe, and we said goodbye with a hug, as always. He told me that he knew we were going to work on something soon. The last contact we had was by a Facebook message, he invited me as a judge to the TIM band contest, but my time did not coincide because of the workshop I was working on at the time, so I declined...I did not think that he would die, I never imagined that. I knew his pain for his partner Rosalba and her health problems, but he was motivated by love, beer and for culture. It is worth mentioning that in his recent messages, he asks us to support local rock always.

Never assume that what we see today, will be tomorrow. Octavio, I admire you, I respect you and I love you, I remain with your direct and indirect teachings, with your words of appreciation, with your influence.

Thanks and see you soon, very soon, I hope not to be late.

(Text originally published on the AudioTijuana blog in Prenser and republished in the electronic magazine En Tijuana).

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I also would share the text in relation to an event-tribute that took place in 2014. He asked me to wrote it, since he tought i was the only one that knew more about his work. This was featured on El Mexicano newspaper :

ARCABUZ: A Tribute to Octavio Hernández, The Border Rider of Rock.

Octavio manifested his love for music from a very young age. His contact with rock was being notorious, being astounding with the live performances of bands that made history and are now legends, that marked him to get involved in journalism in his native Mexico City, where after from his beginnings, he learned the art of chronicling and musical criticism alongside respected characters like Víctor Roura in the pages of Melodía: Ten Years Later, Uno Mas Uno and at the beginning of La Jornada, then he would put his talents to work for Signore (the first Playboy Mexico magazine) and other publications would give him a unique and special place in national journalism.

Along with his first wife Rosvita he traveled to South America. In Brazil. he saw the jubilant scene of emerging artists, while on the streets of Argentina, he learned where the future of Latin American rock would come, from groups like Soda Stereo, but his life destination would change, as he arrived in 1988 in Tijuana, where he saw the enormous potential that the city had to be considered the spearhead of a musical movement, but also, he discovered that California was another hotbed for bands and media, so, he stayed here.

He made history by being a great influence on the radio through the Arca De Neon show in its various stages at Estereo Frontera 102.5, Stereo Amistad 97.7 and Fusion 102.5, and also, crossed the border to team with Dave Stampone - from the university radio station in San Diego ( KCR) - to make a prodigious binational simulcast. In Stereo Amistad, he promoted one of the first commercial radio projects dedicated to rock music called Corazón Eléctrico, something that deserved better luck. In Los Angeles, together with Enrique Blanc and Omar Márquez, he edited the first publication dedicated to rock in the Spanish language called El Acordion, it became a vital part of the roots of La Banda Elastica Magazine, where he was featured later.

With his pen, he later became editor of Retila Magazine ("the rival" of La Banda Elastic in Los Angeles) and discovered the new cyber ways alongside YeYeYe.com and also collaborated in prestigious publications here and there such as Circulo Mix Up, Pulse Latino, Lumbre, La Olla Express, Bitácora, LA Weekly, La Opinión, No Cover in Spanish, Identidad and Guitar Player, among others.

As a promoter of concerts, he provoked electrical miracles such as the contest Duelo De Rebeldes (binational rock contest, thanks to which the new Tijuana music appeared on the cover of the San Diego Union-Tribune) and the first appearances in the city of Maldita Vecindad, Santa Sabina, Los Fabulosos Cadillacs (whose debut was in Tijuana and not in Mexico City), Seguridad Social, La Lupita, Pappo Napolitano, Ratones Paranoicos, VooDoo Glow Skulls, La Barranca and others. From then on, he never stopped opening roads.

His chronicles and articles have been published in two amazing books, Tijuana-Mesopotamia, Crónicas y Otros Latidos and Cornucopia, Periodismo Sonoro y Anexas. On television, he appeared with his music section in the cultural program Fusion for Televisa Tijuana and is the director and editor of the cultural magazine TijuaNeo, where he demonstrates that his passion for rock is not at odds with his vast general culture. These stages, he lived them with all the same intensity that his heart had for his life partner Rosalba.

He has been found on the road those who are legends and those who could be. With nocturnal adventures accompanied by the inevitable cold beer, or the sun to the fullest, he always talks anecdotes and stories that seem fantasy and those, written, take a much more mystical dimension. He is one of the most transcendental characters of our border.

#Tijuana #radio #journalism #culture #rock

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fridaynightbordercrossing · 6 years ago

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Timeline of the Tijuana Rock Music Scene 1980-2016 (Part 1)

1977 - This year is mentioned -according to Jesús Hernández de Mercado Negro- as the beginning of the end of the classic era of rock in Tijuana, as many of the musicians became part of versatile music bands, in addition to the appearance of disco music as the dominant genre.

1980 - In a text from band Black Market, the definition of Tixuanarkia appears as follows: “�� The term Tixuanarkia, actually indicates an abbreviation, to define the alternative movement of punk in all its diversifications (classical punk, anarcho-punk, hardcore, straight edge, and other more sophisticated and idealistic) that arise in the Tijuana border from 1978 … ”.

