<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2683-2208</journal-id>
<journal-title><![CDATA[Revista panamericana de comunicación]]></journal-title>
<abbrev-journal-title><![CDATA[Rev. panam. comun.]]></abbrev-journal-title>
<issn>2683-2208</issn>
<publisher>
<publisher-name><![CDATA[Centros Culturales de México A.C., Universidad Panamericana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2683-22082022000200075</article-id>
<article-id pub-id-type="doi">10.21555/rpc.v4i2.2707</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[The Rock Music Scene on the US/ Mexico Border: Cultural Translation and Adaptation]]></article-title>
<article-title xml:lang="es"><![CDATA[La escena de la música rock en la frontera entre Estados Unidos y México: traducción y adaptación cultural]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sánchez]]></surname>
<given-names><![CDATA[José]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Soto-Vázquez]]></surname>
<given-names><![CDATA[Arthur]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,United Independent School District  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>USA</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Texas A&amp;M International University  ]]></institution>
<addr-line><![CDATA[Austin ]]></addr-line>
<country>USA</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<volume>4</volume>
<numero>2</numero>
<fpage>75</fpage>
<lpage>86</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2683-22082022000200075&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2683-22082022000200075&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2683-22082022000200075&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract. This study addresses how rock music integrated into the local culture of a region where the dominant music genres were Tejano and other Mexican-influenced forms. Using a series of in-depth, qualitative interviews with long-practicing musicians, we discuss how rock was shaped and melded into local customs and practices. Musicians discussed being flexible in their live performances, playing British invasion songs right after a corrido, being pushed to the margins, and performing at ranches outside the city limits when clubs would not feature them. Nevertheless, the local rock music scene developed in South Texas and became a unique cultural hybrid. We use this example to discuss what cultural hybridity looks like in the context of music perfor mance, the role of new media in advancing it, and what it means for border identity.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen. Este estudio aborda cómo la música rock se integró en la cultura local de una región donde los géneros musicales dominantes eran el tejano y otras formas de influencia mexicana. Usando una serie de entrevistas cualitativas y profundas con músicos de larga práctica, discutimos cómo se formó el rock y cómo se mezcló con las costumbres y prácticas locales. Los músicos hablaron sobre ser flexibles en sus presentaciones en vivo, tocar canciones de la invasión británica justo después de un corrido, ser marginados y actuar en ranchos fuera de los límites de la ciudad cuando los clubes no los presentaban. Sin embargo, la escena de la música rock local se desarrolló en el sur de Texas y se convirtió en un híbrido cultural único. Usamos este ejemplo para discutir cómo se ve la hibridez cultural en el contexto de la interpretación musical, el papel de los nuevos medios en su avance y lo que significa para la identidad fronteriza.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Rock music]]></kwd>
<kwd lng="en"><![CDATA[music scene]]></kwd>
<kwd lng="en"><![CDATA[U.S./Mexico border]]></kwd>
<kwd lng="en"><![CDATA[Hispanic/Latino]]></kwd>
<kwd lng="es"><![CDATA[Videojuegos]]></kwd>
<kwd lng="es"><![CDATA[producción]]></kwd>
<kwd lng="es"><![CDATA[Cuba]]></kwd>
<kwd lng="es"><![CDATA[industria de videojuegos]]></kwd>
<kwd lng="es"><![CDATA[mercado de videojuegos]]></kwd>
</kwd-group>
</article-meta>
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