Crossfader. B-sides, hidden tracks & remixes (2009), Lejos del noise (2003), Buten smileys (1997)
Rafael Saavedra (Tijuana, 1967[1]—17 September 2013[2]) was a Mexican author who contributed to magazines Letras Libres,[3]Generación,[4]Moho,[5]Nexos, Replicante,[2]Pícnic, among other publications and literary spaces, including online publications.
Esto no es una salida. Postcards de ocio y odio. Stories, La Espina Dorsal, 1996.[1]
Anthologies
Cruzando al otro lado (del milenio): cuento bajacaliforniano de entresiglos. Prologue, selection and comments by Gerardo Gómez Michel. Nortestación Editorial, 2014.[15]
Fronteras Adentro. Cuento de Baja California (1996–2010). Prologue, selection and notes by Humberto Félix Berumen. Universidad Autónoma de Baja California, 2012.[3]
Tijuana en 120 palabras. Libros Malaletra / Nortestación, 2012.[17]
Dulces batallas que nos animan la noche. Antología del Encuentro Nacional de Letras Independientes 2006–2011. Editores: Alejandra Quintero, Francisco Valenzuela and Oscar Quevedo. Morelia, 2012.
Lados B. Narrativa de alto riesgo. Hombres. Nitro Press, 2011.[10]
Nos vemos a la salida. Cuentos de jóvenes escritores para jóvenes lectores. Editor: Maira Colín. Colección Literatura Juvenil in Selector, 2011.
Sólo Cuento. Año 1 Tomo 1. Antología de cuento latinoamericano. Rosa Beltrán: prologue; Alberto Arriaga, selection and notes, Dirección de Literatura, UNAM, 2009.[10][18]
La cresta en movimiento. Antología de contracultura en México. Generación Publicaciones Periodísticas, 2009.[17]
Sin límites imaginarios. Antología de cuentos del norte de México. Prologue, selection and notes by Miguel G. Rodríguez Lozano. UNAM, 2006.
José Agustín. Diez años por la contracultura. Memorias del IV Congreso de Contracultura. Generación Publicaciones Periodísticas, 2006.
Los mejores cuentos mexicanos. Short story,Planeta/Joaquín Mortiz, 2006.
Memoria del Primer Congreso de Contracultura. Generación Publicaciones Periodísticas, 2004.
El margen reversible. Narrative. IMAC, Tijuana, 2003.
La ciudad escrita. Antología de cuentos urbanos con humor e ironía. Selection and preliminary study by Lauro Zavala. Colección Minimalia in Ediciones del Ermitaño, 2000.
Awards
In 2010, his book Border Pop won the Baja California State Literature Prize (Premio Estatal de Literatura de Baja California) under the category of cultural journalism.[19]
Publications
Rafa Saavedra was editor for various fanzines and independent magazines. His first fanzine, Psychocandy appeared in 1985;[20] then, in 1991, DJ Tolo joined him to edit El Centro de la Rabia,[21] which offered texts that proposed ideas for another generation. A few years later, in 1993, Velocet[21] came out, espousing the motto "Agitación y revival" (agitation and revival), and was focussed on electronic music, alternative culture and new narratives. In 2005, he and Sergio Brown edited Radiante,[22] a publication dealing with media, culture and society. His literary and journalistic texts have appeared in magazines (Generación, Moho, Nexos, Letras Libres, Replicante, Picnic, Viceversa, Quo, Complot Internacional, Zona de Obras), supplements (Laberinto, El Ángel del Diario Reforma, among others) and many online spaces.
Music, radio and DJ
He produced the alternative radio programs SintoníaPop from 1987 to 1991, Selector de Frequencies from 2001 to 2011[23] and then from 2011 on La Zona Fantasma,[19] which specialized in post-punk music, international indie-pop, weird new wave, Spanish pop, italo-disco, twee-pop, early punk and electro-pop.
As a DJ, he was known as Dj Rafa Dro.[19][21][24] He has performed as the opening act for bands such as Aviador Dro, Stereo Total, Ana D, Adanowksy, Casiotone for the Painfully alone, Pigmy, The Whitest Boy Alive, among others. He also maintained a nonmusical project called Arnik Family[25] based on samples and loops.
^ abSaavedra, Rafael (2005). "Foukaka crew: los escritores y criticos especializados en literatura fronteriza coinciden en un nombre cuando se pregunta sobre los autores novisimos mas representantivos de Tijuana: Rafa Saavedra. El relato que nos envio muestra que las realidades limite destilan su propio lenguaje". Letras Libres. 7 (83): 32.
^ abParra, Eduardo Antonio (2004). "El lenguaje de la narrativa del norte de México". Revista de crítica literaria latinoamericana. 30 (59): 71–77. doi:10.2307/4531305. JSTOR4531305.
^Madrid, Alejandro L. (2006). "Dancing with Desire: Cultural Embodiment in Tijuana's nor-Tec Music and Dance". Popular Music. 25 (3): 383–399. doi:10.1017/S0261143006000961. S2CID192186312.