By Marcelo Fernandez Bitar
El rock en l. a. Argentina celebra su cumpleaños número 50 y esta es su historia. Autor de un libro mítico e inconseguible de 1987 (reeditado en 1993 y 1997), Marcelo Fernández Bitar agrega información y testimonios recopilados a lo largo de toda su carrera como periodista especializado, para ofrecer l. a. obra definitiva sobre los angeles música más renowned de l. a. Argentina, esa que, como cube Adrián Dárgelos en su prólogo, es capaz de pelearle "el lugar en el airplay al estilo que se esté imponiendo".
Aquí están todos los nombres y todos los hechos, año a año. ¡Y todos los discos! Porque, además de ser un relato cronológico impecable e implacable sobre l. a. construcción de esa enormidad multiforma llamada "rock nacional", incluye los angeles discografía completa de estas cinco décadas. Un ejemplar único y enorme, para recordar, para descubrir y para que el rock jamás baje el volumen. Un clásico remasterizado.
"El rock aquí es todo ese sentido que, como felicidad o angustia, transgrede permanentemente un delgado hilo de l. a. realidad argentina, aun a costa de que al crecer luego uno se sienta como un turista marciano."
Luis Alberto Spinetta (de l. a. Introducción a los angeles primera edición, 1986)
"Este libro intenta registrar l. a. historia de las ediciones y apariciones en escena de los músicos y sus discos, lo que compone al rock nacional. Esta titánica tarea es una edición que conmemora 50 años de rock nacional."
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Extra resources for 50 años de rock en Argentina
Throughout these years malaria was so common that it went almost unnoticed. The summers were generally the most deadly season, the stifling months when the “vapors” of the surrounding swamps hung over the city. Families with the means to escape sought some relief in the towns along the Gulf Coast to the east, where the ocean breezes kept the air clearer. It wasn’t until medical research finally identified the causes of the diseases—the clouds of mosquitoes breeding in the standing water in the ditches along the streets and in the city’s cisterns, the practice of relying on the river water for drinking after a crude purification process, the millions of rats that infested the old buildings—that there was a serious effort to deal with the problems.
I replied by describing what I had seen but two hours before. . That day as many persons left the city as could find the means of transmigration. On my way home from the post office, I walked along the levee where the two cholera patients had disembarked but two or three hours before. Several families in the neighborhood were making preparations to move, but in vain. They could not obtain the requisite vehicles. 3 Between October 27 and November 6, 1832, there were at least 5,000 deaths. Many more died without being included in the official count of bodies.
Many of the slaves were owned by the better-established Free Persons of Color, to whom slavery was a fact of everyday life. ” One of the descriptions, George W. Cable’s extravagantly detailed and romantic “The Dance in Place Congo,” published in Century Magazine in 1886 with fervent illustrations by Edward Windsor Kemble, has been often cited but unfortunately is material borrowed from another source. Cable did state with some equivocation at the beginning of the piece that the practice had died out before he’d had the opportunity to witness the dancing himself, but he failed to make it clear that he had “borrowed” his descriptions of the dancing, the costumes, the music, and the tribal origins of the dancers from an account of African retentions in the French West Indies written by a traveler named Moreau de Saint-Mery.