In the 1960s, when rock and roll has become maximum popular music in the United States, gender is also established in countries such as Argentina, Mexico and Chile. The new documentary series at six Netflix parties, Break It All: The History of Rock in Latin America, explores music from the 60s to the day.

Break It All – Break everything in Spanish – begins in the early 1960s in Mexico, where teams like Teen Tops began to US dospels. Others, added to those of the Rhythm of Mexico and the Shakers of Uruguay, have also encouraged many young musicians in Latin America to play their own version of rock.

“In many ways, we do not tell the history of rock in Latin America, however, we tell the history of Latin America, through the rock point of view,” explains the author of the Nicolás Alcel series.

When Entel began writing the series, his vision of two other deadlines. The first the history of the rock. At the moment when the hipite of the maximum vital occasions in politics, economy, crime and arts in Latin America, which included the student movement of Mexico City and the following blood bath of the state -owned students of 1968 in the hands of the Government.

“It is very tragic, very violent,” said guitarist and singer Sergio Arau, who founded the influential of the Mexican organization Jerez Botallita in the 80s. “It is the generation of drugs and hippies. It is a very intense time everywhere. ” At that time, Arau, a 16 -year -old high school student.

The counterculture was underground until 1971, when Rock reappeared at the Avándaro Music Festival, which was held in the field outside the Mexico doors. Inspired through Woodstock, the Latin festival had disorders similar to its predecessor. The organizers expected a few thousand to attend, but more than 200,000 people were presented. There is consumption of drugs, sex and nudity. The media jumped on him.

Arau played in his first group, The Law of Herod.

“There a media campaign, in newspapers, radio and television, calling us degenerates, drug addicts and all kinds of names,” he said. “After that, there is a complicated repression: all rock rocks had to close or replace their musical programming in salsa or folk music, and rock has disappeared. “

But in Argentina, the rock scene prospered with caution until the mid -1970s, when the country’s army dictatorship has repressed. The government has arrested, beaten, imprisoned and disappeared that organized, protested or simply seemed to constitute a threat, adding musicians.

Gustavo Santaolalla, now twice the Academy Award and several winners of Grammy and Grammy Latino, and Co -Narrator and Executive Manufacturer of Break It All, one of those arrested.

“I did nothing. I did not belong to a political party, I did not make a drug, so what is the reason? They called it” Averigyn de Anti -Cents “to verify its file,” said Santaollala.

Santaolalla explains that the same type of repression made in Argentina also occurred in Chile the Pinochet dictatorship.

“At that time, we live very realities and we were much more than we can think. This is something wonderful that you can see in the documentary,” he said.

The Argentine Talárico directed the docuseries. “This is the story of a continent,” says Talarico. “It’s not just music. These are social adjustments and political adjustments, and for paintings in combination through crisis and how Rock played a role in all this. “

Most of the musicians presented in Break, everything are men, the reflected image of the imbalance in the scene. Andrea Echeverri of Colombia, of the Aterciopeldos Group, Revel said on an excursion in the 1999 United States with other teams for docuseries.

“There were 88 men and two women, an American woman doing production and I. This was my life for a long time. And it was terrible, seeing all men, how they start themselves after a few days without their women, and became terrible animals, Babean.

As the series emphasizes, today, women are visual in the rock scene through Latin America, adding new voices and new sounds to music.

This is one of the series strengths, according to Arau. The story shows how Rock grew to offer musicians and the Latin American public a voice to communicate about their own problems.

“It is not a consultation of translating and making blankets of American rock pieces,” he said. “The musicians talked about what they lived every day in the streets: social conflicts, government abuses, police brutality. “

The past edition of this story has misunderstood the series “Breaking Everything: The Hitale of Rock in Latin America”. Audio edition also identifies it badly. The series call is “Break it All: The Hitoe of Rock in Latin America”.