"An analysis of the popularity of a '90s Spanish-language album in a decade that was otherwise dominated by English-language indie and grunge music"--
Sin documentos is a landmark album in Spanish popular culture and continues to maintain considerable popularity more than two decades after its release. The characteristic guitar riff of the title song, a kind of rumba-rock, still occupies a place at every party in Spain. Los Rodriguez's success came after a decade characterized by the rise and fall of local-language punk and new wave bands. By the time Sin Documentos appeared, however, most Spanish bands were singing in English and had turned to grunge and noise rock.
How might we explain the significance of this band and its Spanish-language music with Latin-American influences in the decade of the 1990s, which was otherwise dominated by English-language indie and grunge music? This book evaluates the relationship between Spain and Argentina, and recognizes the major influence of Latin American pop-rock on the modernization of Spanish popular music beginning in the 1950s. Through interviews with members of the band and the album producer, analysis of the media coverage of the album, and a cultural analysis of its meanings, it delves into the cultural trends of Spain throughout the 1990s and beyond.
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An analysis of the popularity of a '90s Spanish-language album in a decade that was otherwise dominated by English-language indie and grunge music.
Introduction
1. Sin Documentos
2. Mi Rock Perdido
3. Pequño Salto Mortal
Conclusions
References
Notes
Index
Héctor Fouce is Professor of Media Theory and Semiotics at Universidad Complutense de Madrid, Spain. He has held several positions on both the IASPM Spain and International IASPM boards, and has spent time as a music journalist and critic in digital media.
Fernán del Val is Assistant Professor of Sociology of Culture at Universidad Nacional de Educación a Distancia (UNED), Spain. He writes about music, politics, media and youth in Spain and is the author of Rockeros insurgentes, modernos complacientes: un análisis sociológico del rock en la Transición (2017).
