John Lennon ‘Working Class Hero’ on the cover of Piedra Rodante – 1971 After just eight issues Piedra Rodante, the Mexican version of America’s Rolling Stone magazine, was spiked by government decree. Founded in late 1971, the magazine was a mix of original reporting on Mexican issues and translations of content from the original American Rolling Stone. Issue 1 kicked off with a cover of ‘Working Class Hero’ John Lennon (9 October 1940 – 8 December 1980). On Page 2, readers were invited to subscribe to 12 issues a year and thereby receive a free recording of Coming Home by Mexican guitarist Javier Bátiz (3 June 1944 – 14 December 2024). Subsequent issues offered other free albums on the same deal, notably by Jimi Hendrix. All 14 pages of Piedra Rodante Issue 1 Volume 1 appear below, plus move covers and highlights from later issues, including reporting on The Festival Rock y Ruedas de Avándaro (September 11–12, 1971), an interview with Elton John dressed in his Mr Freedom winged boots, and some adverts that are very much of their time (NSFW). All but Issue 5 of the magazine’s archive is kept at New York’s Stony Brook University, which has this to say about Piedra Rodante: Created and edited by Manuel Aceves, Piedra Rodante combined locally produced articles on music, politics, and the counterculture in Mexico with translated material from Rolling Stone magazine. The magazine was shut down by the Mexican government in early 1972 in a general crackdown on counterculture and political activity. Dr. Eric Zolov (Stony Brook University)… has written about Piedra Rodante in his book Refried Elvis: The Rise of the Mexican Counterculture (University of California Press, 1999) and stated that “the magazine provides an essential portal into Mexican countercultural practices/discourse for the early 1970s.” The period of Piedra Rodante’s relatively brief existence coincided with, and in turn helped to channel, the highpoint of Mexico’s rock counterculture. The roots of this countercultural movement date to the late 1950s and early 1960s when local bands, largely of middle- class origin, recorded direct copies in Spanish of foreign rock’n roll hits by singers such as Elvis Presley, Bill Haley, Paul Anka and the Everly Brothers. These Mexicanized cover versions of the imported originals were commonly referred to as refritos (as in, “refried songs”), and often had very inventive Spanish lyrics. By the mid 1960s scores of Mexican bands, largely concentrated in the capital but also cropping up in provincial cities, had laid the foundation for a vibrant, native rock scene to emerge. Mexico was not unique in this regard, although the Mexican scene was arguably one of the most significant. Across Latin America, from Guatemala to Argentina, dynamic rock’n roll movements catering to a burgeoning urban youth sector sprang up everywhere.   Pages 3, Issue 1 Piedra Rodante Mexican middle-class youth yearned to be recognized participants in the global counterculture. By around 1967, the cultural landscape of these youth reflected those yearnings, as expressed now not only through locally produced music but also through fashion, aesthetic choices, and a new youth argot. Collectively, this incipient countercultural movement was labeled within the media as “La Onda” (The Wave). Although intellectuals and more radical students generally regarded La Onda with a certain degree of disdain—judging it as “mere imitation” of a more authentic youth counterculture found abroad—in truth, the values and aesthetic choices linked to La Onda had seeped into all corners of youth cultural practice more broadly. This became especially apparent during the massive student-led demonstrations in the summer-fall of 1968, which culminated in a violent crackdown by the government on October 2 (“Massacre at Tlatelolco”). In the aftermath of the crackdown, La Onda was transformed by a generation of youth whose optimism had been shattered by the repression of a one-party state, into a vibrant vehicle for national protest. In late 1970, Manuel Aceves, who was at the time working successfully in advertising, decided to give up his job and put together a magazine similar to Rolling Stone. Imitating Rolling Stone’s own take on the New York Times motto “all the news that’s fit to print,” by using “all the news that fits,” Aceves chose “el periódico de la vida emocional” (the newspaper of emotional life), meant as a pun on “el periódico de la vida nacional” (the newspaper of national life), which was the motto of Excélsior, one of Mexico’s two mayor newspapers at the time.   Aceves liked testing the boundaries of what could be published in Mexico, and Piedra Rodante’s reporting on the counterculture, as well as events and protests related to the regime crackdown after the Tlatelolco episode, soon reached a point the government of President Luis Echeverría (1970-76) was not willing to accept. After only eight issues, La Piedra, as it had become known, was abruptly shut down. Still, the magazine did manage to devote a whole issue to the 1971 Avándaro music festival, Mexico’s equivalent to Woodstock, and by then had become a vibrant forum for young writers interested in the new musical and cultural milieu of La Onda, at home and abroad. Manuel Aceves secured permission at the time from Jann Wenner and Straight Arrow Publishers to use the material from Rolling Stone. The copyright owner for local materials is listed as Editores Tibales, S.A, which was a company created ad hoc by Aceves. After the magazine was closed down, Aceves did not pursue any other activities in that vein, and became an avid reader of the writings of the Swiss psychiatrist Carl Jung. Aceves died in 2009. Stony Brook University Libraries has received a donation from Dr. Luis Gonzalez-Reimann (University of California, Berkeley) of the existing eight issues of the influential, short-lived Mexican periodical Piedra Rodante, for which he served as Associate Editor and Music Critic. The eight issues of this magazine are quite rare. There are only three libraries in the world that have any copies, and the two in the U.S.— Harvard and University of Texas at Austin—only have a couple of issues each. The rarity and the research value of the magazine set it apart from other publications of the period. On the importance of the donation, Dr. Gonzalez-Reimann said, “Considering that Stony Brook would make the issues available for scholarly purposes, I am convinced that, at this point (more than forty years later), Manuel Aceves would have been glad to allow the story and contents of Piedra Rodante to be widely known.”       Piedra Rodante Issues 2-8: Issue 2   More John Lennon, now with Yoko Ono, on the cover of Issue 2 of Piedra Rodante Lyrics to Jesus Christ Superstar by Tim Rice and Andrew Lloyd Weber                   Issue 3         Issue 4                   ISSUE 6             ISSUE7                ISSUE 8   The post Piedra Rodante, The Mexican Rolling Stone Magazine That Ran For Just 8 Issues, 1971-72 appeared first on Flashbak.