1980 - The first Book Fair is held on Ave. Revolución. Since then, there have been invited bands and artists such as Sol Azul, Umbral, Almalafa, Carla Morrison, Total Tan Tan and many more, in addition to the multiple presentations of books by authors related to music, as well as fanzine encounters and independent publications about music.

1980 -Promoter of the punk rock movement in Tijuana, Luis Güereña was in charge of bringing groups like Dead Kennedys, Adolescents, and Black Flag at the beginning of the eighties, using venues such as the Teatro de la UABC, Arena Tijuana 72, Casa De La Cultura and Baghdad De Noche. He made his first foray into music in the late eighties, as a percussionist and singer of the group Chantaje. Later he was part of the group No, which with the appearance of his first record changed his name to Tijuana No!, one of the most important bands in the border region. He was part of the movement of pioneer bands like Los Negativos, Solucion Mortal and later Black Market - also known as 1369 and Missil, now Mercado Negro -, among others. Some of these bands became legends not only locally, but transcended the national and international underground scene. All this made possible the visits of The Illegals, Battalion Of Saints, Black Flag, Dead Kennedys, and others, as well as the explosion of the fanzines, documentaries, books and an analysis of the emerging scene appeared. as an enemy to the repressive political and police system.

1981 - Metal singer Elena Coker begins her career. In an interview for rockeaa.com , she says “… one day a boy who already died told me, girl, would you like to sing in my rock band?. It was like the answer to all my prayers!, this was in 1981. Hence, I say that I was one of the first metal chicks who walked the earth … ”. During her career, she has been part of the Sacro, Shock, Arlequin, Kharma, Legacy, La Píedra and MexZepp bands.

1982 - The Federal Government opens Centro Cultural Tijuana. In addition to the presence of multiple figures of art and culture, the center has hosted presentations at its facilities of Black Market, Sidestepper, Los De Abajo, Celso Piña and many more, besides hosting events such as Ciclo Rock, Nortec 2000, Tijuana Interzona Festival, Tijuana Progresivo, Entijuanarte and several more.

1983 - 91X appears on the frequencies of San Diego / Tijuana (broadcasting in principle from our city), marking an entire generation by announcing itself as “The Cutting Edge Of Rock”. They consider important to Tijuana, wherein 1987, they organized the MexFest with the presence of bands like Oingo Bongo, Squeeze and others at the Hipodromo of Agua Caliente.

1984 - With the entrance of the vocalist Mauricio Beltrán, the band Riff Raff changes its name to Armagedón. With a tendency towards metal and hard rock, in 1988, they would participate in the contest organized by BMG Ariola, Rock En Tu Idioma. They would record their first official album in 1992, but they would achieve greater success with the release of Ecologia on Sarzo Music in 1995. After an interruption in their career in 1997, they would return to the stage in 2003, launching in 2008 their third album, El Imperio Del Mal and since then they remain as one of the most important bands ever.

1984 - Solucion Mortal participates in the International Punk and Hardcore Festival that lasted two days held at the LA Grand Olympic Auditorium in Los Angeles, CA. They appear in the influential Maximum Rock And Roll fanzine, as well as participating in the Eat Me compilation in 1983 and the World Class Punk in 1984.

1985 - 85 is considered as “the year zero” of the Alternative Culture in Tijuana. Fanzines appear (Psychocandy, Pus, El Punk No Es Moda, Feos y Curiosos), and it is where is officially said that the history of electronic music begins in Tijuana, where the restlessness of an entire generation begins to be satiated by making music. Vandana, Synthesis, L'Ochestra, and Avant-Garde, along with others, are mentioned as pioneers, gaining local interest at the beginning, while later projects such as Laplace, Bostich, Arterfakto, and Ford Proco, among others, achieved national and international acclaim. The scene has transcended in various stages, from a scene marked by synthpop and new wave, to industrial and cyber. From rave, dance, and trance to Nortec, minimal tech and house.

1985 - The debut album of La Cruz, Rock a la Media Noche is released on BMG Ariola label, produced by Carlos W. Martos (Barón Rojo). Video clips of all the songs on the album would be made.

1986 - The Mexican Institute of Radio (IMER) sets up a station in Tijuana, which has the name of Estereo Frontera. Rock has a place with programs such as Variedad Estéreo and Onda Rockera in the beginning and in 1988 it had a following with support to the local scene, including presenting concerts outside the station. Later appears (even within the different changes of the station) El Arca De Neon -which at some point, came to be transmitted simultaneously at the KCR station at San Diego State University with the support of Dave Stampone-. Over time, multiple programs appear and disappear, such as Ritmos De Ciudad, Hecho En Tijuana, Al Otro Lado Del Silencio and more. Already in the present decade, the station changes its name to Fusion 102.5, in addition to being the house of programs like Invasion Local, Static Radio and others.

1986 - The documentary about the punk rock scene in Tijuana, Feos y Curiosos is presented, directed by Sergio Ortíz and based on an investigation of Dr. José Manuel Valenzuela of the Colegio De La Frontera Norte. In this same time, the video Sobreviviendo of Mercado Negro appears.

1986 - Synthesis appears, being the first band to use MIDI in live concerts and later recordings.

