/
Musical Resistances in Argentina 2: Musical Resistances in Argentina 2:

Musical Resistances in Argentina 2: - PowerPoint Presentation

jane-oiler
jane-oiler . @jane-oiler
Follow
390 views
Uploaded On 2017-08-29

Musical Resistances in Argentina 2: - PPT Presentation

Rock Nacional Rock had existed in Argentina and Latin America since its origins in the 50s however generally musicians played English Language hits By 1967 rock music in Spanish bega ID: 583198

music rock regime movement rock music movement regime youth bands nacional groups spanish due argentine giran group garcia people

Share:

Link:

Embed:

Download Presentation from below link

Download Presentation The PPT/PDF document "Musical Resistances in Argentina 2:" is the property of its rightful owner. Permission is granted to download and print the materials on this web site for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.


Presentation Transcript

Slide1

Musical Resistances in Argentina 2:

“Rock

Nacional

”Slide2

Rock had existed in

Argentina and Latin America

since its origins in the 50’s, however generally musicians played English Language hits.By 1967, rock music in Spanish began to take off due to groups in Buenos Aires with moderate success such as Los Gatos Salvajes and Los Shakers (orig. from Uruguay)In the early seventies, multiple groups would form as spinoffs from earlier groups, (Almendra’s members would become Aquelarre, Pescado Rabioso and Color Humano, Charly Garcia would start multiple bands such as Sui Generis, La maquina de hacer pajaritos and Seru Giran) a practice that would define Argentine rock until the emergence of Soda Stereo in the 1980’sBy the mid-1980’s Spanish Language Rock became one of Argentina’s main exports (The Argentine Invasion)

Rock NacionalSlide3

According to Pablo Vila

, during the last dictatorship (1976-1983)

Rock music coalesced around youth culture creating a countercultural movement against the regime.This counterculture had several social functions:It allowed youth to create a “space of their own” free from censure It challenged the culture and ideology of the JuntaIt provided an alternative form of collective identity in a country where social relations had become privatized and governed by fear of repressionSlide4

Youth received the bulk of the dictatorship’s repressions: 67% of the

desaparecidos

were between the ages of 18-30.Youth created a cultural space of their own through their consumption and production of Rock music which includedConcerts at Luna Park (at least 2 a month) and smaller venues; “listening groups” where young people got together to listen to records and discuss songs and bands, Rock magazines such as Expreso Imaginario containing “letters pages” where readers could share their thoughts.Attendees at the Luna Park concerts describe an atmosphere of “communion” and “love”: “It was as if Luna Park meant a place to meet, rather than a weakness for going to see one group or another. “We are us,” “we are here” the twelve or fourteen thousand people who filled the place with their presence seemed to be saying”. (qtd in Vila 133)“I don’t know if it was because of the music or because you were predisposed…but it was as if you had the need to love the people, and they loved you…It’s that you looked at the people at the concerts and it seemed like everyone was beautiful! Because you were seeing people who looked at you like…like a human being looks.” (in Vila 134)Slide5

Admiral Massera

in 1976 gave a speech

at the Universidad del Salvador expressing the regime’s opposition to youth rock counterculture. Massera described the youth as “becoming indifferent to our world and retreating into a private universe.” “convert[ing] themselves into a secret society” and “spurn[ing] vertical relationships for horizontal ones” eventually exchanging their “pacifism” for “the thrill of a terrorist faith” Regime Response Slide6

By 1977 the regime began targeting concert gatherings (throwing tear gas bombs and rounding up concert-goers), as well as sending threatening phone calls to “discourage” venue holders.

Many groups broke up and musicians went abroad.

Rock Nacional entered a slump in 1978, the regime enjoyed illusory “consent” due to national fervor surrounding the World Cup and the brief import boom of the late seventies.Also the “disco boom” reached Argentina, filling radio space with English pop music. Slide7

The movement revived again in 1979 due to several important concerts by

Seru

Giran and Almendra which brought in tens of thousands of spectators. The renewal of the movement was met with more repression, which lead to bolder forms of dissidence (songs with direct references to the regime and political content)The regime softened repression briefly during the Viola presidency. (1980-1), then renewed it again during Galtieri’s presidency (1981-2)During the Falklands War, musicians became bolder in their denunciations of the regime and anti-war sentiments. Asked by the regime to put on a concert to rally the country, the movement created a “Festival of Latin American Solidarity”, which in addition to collecting donations for the soldiers, featured anti-war music.The Falklands War meant a radio silence on broadcasts from the English speaking world, including music. This meant radio space was freed up for bands from Argentina. At the same time it invigorated the band’s dedication to Spanish language music. Slide8

One of the main figures of the Rock Nacional movement.

