Page 1 of 16 Printed from Oxford Research Encyclopedias, Latin American History. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy and Legal Notice). Subscriber: UC - Berkeley Library; date: 27 April 2021 Digital Resources: Piedra Rodante (Mexico’s Rolling Stone Magazine) Luis González-Reimann, University of California, Berkeley and Eric Zolov, Department of History, Stony Brook University https://doi.org/10.1093/acrefore/9780199366439.013.909 Published online: 26 April 2021 Summary The short-lived Mexican countercultural magazine, Piedra Rodante (Rolling Stone), is a unique and invaluable primary source for researchers interested in the global sixties from a Latin American perspective. From December 1970 to January 1972, Piedra Rodante reproduced translated articles and interviews from Rolling Stone magazine, together with original reporting by Mexican music critics and writers on a vast array of topics relevant to youth in the context of late 1960s and early 1970s Mexico. Piedra Rodante was launched by a young advertising executive, Manuel Aceves, a follower of the US and British countercultural and rock scene. In 1971, Mexico’s own countercultural movement, known as La Onda, was bursting with artistic creativity as well as marketing potential, especially in the music industry. In the wake of the 1968 student movement, however, Mexico’s government was wary of the untethered political potential mobilized by La Onda (epitomized by the outdoor rock festival, Avándaro, held in September 1971). With little warning, the government shuttered Piedra Rodante as part of a broader suppression of La Onda throughout the culture industry. Absent a missing issue 0, this fully digitized collection of issues 1–8 is the only complete set available to the public. Keywords: Avándaro, counterculture, drug culture, La Onda, Mexico, Piedra Rodante, rock music, Rolling Stone magazine, youth culture Mexico’s Countercultural Scene: La Onda Beginning in the late 1960s, every country in Latin America experienced, to one degree or another, the emergence of local countercultural scenes. Mexico’s own counterculture, known as La Onda, was one of the largest, but certainly by no means unique. Brazil, Argentina, Chile, Uruguay, and Peru, among other locales, all developed vibrant countercultural movements in their capitals and larger provincial cities. These movements were deeply embedded in transnational commodity circuits. Foreign-introduced artistic and consumptive practices, from musical tastes and clothing styles, to attitudes toward drugs and sexual relations, were eagerly embraced by many (though not a majority) of Latin American youth across the class spectrum (though mostly among the middle and upper classes), who were eager to participate in globalized, multifaceted movements of rebellion against authority and of personal liberation. Luis González-Reimann, University of California, Berkeley and Eric Zolov, Department of History, Stony Brook University