1987 - After playing in several bands, Julio “Benny Rotten” Tamayo integrates with a group of friends after other experiences to put together a band that many consider the most important in the history of punk/hardcore in the country: Especimen. The band would achieve memorable concerts and several demos that reached the ears of the entire country, prompting in 1995 to settle in Mexico City. Benny Rotten stays with the band and the rest of the then members return to the city of Tijuana for personal projects. Especimen also were part of acclaimed theatrical plays like Ni Cercas Ni Distantes, Monologo a 2 Voces and Alicia Detras De La Pantalla, the last two winning the important Oscar Liera Award. Especimen continues its trajectory evolving with its alternative hardcore, continuing with important recordings and with it’s traditional Slam Tour which has arrived in different occasions in the city.

1987 - Palladium Club is at its peak, where the best music of the time was heard and was a witness of innumerable parties. Opposite the Torre De Agua Caliente was the 5th. Poder, where they sold discs, many of them, of import, in addition to that during many years, the local demos were sold here, later, it was located a few steps from the original location of the Palladium.

1987 - Ciclo De Rock begins within the facilities of the Centro Cultural Tijuana. In 1987, Armagedon, Avant Garde, Sky Land, and L'Orchestra participate. In 1988, the program was integrated into the Festival of Rock and Jazz with Black Market and Radio Chantaje. 1989 was the last year, the Planetary Cinema being its headquarters and is for many, the most important edition and which represented a starting point for what would come in the future. Missus Persipere, Chantaje, Quinta Reunion, Artefacto and Neo Danza.

1987 - The first cultural radio station of Tijuana, Radio Tecnológico 88.7 FM appears. This is the platform where the first specialized programs in rock, electronic and pop appear: Expansiones del Rock and Sintonía Pop. Despite the limitations of criteria, the station imposes itself because of their operation permit, programs like Al Otro Lado Del Silencio, Tierra Nueva, El Olor Del Silencio, Expresiones Del Rock, El Ritual, Xpression, Horizontes Juveniles, Apuesta Por El Rock, Mundo Reggae, Alternativa and more appear in their different stages.

1988 - The record label Quarzo appears. Mercado Negro on this label releases their acclaim record Sociedad Anonima, featuring the radio hit La Cucaracha. Artefacto releases the red vinyl record called Synthesis, with legendary song Complejo De Amor as the lead single. Other bands, were Todavia, a pop-jazz ensemble with international world-class performers like the remembered Uruguayan drummer Gonzalo Farrugia, Argentinian singer Freddy Comitte and others. Among the achievements of this band, is to win the Obelisco prize, and appear in the musical segments of the Cadena ECO of national network Televisa. Their debut album was released, with No Puedo Mas as a successful single. Also, we remember Raxx, a rock band from Ensenada that had another radio hit in Licor. In charge of the label was producer and musician Mario Lagsbartt, who has had a very important career in the musical industry.

1988 - The first independent album in Tijuana is released by an electronic band, it’s Ingenieria Pop from Laplace.

1988 - Students of Communication of the Universidad Iberoamericana carry out the documentary Rockolusión, featuring, among others, La Cruz, Vandana, and Artefacto.

1988 -From Playas De Tijuana, punk/world beat band called Radio Chantaje emerges. Alex Zuñiga, Julieta Venegas, Omar Veytia and other characters were part of this band that would cut his name to Chantaje and later, it would be NO.

1988 - Armagedón obtained the third place in the national contest called Rock En Tu Idioma, organized by the company BMG Ariola. The song Sin Ti was included in the compilation of the songs of the contest.

1988 - La Cruz releases its second album, Rockolución, In 1989 they receive recognition in the celebration of the Centennial of Tijuana, months later they would split, because of a series of difficulties with the record company BMG Ariola. Their last concert with their most important line-up was at the facilities of Estéreo Frontera.

1989 - Within the celebrations of the Centennial of Tijuana, concerts are performed, featuring Mercado Negro, Javier Batíz, Lupillo Barajas, The Moonlights, Los Solitarios, Zantoz with Z and many others.

1989 - Within the electro-new wave music scene of the city, one of the highlights was the regional boom that the single Complejo De Amor of the trio Artefacto gets trough radio airplay on popular shows like Flash in Radio Latina, Super Flash in 107.3 and others, that also gave important space to local bands mixed with top rock and pop national and international acts.

1989 - Iguana’s becomes THE PLACE of rock concerts on the border. Bands like El Tri, Ángeles Del Infierno, Mano Negra, Fobia and others are presented here, but the interesting thing is that Bill Silva and others manage to bring some of the historical bands of rock and hip hop that would transform the history in years to come: Red Hot Chilli Peppers, Nirvana, Pearl Jam, Nine Inch Nails, Ice-T, Slayer, Suicidal Tendencies, Smashing Pumpkins, Soundgarden, Faith No More, Ramones, Dee-Lite, Iggy Pop and many more.