Founded three of the most popular bands of the seventies and early eighties: Sui Generis, La

Maquina para Hacer Pajaritos and Seru Giran. Seru Giran was also one of the most successful. Each band’s music incorporated distinct sounds and styles. Sui Generis was mostly influenced by the Beatles but varied from “unplugged” sound to traditional rock. La Maquina and Seru Giran drew on more progressive lyrics and symphonic sounds.After the return to democracy in 1983, Garcia became a solo artist whose music became more politically defiant. Garcia was also one of the few artists in the Rock movement who performed with musicians of other genres, including cancionero.

Charly

Garcia Slide9

Considered (along with Garcia) one of the fathers of Rock

Nacional

Founder of the groups Almendra, Pescado Rabioso, Invisible and Spinetta Jade. Almendra (1969) was one of the first groups to compose songs entirely in Spanish, performing no covers.Pescado Rabioso introduced a more hard rock/metal sound to the genre.Luis Antonio Spinetta Slide10

Born in 1951 in Santa Fe Province. At 18 travelled to Buenos Aires and became involved in the rock music scene.

Style combines Rock with acoustic instruments and folk melodies, has been called “The Argentine Bob Dylan”

His first album “La fantasma de Canterville” had three songs cut and six bowdlerized due to censorship.Composed the anti-war hymn “Solo le pido a Dios” which was performed at the “Festival for Latin American Solidarity” Leon Gieco Slide11

Following the return to democracy in 1983 Argentine rock music exploded both nationally and internationally.

Part of this was due to a proliferation of bands that started up following a wave of cultural positivism and hope.

Part of this was also due to the media attention garnered by the “Festival of Solidarity”Rock music evolved beyond the “symphonic sounds” of the late 70’s and early 80’s, incorporating influences like SKA, New Wave and PunkThe Return to Democracy Slide12

Considered the most significant and influential rock group in the Spanish speaking world.

Group attained recognition across the hemisphere including Central America, Mexico, Spain and the United States

. Is also credited with nourishing Rock movements in neighbouring countries. Formed in Buenos Aires in 1982, lineup consisted of three members: Gustavo Cerati (lead vocals, guitars), Héctor Bosio (bass), and Charly Alberti (drums). Soda Stereo was also one of the first bands to make use of a full range of media (music videos). Soda Stereo Slide13

Soda’s early sound reflected influences from New Wave (The Police, Elvis Costello) although it eventually became heavier in the nineties.

The group continued playing for fifteen years and released seven albums. 1985’s

Nada Personal and 1988’s Doble Vida are among the most critically acclaimed, Represented a paradigm shift in Argentine Rock, a movement towards globalization that occurred as a result of the democratic transition. The group also is primarily seen as a Pan-Latin phenomenon, relatable to Spanish speakers everywhere. Slide14

Are you a fan of Rock music? Which subgenre/decade/band do you like the most?

Which of the songs we listen to did you like the most? Why?

Argentina was one of the first countries to produce a thriving Rock movement all on its own, in Spanish. Why do you think this is?How is the youth counterculture created by Rock Nacional in the late 1970s similar to other youth countercultures? In what way is it different?How did the Rock Nacional movement enact resistance against the regime? Do you think it was an effective vehicle for social change?Discuss the fluidity of Rock Nacional bands. Why do you think there were so many band changes in relatively short periods of time? How do you think this fluidity affected the music produced or the counterculture that grew out of it. Would you say that the post-dictatorial bands (Soda Stereo, Los Fabulosos Cadillacs) were more commercial or less than their earlier counterparts? Were they more political or less political than their predecessors? Do you think that is a bad thing? Questions for Discussion