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Giving the track an entirely new meaning. Cody Jinks is a lot of things. One part metalhead, one part Texas troubadour, the “Loud and Heavy” singer has both the depth and versatility few artists can ever dream of. Touching on themes of fatherhood, sobriety and his outlaw nature, Jinks has established himself as one of the premier artists in the country-rock scene. Back in July, he released his 11th studio album, In My Blood, and it was yet another stellar outing filled with his patented blend of country and rock. Though there were plenty of standout tracks, namely the sobriety ballad, “Better Than the Bottle,” and the introspective, “Found,” the title track has remained one of the most profound. Written and performed by both Jinks and Charlie Starr of Blackberry Smoke, “In My Blood” centers around the fact that Jinks’ wandering, outlaw spirit and road-dog nature isn’t something he chose but was rather born with. Reflecting on years of trials both in the music industry and out on the road in the verses, Jinks boldly states he was always meant to do it in the melodic chorus. “It’s in my bonesIt’s in every single wordTo every single song, I’ve been singin’It ain’t me to be cut out and soldMan, why can’t you see? It’s in my blood” Recently, “In My Blood” took on an entirely new meaning when he brought out his 12-year-old son, Larson, up on stage during a recent show to perform the track alongside him, providing a bit of a full-circle moment given that the track is quite obviously based on the theory that Jinks and his musicality are steeped in his DNA. Introducing his son, Jinks would note that Larson is no stranger to his lifestyle, pointing out that he’s been out on the road with him periodically since Larson was seven. “Larson’s 12 now. He’s been coming out on the road off and on with me since he was 7 years old, so he’s been road dogging it for quite some time now.” View this post on Instagram A post shared by Cody Jinks (@codyjinks) Obviously, the moment during “In My Blood” is incredibly wholesome and genuinely heartwarming. However, Larson’s connection with his father’s music goes much farther than a simple performance here and there. Hilariously, he received a writing credit on Jinks’ massive, breakout 2015 hit, “Loud and Heavy,” when he was just two years old. Yes, you read that correctly. Though it seems improbable that a toddler would receive a co-writing credit on a 2x platinum hit, Jinks explained to Bobby Bones back in 2023 that he was inspired to write the song and its now iconic opening line, “Loud thunder, heavy rain,” when Larson kept repeating it in the car after their trip to see some tractors was cut short due to, you guessed it, loud thunder and heavy rain. “We were driving down the road. It was his second birthday. I was off the road at the time and all he wanted to do was go see tractors. So I drove him down to the nearest tractor store, tractor supplier. He was like two and he wanted to just sit on it and go vroom. It started raining really, really heavy. He was sitting back there in his car seat, and he said, ‘Loud thunder, heavy rain. Loud thunder, heavy rain.’ And I grabbed my phone and I just hit the voice memo and I did [it] just exactly like it’s on the record.” Jinks would also note that he wrote the track in 45 minutes once they got home and decided to give Larson a writing credit officially on the song, referencing the classic phrase, “A word gets a third,” when it comes to writing credits in Nashville. “[We] went home, wrote the song in about 45 minutes. It was kind of a funny saying in this business, ‘A word gets a third.’ You know? But there was only two of us there, so I actually gave him half of the writing on it.” Not many 12-year-olds can say that they not only performed on stage in front of thousands but also co-wrote a 2x platinum hit, but for Larson, it just comes with the territory of being the son of one of the best country-rockers in the business today. While you’re here, fire up the studio version of “In My Blood.” And listening to “Loud and Heavy” for the 100th time never killed anyone either. Cody Jinks Tour Dates November 1 – Honolulu, Hawaii November 7 – Pioneertown, California November 8 – Tucson, Arizona November 11 – Fargo, North Dakota November 14 – Bismarck, North Dakota November 15 – Deadwood, South Dakota November 17 – Rutland, Vermont November 18 – Portland, Maine November 20 – Anchorage, Alaska December 6 – Thackerville, Oklahoma December 12-13 – Las Vegas, NevadaThe post Cody Jinks Provides New Meaning To Song, “In My Blood,” As His 12-Year-Old Son Performs Alongside Him first appeared on Whiskey Riff.

An Antifa radical violently assaulted a reporter outside the Portland ICE facility, using her umbrella to attack him. Here’s the news via Andy Ngo: A leftist woman outside the Portland ICE facility . . .

Caleb Milne rushed out of his apartment to tend to his ailing grandfather. He was later found alive in a ditch. What happened in between?