1989 - The Institute of Culture of Baja California emerges, with spaces throughout the state for artistic and cultural development. In Tijuana, includes the ICBC Multiforo and it’s gardens, where events such as Tijuana Rockstars, Editorama, Mil X El Rock Local, Zigma Underground Sessions, and Festival De Octubre, among others, have been presented. In their stages, groups, and artists. Some of the featured names have been Radaid, Carla Morrison, Almalafa, VooDoo Glow Skulls, Cabezas De Cera, BeAm, Mexican Jumping Frijoles, Celso Piña, Guillermo Cides and many more.

1989 - NoArte appears, founded by Roberto Mendoza and Robert Castañeda. They distribute their first fanzine at a Boycott concert in Río Rita. One of his mottos was: “unification, support and possible help to select groups of our city”. The electronic scene of the time featured the industrial/experimental sounds of bands like Los Santos Oleos, Motoróxido, Fetiche, Ford Proco, RUR and others.

1990 - There is a full boom in places like Last Temptation and Club A. The first, was where many future important bands made their debut in Tijuana, including Maldita Vecindad, while Club A, had several of the most incendiary nights that are remembered in Tijuana.

1990 - Unirock appears, a group that seeks to unite local bands.

1990 - Shock, with Elena Coker in the voice, makes a tour of Spain, before good reception from the critics and the public.

1990 - The Duelo De Rebeldes contest is held, which would bring together bands from Tijuana and San Diego. The winner was NO. Representing the city in bands duel that took place in Iguana’s, were important bands like Armagedón, Mercado Negro and Artefacto.

1990 - The most important and influential fanzine of the Alternative Culture in Tijuana emerges, El Centro De La Rabia, which proposed in its texts “ideas for another generation”. Between its pages, appeared chronicles of the time and interviews with Soda Stereo, Fobia, Cafe Tacuba and more. In 1995, Velocet would appear, where the principles of ECDLR are retaken, with interviews, chronicles, and review of pop culture.

1990 - The tijuano / Angelino fanzine El Acordeón appears, founded by Octavio Hernández, Enrique Blanc, Emilio Morales, and Omar Márquez. later would mutate into various projects, including La Banda Elástica (Los Angeles).

1991 - Los Fabulosos Cadillacs debut in Tijuana on the Rio Rita.

1991 - The meeting TJ-DF La Frontera is organized at the LUCC in Mexico City with the Tijuanense presence of Mercado Negro, Artefakto, NO! and Armagedón, while from the DF, the selected bands were Sangre Azteca, LLT, Café Tacuba and Argus.

1991 - The first extreme metal bands appear on the scene, among the names are Pus, Pyosisified (first Morgue) and Perdition, but some of their initial roots are set up since 1986.

1991 - The Rocktubre Musical Fraternity begins its activities, which for 20 years celebrated its annual festival where consolidated and new bands met to share their music. The beginnings of this encounter were in the Cerro del Oasis, after which there was a nomadic tour that included spaces such as Teniente Guerrero Park, La Casa De La 9, Municipal Palace and the Tijuana Cultural Center, as well as houses and independent spaces that have disappeared. Among the most important bands to be part of its history, some mentioned are Hijos De Sancho, Peace Frog, The Ventures II, Almalafa and a long list of guests.

1991 - NO releases their first self-named debut records through indie label Rock And Roll Circus, featuring important guest musicians. After some legal issues, the band changes their name to Tijuana NO! and signs with BMG Culebra. The band gets a national and international projection, becoming the most important and transcendent band of the local movement, having success in Europe, Mexico, and the United States.

1991 - Pieles En Venus wins the Latitud Rock state band contest. Other bands that were in the contest were: Turbulencia Kaótica, Hijos De Sancho, Cambio De Humor Violento (Tecate), Shock, Orion, Algo Anda Mal, Los Zapatos De Archibaldo (Ensenada), La Imagen (Ensenada) y Cruz De Hierro ( Ensenada), among others.

1992 - Rio Rita - inaugurated in 1987 - hosts the first local presentations of Santa Sabina and later Spanish rock band Segurisa Social, as well as other bands. Let’s not forget cultural spaces such as El Nopal Centenario, or the boom that little by little takes the Plaza Fiesta by storm with spaces such as El Sótano Suizo and Rana’s Bar and then a final strong stage that included Punto Café, El 5to. Patio, Porky’s Place, La Caja, and El Chez.

1992 - Avenida Revolucion had a big boost with the inauguration of Hard Rock Cafe with the presence of important guests. During his time, on its stage performing were important acts such as Café Tacuba, Tex Tex, Illya Kuriaki And The Valderramas, Pastilla, Enjambre, Tijuana No! and many more, in addition to space events such as the Te Toca 2 and Hard Rock Stage competitions. In its final days, it was the incubator of multiple tribute bands until its closure in 2009.

1992 - Below San Onofre is released, a compilation of techno and industrial groups and soloists from Tijuana and San Diego, including Artefakto, Bostich, and Ford Proco. The Colossus rave takes place in the Cazzar Towers.

1992 - With great guests during his presentation, Carlos Santana performs with great success in the Plaza Monumental de Playas De Tijuana.

1992 - NOARTE Radio appears in Estéreo Frontera 102.5 FM with Roberto Mendoza, Hayde Zavala, and Robert Castañeda. The program lasts a year on the air.

