How East L.A. band Las Cafeteras brings together music and activism

As a lifelong music enthusiast who has witnessed countless concerts and performances, I must say that Las Cafeteras have truly captured my heart with their unique blend of traditional Mexican music and modern social activism. Being raised in East L.A., I can relate to the pride and connection that Diana Guzman feels when she listens to Las Cafeteras’ music – it’s a beautiful fusion of our rich cultural heritage and our contemporary struggles for justice.

Hector Flores and Denise Carlos, members of Las Cafeteras, grew up pursuing the aspirations of their immigrant parents during their youth. Post-college, it was assumed that they would wed, establish households, and live modestly.

Rather than doing so, they established Las Cafeteras, a musical protest group based in East Los Angeles, and committed themselves to activism by creating music.

Carlos expressed his constant need to clarify to his parents why music held such significance in his life. He sometimes felt exasperated, questioning, “Why can’t you envision greater aspirations for me?”, he said. However, he acknowledged that their goal of owning a house and securing a pension was already quite ambitious in their eyes. He often reflects, saying, “They instilled in me the courage to aspire for more.

Though they’ve been an eight-piece folk band for over a decade, the band initially formed without the primary goal of creating music. Instead, their main focus was on raising awareness about critical topics such as immigration, women’s rights, and LGBTQ+ issues.

On their latest release, “A Night in Nepantla,” out in May, they’ve earned the label as musicians by producing what they call their most truthful album to date. They believe this nine-song collection accurately reflects their current identity.

According to Flores, “A Night in Nepantla” is a stunning location where one can embrace themselves. He’s long desired to create such music, yet was unsure of the process.

The band that was established by college students around the year 2000 has gone through numerous changes in lineup since then; Flores, Carlos, and drummer Jose Guadalupe Cruz Cano are the only original members remaining. On their tours, they’re accompanied by bassist Moises Baqueiro, keyboardist Jesus Gonzalez, singer Alih Jay de Peña, and Pok’ok Mijangos, who plays the requinto jarocho.

Flores pointed out that demonstrations aren’t limited to marches or rallies – music is another effective means of inviting everyone to join in.

Flores and Carlos initially crossed paths in 2003 at a Movimiento Estudiantil Chicano de Aztlán (MEChA) leadership gathering held at Cal State Long Beach. Both were deeply engaged in arranging demonstrations for the California State University system during that period. Their bond and mutual passions flourished further at East Side Cafe, a communal space operated by volunteers where the band eventually took shape in 2010.

As a movie enthusiast putting thoughts into words, let me share my journey: “Together with the team, I discovered the joy of playing music, harmonizing in song, and even choreographing dance moves. And then, something magical happened – we began to write our own stories. If we want to make it through this incredible adventure, we need to share our tale.

Over the years, the group has released three full-length albums — “It’s Time,” “Tastes Like L.A.” and their new one. On their first two projects, they stayed well within the bounds of traditional Latino folk music — telling stories of luchadores and rebellion over guitar-powered tracks. On their third record, however, they welcome a new balance between their sonic creativity and political efforts.

To push beyond their usual boundaries, group members chose to accentuate dance rhythms on “A Night in Nepantla.” Tracks such as the pulsating club-pop tune “Tia Lucha” and the electronica-influenced tribute to Mother Earth titled “Morena Morena” highlight the band’s energetic talents.

Speaking about our transformation, Flores noted that we’ve become an entirely changed band, not just in terms of sound, instruments, and electronic elements, but also as a whole. He described this shift as a fresh perspective on ‘brown futurism’.

Though they eagerly adopted this fresh sensation, they refused to abandon their traditional approach to storytelling in the folk genre. The album’s title, “Nepantla,” is derived from a Nahuatl term meaning “in-between” or “midway.” As children of immigrants residing in America, they found solace and inspiration for this recording in this familiar notion of being “in-between.

Carlos explained, ‘You’re still on your journey and feeling a bit disoriented,'” or simply, “Carlos said, ‘You’re not quite there yet, and you’re starting to feel a bit lost.’

By weaving this theme throughout their discussions, group participants could discuss not only their individual stories but also those of a broader community. For instance, in songs such as “Cumbia De Mi Barrio,” they blend Peruvian Huayno-style cumbia with electro-pop to evoke joyful recollections connected to their neighborhood. Meanwhile, on the synth-driven “Vivas Nos Queremos,” they highlight and mourn the numerous Indigenous, Latina, and trans women who have gone missing or been killed, yet remain unaccounted for.

Flores stated that our music and performances serve as a catalyst. They are a form of protest, a call to action… essentially, they’re like a powerful rally. They will inspire you to believe that we can make a difference in the world together. If such change is possible on the dance floor, imagine what we can achieve off it.

The band, having unveiled their new sound at the Paramount in August, returned to its roots in East L.A. With Las Cafeteras taking over the centenarian stage adorned in matching bandanas and ribbons, the atmosphere noticeably transformed.

Young girls were hoisted onto their fathers’ shoulders, and multi-generational families shuffled through the sold-out crowd. The bandmates sang songs from their catalog as well as revamped covers of classics such as “La Guacamaya” and “La Bamba,” where they changed the lyrics to reflect their politics.

Diana Guzman, aged 42, a fan of Las Cafeteras, expressed at the L.A. show, “That music was our parents’, but it’s equally ours. It resonates more with me, and I feel a stronger sense of pride in it.” She added, “One can bring children, I can bring my parents, and we can all find common ground in it.

At the Boyle Heights performance, the band members took center stage, with Carlos and Flores positioned in the middle. During breaks between songs, they would inspire the audience with heartfelt messages. Flores exclaimed to the crowd, “Together, we’ll transform the world through each concert. But first, let’s unite on the dance floor.

In tunes such as “La Sirena,” which is reminiscent of a rhythmic lullaby performed by a drag queen, and “El Chuchumbe,” characterized by its guitar melodies, small dance circles started emerging among the audience, inviting anyone to sway along with the rhythm.

The crowd chants “otra,” and the band comes back for an encore. Flores dedicates the next song to all the “racists, the bigots and sexists who wanna take us back, and we ain’t going back.”

Initially, instead of the usual start to Kendrick Lamar’s “Not Like Us,” a cumbia melody fills the air before the beat kicks in. Flores rapped Lamar’s lyrics on a cumbia-infused remix of the song. The audience was taken aback at first, as they hadn’t anticipated a fresh take on the L.A. anthem. However, when the chorus came in, everyone in the room, even louder than the band members, joined in, shouting “They are not like us.

But they weren’t finished yet. Before their Lamar cover ended, the opening horns of “La Bamba” started. Performing their own version, “La Bamba Rebelde,” band members ended their show on a high note, singing, “Es la bamba rebelde que cantaré / Porque somos chicanos de East L.A.”

On the last leg of their People’s Party tour, Las Cafeteras will perform in California: October 31 in Visalia, November 1 in San Diego, and November 2 in San Jose.

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2024-10-22 03:01