The Festival of Ancón, one of the first rock and roll festivals in Latin America, was held in a public park in the south of Medellín, between Friday, June 18 and Sunday, June 20, 1971. The goal of ...Ancón was to emulate Woodstock by holding a weekend-long event that would gather the best rock musicians in the country at an outdoor venue. Imitating Woodstock in Medellín, where rock was still in its infancy, was an extremely ambitious and bold idea. Overshadowed by several styles of Afro-Caribbean tropical music, as well as Argentinian tango, and Mexican ranchera songs, rock appealed to a small minority of mostly middle-class urban youth. Resources for its development were still limited, concerts were almost unheard of, and there were no rock promoters or concert organizers.
In addition, Medellín, the second largest city in the country, with a population of about one million (in a country of 21 million), and the capital of the Department of Antioquia, was an unlikely site for such an event. An insular city, separated from the rest of the country by rugged territory, Medellín was considered as the most traditional and conservative urban center in Colombia, where the Catholic Church, protected by a constitution that gave it a religious monopoly, guarded private and public spheres. Forms of public entertainment were limited to and focused on sports or religious events, such as soccer games or Holy Week processions. In the following article, I am revisiting the Medellín of my youth to explore the planning of a rock festival in a city that was mistrustful and wary of it, the conflicting reactions to it, its significance in the history of rock in Colombia, and its repercussions.
A Social History of Early Rock 'n' Roll in Germany explores the people and spaces of St. Pauli's rock'n'roll scene in the 1960s. Starting in 1960, young British rockers were hired to entertain ...tourists in Hamburg's red-light district around the Reeperbahn in the area of St. Pauli. German youths quickly joined in to experience the forbidden thrill of rock'n'roll, and used African American sounds to distance themselves from the old Nazi generation. In 1962 the Star Club opened and drew international attention for hosting some of the Beatles' most influential performances. In this book, Julia Sneeringer weaves together this story of youth culture with histories of sex and gender, popular culture, media, and subculture. By exploring the history of one locale in depth, Sneeringer offers a welcome contribution to the scholarly literature on space, place, sound and the city, and pays overdue attention to the impact that Hamburg had upon music and style. She is also careful to place performers such as The Beatles back into the social, spatial, and musical contexts that shaped them and their generation. This book reveals that transnational encounters between musicians, fans, entrepreneurs and businessmen in St. Pauli produced a musical style that provided emotional and physical liberation and challenged powerful forces of conservatism and conformity with effects that transformed the world for decades to come.
In the 20th century, specialized printed newspaper editions dedicated to popular culture and rock and roll typically covered events through announcements, news and critical reviews. Alongside their ...Anglo-Saxon counterparts, these magazines were also highly popular in the SFRY (Socialist Federal Republic of Yugoslavia). The tradition of rock magazines in the Serbian language (Ritam, Džuboks, Rock...) paved the way for the launch of the XZ magazine, edited by Petar Luković. Published monthly in Belgrade from 1996 to 1999, XZ effectively built upon previous experiences related to popular culture, consistently adopting a critical approach in two main directions: the evaluation of artistic products and the criticism of socio-political realities. The core tool of the authors' political struggle against an authoritarian regime in a war environment and an economically troubled state was their incisive social commentaries, often presented in the form of music album reviews. Utilizing media content analysis, this paper aims to confirm the value of the XZ magazine as a successful product of rock journalism, actively engaging in addressing major societal issues in the former SFRY.
El artículo estudia el jazz en México en las décadas de 1950 y 1960. Músicos, espacios de entretenimiento y consumidores de la música proliferaron en un período que llegó a denominarse como “época de ...oro del jazz en México”. El jazz se instituyó paralelamente con la industrialización y la cultura cosmopolita de origen estadounidense. Al mismo tiempo, nuevas relaciones sociales se manifestaron marcadas por el individualismo, propio de las urbes modernas. La música y el comportamiento social tendrían un lugar destacado en la capital, Ciudad de México, una de las ciudades más importantes del país, debido a su crecimiento económico y desarrollo social.