1992 - The En Exclusiva program appears on Canal 12 (Televisa Tijuana), with reports and interviews of national and international relevance. Later, in this same channel, Alternativa appeared, where a wide space was given to the local rock in its contents, as well as En Extremo in TVC, presenting fragments of concerts. Canal 45 More TV, inside its programming, presents some local clips, as well as live concert specials and its Xteriores program, where local bands were part of interviews and live studio sessions.

1993 - Controversial rock nights are held at the traditional Feria De Tijuana at the Palenque Hipódromo parking lot until 2005. In some of the concerts, trash was thrown to the stage, the mosh pits were uncontrollable, sometimes concerts were suspended under near riot conditions and even sometimes, vendor cars were set on fire. Even so, the presentations of Café Tacuba, La Lupita, Cuca, Victimas Del Dr. Cerebro, Fobia, Control Machete, Ely Guerra, Molotov, Azul Violeta and more are remembered. Later, they set up shows in Parque Morelos under a less more craziness, featuring shows from La Ley, Maldita Vecindad, Hello Seahorse !, Vicente Gayo and Tijuana NO !.

1993 - The first Rock Pintura is held at the Mexitlan facilities, with the presence of artists such as José Hugo Sánchez, among others, while from the musical scene, Tijuana NO !, Mexican Jumping Frijoles and others made a presentation. A second edition would be held at Studio 1 of More FM years later, while in 2007 a third edition would be held at Multikulti as part of the Tijuana Interzona Festival.

1993 - Mexitlan is remembered as the maximum center of events in the city. The Fabulous Cadillacs, Los Enemigos, Tool, The Vandals, MxPx, Cuca, and Café Tacuba are some of the names that appeared from 1992 to 1996 in the forum localized in the corner of Tercera Street and Ocampo Avenue. Some local bands would achieve surprising entrances that would rival those of national bands, like the cases of Mentes Opuestas, Tijuana NO !, Nessie, Mexican Jumping Frijoles, and the festival Swenga Fest. Subsequently, it reopened doors for events from 2006 to 2008 with the presence of figures such as Deep Dish, Tiesto, Infected Mushroom, Molotov, Glass Candy, Bostich + Fussible and others.

1993 - Charity events are held in favor of those affected by El Niño disastrous storms. In the Unidad Reforma featuring a cast of local bands. In Studio 1 of More FM, Tijuana NO! along with other bands, they play their part.

1993 - The new scene of rock appears in diverse places that take boom as La Faena, Auditorio de Tijuana, Rió Rita, and others. Bands like Mexican Jumping Frijoles, Mentes Opuestas, Ohtli, Vismalia, Hongos De Gina, Nessie, and others, take a strong presence in the scene.

1993 - Complementary to the Ritmos De Ciudad radio program, the serial Hecho en Tijuana appears, where each week was a one-band interview. The great majority of bands of that time, appear in the program. More than 70 programs are carried out on its cycle broadcasted on Estereo Frontera.

1993 - Mexican Jumping Frijoles receives the nomination in the shortlist of Best New Band in the VII National Survey of Rock En Espanol.

1994 - The first commercial rock-pop station on the border appears, More FM 98.9 FM, which would last until 2004 and return in September 2010. Within its concepts, More TV Channel 45 (video channel) stands out. Also, Concert Truck (mobile stage for concerts)and Studio One (concert hall). On the actual revival, Acceso Al Pasado (retro music programming) and the More 7+ Concert Series.

1994 - The Rock y Cultura Popular Forum takes place with Hecho in Tijuana conference at the Tijuana Cultural Center facilities with the presence at the table, among others, of Cesar “Cejas” Vázquez (Solucion Mortal, Calavera), Javier Batíz, Octavio Hernandez, Paco Garcia (The Moonlights) and Roberto Mendoza (Artefakto, Panóptica).

1994 - La Ciruela Electrica is inaugurated. It’s the place where LPs, KCTs, and all audiovisual material are sold and changed, specializing in psychedelic rock collection and import material. Morrissey and Gustavo Cerati, among others, have been some of its visitors.

1994 - The punk/hardcore scene takes force with the appearance of bands like La Huesuda, Convulsion - both later merged as LHC -, BeAm, Kracneo, Mortizia, Juventud Enferma, BAS and more, creating an underground circuit of shows and information through fanzines.

1994 - The first internet sites dedicated to local groups and projects appear, among the pioneers are: Ford Proco, Artefakto, El Olor Del Silencio, Swenga A Lele, and Velocet. Later, the sites of Nona Delichas, Tijuana No !, Cinematik and several others would appear, which in addition to their personal sites, began in the following decade to invade the various social networks.

1994 - La Lagartija organizes more than 23 concerts and public rehearsals at the Fiesta By The Beach venue in Playas De Tijuana, with the presence of a broad band of bands from the region.

1994 - Mysteriously appears in the scene, Minuit De Lacroix. Originally a draftsman, he enters the territories of experimental electronic music, developing through him and other musicians, projects such as Prothesis, Virus, TIDE, Demontra, Into Ether, Frown Complex and more. At the beginning of the next decade, he moved to Europe.

