ABSTRACT
On the one hand, rock chabón addresses those young people whose social integration is severely hindered by a socioeconomic process that reduces employment and diminishes the culturally consecrated figure of the worker, even as it hallows a consumer culture that frustrates more than satisfies. On the other hand, rock chabón is the music of those young people who contest the economic model, and, through this response, affirm and transform a positive nucleus of the preexistent popular culture. We believe that popular culture’s expressions are not merely reflections of the hegemonic culture, or manifestations of resistance (i.e., symbolic maneuvers in the reduced
space available in the political project of the “Other”). It is actually via such expressions that popular culture becomes the product of the creative processes that characterize any symbolic activity through which people demonstrate their capacity to construct meaning.