1994 - La Ley makes its first formal concert in Tijuana exactly two months after the accidental death of guitarist Andrés Bobe. The venue of the event is the Corona Plaza Hotel. In this hotel bands like Cuca, Victimas Del Dr. Brain, La Lupita, among others, would perform, as well as Heroes Del Silencio, standing out that on this show, Enrique Bunbury got hit in his face for an object that someone throws on stage, something that occasionally It would be done to him in other places too after this.

1994 - The independent label of Mexico City, Rock And Roll Circus publishes the compilation tape Trinchera Norte, featuring the music of La Borrasca, Mexican Jumping Frijoles and Position Ilustre.

1994 - There are bands rooted in the ska and reggae that were emerging on the local scene of the time, among which we can mention Cairo (later Babylon XX), Local 4, Algo Anda Mal (these two, had been playing on the scene since before), Destinos Incorrectos and especially the most important that survives from this generation: Almalafa.

1994 - Two interesting publishing projects on music and art in Tijuana are released, Voltage and El Sueño De La Gallina. The first one, unfortunately, was edited on just one occasion with interesting texts, interviews, and reviews of concerts and albums, if it had the resources at the time to continue, it would have made history. The second, in a very unconventional giant size, would appear with interviews, notes and good use of humor, later on, it would come back once again, accompanied by an important compilation album that kickstarted the idea of the Nortec sound.

1994- The first kct’s of the indie label / collective Secret Agency Swenga begin to appear, where the music of Ohtli, Staura, Glugan, and others appears. In addition, the group publishes fanzines of different themes, also concerts and festivals such as Swenga Fest, videos and more. Subsequently, they channeled their efforts into the creation of the Dialogue and Distribution Network, which promoted the material in various formats on the local scene through a catalog. During this stage, their DIY concerts were held in various forums with the presence of bands like Fun People, Tristeza, Maquiladora and many more. The nucleus of the group would reappear years later with the audiovisual production company Galatea, from which Bulbo (television), Bulbo Broadcast (Internet radio), Bulbo Radio (through Estéreo Frontera 102.5 FM) and Disco Bulbo (record label) would be derived.

1995 - Under the production of Fermín Muguruza, Transgresores De La Ley appears, this being the second release of Tijuana NO!, where Manu Chao, Fidel and Pablito (Todos Tus Muertos) and more collaborate. The album is again successful and makes them popular in Europe.

1995 - El Puente appears, a multi-theme publication dedicated to young audiences that was edited by the Tijuana Cultural Center. Within the texts, information about fanzines, concerts and various activities appears.

1995 - A concert is held in the Casa De La Cultura De Tijuana with the presence of Mexican Jumping Frijoles, Ohtli, Huey Tlatoani, Staura, and Nona Delichas. This would be one of the most remembered and influential in the history of Tijuana.

1995 - The compilation disc Ritmos De Ciudad appears with some of the most important bands of the region: La Mosca (Rosarito), Especimen, Artefakto, Mentes Opuestas, Mexican Jumping Frijoles, Hongos De Gina, Solucion Mortal, Armagedon, Cambio De Humor Violento (Tecate), Tijuana NO! , Ford Proco, Coker, Mercado Negro, Las Trenzas De Matilde, and La Borrasca. Later, other radio show, El Olor Del Silencio, releases a compilation tape called A Ella Le Gusta El Olor Del Silencio, featuring among others, Xibalbay, Sonios (Ensenada), La Tercera Persona, VoySeryo, Ohtli, Mentes Opuestas, Mexican Jumping Frijoles, Hemisferios, Olmanan, Ford Proco, Evolucion 69, La Fayuca (Tecate), Ford Proco, Glugan, Staura, Crime Of The Century and Vismalia.

1995 - The rock music appreciation and criticism workshop La Vuelta Al Mundo En 480 Minutos with rock journalist Octavio Hernandez is done with a full house on all its sessions at the Tijuana Cultural Center.

1995 - Stéreo Amistad 97.7 FM (Grupo ACIR), through a series of management changes, opens its spaces to local music, projecting bands like Mentes Opuestas, Duendes De Teatro and Babylon XX on its normal rotation, in addition to Friday, where some shows began to appear, reinforced with the arrival of the already legendary program El Arca Of Neon. This was the beginning of a programming bar called Corazón Eléctricothet ran from 9 PM to 6 AM and had programs like Al Otro Lado Del Silencio, 9:30 PM, Techno Ritual, El Grito and more, with music not heard on commercial radio at the time. This was the first real attempt to have a 100% rock station in the city but was cut over the months by a new management and radio group that took control of the station and the change to a romantic commercial format.

1995 - Argentinian band Todos Tus Muertos has a small tour of Tijuana and Tecate. Their influence would be crucial for the development of the bands of the second half of the decade of ska, reggae, punk and those who made a fusion of these genres.

1995 - The TAZ exhibition of concert posters made by the Californian group of artists TAZ is presented at the CECUT and the closing ceremony takes place in a rainy concert in Mexitlan, with the presence of Los Enemigos, Agent Orange, Adrenalina and many others.

1995 - Its the first visit to Tijuana of one of the bands that strongly influenced the development of the melodic punk scene in Tijuana, Dos Minutos from Argentina. Their first show was at the Terraza de Mexitlan. They would return years later with a show at the 5to Patio bar in what was called a show to fans from fans. They would do shows at bigger venues after this one.

1995 - UBRE Fest is celebrated. In that show, Maldita Vecindad would play a lot of new songs they were working on at the time. Those more experimental tracks later were rejected by the label, forcing them to record a more “accessible and commercial” album. Also featured: Fobia, Tijuana NO !, La Castañeda, Guillotina, Ansia, Mentes Opuestas, and Mexican Jumping Frijoles, among others.

1995 - The First Festival De Cultura Alternativa is celebrated at the Casa De La Cultura de Tijuana with a concert, fashion show, roundtables, video projections, and other activities. The festival is repeated until 1998, adding more activities and other places.

1995 - As part of the Young Creators program of the Tijuana Cultural Center, the round table entitled El Derecho A La Fiesta was held, with the presence of José Luis Paredes Pacho (Maldita Vecindad), Beatriz Acevedo (En Exclusiva), Ramón Amor Amezcua (Bostich) and Fran Ilich (Cinematik Laboratories). Within the points of conclusion, it was mentioned that: “… It is not possible to continue hoping that the opportunities for spaces fall from the sky, we have to look for them, demand them and take care of them, it is our right …”.

1995 - On the IX National Survey of Rock in Spanish, the debut album of the trashcore band Turbulencia Kaótica, titled just like the group, wins the prize of Best Punk Debut Record of 1995.

1995 - The international cyberculture festival Cinematik 1.0 is held, with the exhibition of documentary films, electronic music concerts, conferences, and other activities. It is also worth mentioning the importance of a project prior to Cinematik, Countercultura (menor), which promoted the music, literature, art and underground culture of the city. Also, before this, the fanzine of the same name was released, as well as others, as it criticizes the cultural system of the beginning of the decade. These activities were coordinated by a fundamental character in the Tijuana counter-culture, Fran Ilich, with the help of many others.

1995 - The independent publishing house La Espina Dorsal appears, where books of narrative, poetry, and music appear. Among the authors are characters such as Ejival, whose musical chronicles were compiled in the book Rastros De Carmin…and Rafa Saavedra with Esta No Es Una Salida…

1995 - DIY #1 is held in the Old Municipal Palace, with the presence of art exhibitions, social organizations, and music by Local 4, BeAm, Kracneo and Diosserpiente. The event was organized by El Paquidermo, Laboratorios Cinematik, Azul, Punto de Vista, and DCP.

1995 - Nona Delichas and Bodhisattva, among others, become some of the most important names in a scene that enters a transition period.

1996 - Nessie releases their debut album Krunch, from which comes the single Canino Rojo, which was in rotation by MTV directed by Francisco López and recommended by Mr. Flavio from LFC. They would have a great run with concerts in Monterrey, Mexico City, and LA.

1996 - Within the Second Festival of Alternative Culture, the compilation tape Kolibry: Limite Desconocido Vol. 1 is edited by DFP / El Kolibry Zine. Includes music from bands like Dead Panchos, El Rosario, BeAm, Pyosisified, TIDE, Livélula, Pus and others.

1996 - The Network of Dialogue and Distribution appears, with a catalog of Tijuana material such as discs, demos, fanzines, books, and mixtapes.

1996 - Makes Its debut in Tijuana, one of the bands that definitively influenced the explosion of the ska/punk scene of the next half of the decade, VooDoo Glow Skulls.

1996 - The Tianguis de Rock y Cultura is held in the Agua Caliente Tower, coordinated by Punto De Vista magazine within the Festival De La Frontera, with the sale and exchange of record material, magazines, fanzines and more, in addition to the musical performances of El Rosario, El Grito, Sub Total, Pus and Pyosisified. A couple more under the independent scheme was realized, later, to be absorbed by the nascent Municipal Institute of Art and Culture, that transformed it into the Municipal Circuit, crossing the delegations of the city. Later, they resurfaced under the name of Cultural Tianguis in spaces such as Old Municipal Palace and Teniente Guerrero Park until its end in 2002, releasing a compilation featuring bands like Los Karma, Sol Azul, No Hope, and many others.

1996 - Cultural newspaper Semanario Bitacora appears as an independent project, after being a supplement of La Tarde newspaper. Within its pages in its first stage, it would appear chronicles, articles and other various texts by pens such as Octavio Hernandez, Rafa Saavedra, EjiVal, JAR619, and others. It is worth mentioning that before, other characters did similar work with their pens in Diario 29, El Heraldo, Baja California, and others. Bitacora was a continuation of plural cultural journalism, timely critical on the cultural scene of the region.

1996 - The Tijuana Rock photo exhibition is presented at the City Gallery. Works by Alfonso Lorenzana, Zuzette Foglio, Julio Orozco, Luz Aida Ruiz, Antonio Vega, and others are featured.

1996 - The Encounter of Fanzines and Independent Magazines takes place in the Tijuana Cultural Center. If featured the editors of Banda Rockera from Mexico City alongside local editors. This reinforced the presence and emergence of zines on various topics regarding music and culture. One of the subsequent numbers of the Banda Rockera magazine presents an ample reportage on the matter.

1996 - The IMAC organizes the Tijuana Rock 96 cycle at the Cortijo de Playas de Tijuana and the Municipal Palace. Between the participating bands, some featured were Position Ilustre, Ohtli, Xibalbay, Solucion Mortal, BeAm, Dead Panchos, Artefakto, Bostich, Hijos of Sancho, Bodhisattva, and Armagedon.

1996 - Within the Tijuana Rock 96 cycle, an evening of electronic music takes place, featuring Aqua Delfin, Bostich, Ford Proco, Los Santos Oleos and Artefakto. The fanzine made by NoArte was delivered to the entrance of Palacio Municipal, included this text that has not yet lost its validity: “…Our bands are at the right time but in the wrong place. Despite this, today, June 28, 1996, for the first and only time, the main exponents of music and electronic rock have come together, being not only from Tijuana, but also from Mexico and Latin America, but that is not known by the majority of the city’s public….”.

1996 - Last presentation of legendary band Soda Stereo in Toreo de Tijuana.

1996 - The Workshop of Appreciation and Criticism of Rock: Arte A La Medida with Octavio Hernández and Delia M. takes place in the CECUT.

1996 - The Basque band Negu Gorriak appears in Tijuana, alternating with Tijuana NO !, Resorte and Drip By Drown. Later and in the middle of its tour Berigunea Tour 96, the members of the band are stopped by the National Institute of Migration. Fermín Muguruza would return to Tijuana presenting himself in the then Planeta Tijuana venue in 2007.

1996 - Within the Hispanic American Guitar Festival, the ensemble Concrete Blonde + Illegals perform.

1996 - The English band Black Grape (with Shaun Ryder of Happy Mondays) has a show on the second floor of Mike’s on Avenida Revolución.

1997 - Appears in the electronic journal Razón y Palabra of the Technological Institute of Higher Studies of Monterrey, Campus Estado de México, the text: Formation of Agents and Practices of Culture in Everyday Life: Rock in Tijuana by Omar Foglio Almada.

1997 - The Nimboestatic record label appears, which releases three of the best independent recordings in the history of music in Mexico: Nona Delichas, Aural, and Sonios. Later, it becomes Static Discos, presenting the electronic avant-garde in Mexico. Discs such from artists as Fax, Murcof, Terrestre, Plankton Man, Duopandamix, Álvaro Ruiz and others, are distributed nationally and internationally with public and media recognition. Later, together with Uriel Waizel (Head of Musical Content of the radio station Ibero 90.9), they launch a second subsello, Verdigris, in which avant-garde author song discs are released. In this brand, recordings of Orlando and Arkhota appear, among others.

1997 - The Tierra Prometida rave is carried out, organized by Tlahuilia in Paraíso Azteca. Among others, Punto Rojo, Nona Delichas, Ohtli, Phill Aye, DJ Tolo, Laplace, Ford Proco, and DJoint perform.

1997 - The band contest Foro Rock begins at Teatro Zaragoza. The winners of their respective brackets were Los Kung Fu Monkeys, Orto and Almas Eternas, The first one, transformed into a ska-punk international powerhouse, while the second had a good rock and roll run, while the last band was a promising one that did not go further after this, something that mostly happens with bands winning contests. The rest of the contest was canceled after the Foro newspaper disappeared suddenly.

1997 - National indie label Option Sónica distributes the records Nona Delichas of Nona Delichas (Nimboestatic) and Tierra Elektrika of Artefakto (No Arte) - previously they had released their previous album as well-. This Mexican label, during its history, would distribute or produce records of Tijuana artists like Bostich (KCT-1994), Ford Proco (KCT-1994), Fussible (CD-1998), Almalafa (CD-2001) and others. In addition, some of the artists mentioned, participated in various compilations of the same record label as From Trance To Cyber, Rave Generation and Tequila Connection, just to mention a few.

1997 - In the edition number 3 of the magazine Complot International, the Genealogical Tree of the National Rock 1980-1996, realized by the Center of Studies on the Rock in Spanish and the journalist Ricardo Bravo is featured. In it, Julieta Venegas, Mexican Jumpin Frijoles, Javier Batíz, Solution Mortal, Especimen, Tijuana NO!, Armagedón, La Cruz, Ford Proco, Artefakto and Bostich appear.

1997 - The At. At Records label is released, it will be where the record works of the duo Ford Proco would appear. Through it, they launch the compilation Estrella de Fácil Retorno, a KCT that features the music of Misterios Violeta, Los Santos Oleos, La Noria, and others. Later, they would release albums of international artists like Aviador Dro and Coil and also, the compilation of classic Mexican electro called Back Up, while later they would be also releasing mp3-only compilations of emerging artists, building one of the vastest electronic music catalogs in México.(Text is featured on the Presente: Tijuana Rock And Roll 1980-2016 project)

#cronology #rock #music #scene #Tijuana

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