Los Lobos leaped into the national spotlight in 1987, when their cover of “La Bamba" became a No. 1 hit. But what looked like an overnight achievement to the band’s new fans was actually a way ...station in a long musical journey that began in East Los Angeles in 1973 and is still going strong. Across four decades, Los Lobos (Cesar Rosas, Conrad Lozano, David Hidalgo, Louie Pérez, and Steve Berlin) have ranged through virtually the entire breadth of American vernacular music, from rockabilly to primal punk rock, R&B to country and folk, Mexican son jarocho to Tex-Mex conjunto and Latin American cumbia. Their sui generis sound has sold millions of albums and won acclaim from fans and critics alike, including three Grammy Awards. Los Lobos, the first book on this unique band, traces the entire arc of the band’s career. Music journalist Chris Morris draws on new interviews with Los Lobos members and their principal collaborators, as well as his own reporting since the early 1980s, to recount the evolution of Los Lobos’s music. He describes the creation of every album, lingering over highlights such as How Will the Wolf Survive?, La Pistola y El Corazon, and Kiko, while following the band’s trajectory from playing Mexican folk music at weddings and dances in East L.A. to international stardom and major-label success, as well as their independent work in the new millennium. Giving one of the longest-lived and most-honored American rock bands its due, Los Lobos celebrates the expansive reach and creative experimentalism that few other bands can match.
Background and Study Aim. The aim of the study was to determine and compare basic kinematic characteristics in the key phases of the acrobatic element Salto backward tucked.
Material and Methods. The ...research sample was created from two couples of the acrobatic rock and roll category Main class free style. The time, spatial, and time-spatial characteristics for both couples were determined based on a three-dimensional kinematic analysis. Measurements were carried out with Simi Motion 3D. The acrobatic element Salto backward tucked was chosen based on the fact that it is usually learned as the first overturn acrobatic element with the airborne phase.
Results. In the time duration of the acrobatic element, a very similar duration was observed for both couples (CZ couple: 3.59 s and SK couple 3.55 s). The maximal height of the center of gravity the partner from the Czech Republic reach 3.54 m and partner from the Slovak Republic 3.35 m. The biggest difference noticed was between the male partners 14.59° in knee angle in the staff phase. Among the female partners, a difference was noted in the angle between the torso and the vertical plane at the moment of the end of the vertical displacement, when SK female partner has twice as much deviation of the torso, by exactly 19.49°. In the staff phase, differences in acceleration were also observed, when the male partner (16.56 m.s-2) and female partner (25.08 m.s-2) from the Slovak Republic achieved higher maximum acceleration. In the airborne phase was the biggest difference between female partners in the culmination point, namely in the angle in the knee joint (35.98°) and the angle between the torso in the vertical plane at the moment of opening the somersault (25.52°).
Conclusions. The findings showed similarities and differences in various aspects of the performance, providing valuable insights into the kinematic structure of this acrobatic element in acrobatic rock and roll. Our study should contribute to the extension of knowledge of the kinematic structure of acrobatic element in acrobatic rock and roll.
This study investigates between-gender differences in trunk rotational power produced at various loads in athletes of gymnastic and dance sports. A group of 24 female and 15 male competitive aerobic ...and acrobatic gymnasts, ballroom and rock & roll dancers completed two trials of standing trunk rotations at each side with a barbell of different weights (increasing from 1 kg by ~5 kg up to max. of 20 kg) placed on their shoulders. The power produced during trunk rotations was evaluated using the FiTRO Torso Premium. Results showed significantly higher mean power in the acceleration phase of trunk rotations in male than female athletes at loads of 10.5 kg (206.8 ± 22.0 W and 165.4 ± 17.8 W respectively,
= 0.033), 15.5 kg (231.8 ± 27.5 W and 155.6 ± 24.4 W respectively,
= 0.001) and 20 kg (196.9 ± 25.3 W and 111.4 ± 20.9 W respectively,
= 0.001). Similar significant between-gender differences for angular velocity at weights ≥10.5 kg were observed. Alternatively, power and force were greater at lower velocities in male than female athletes. However, some females were able to produce slightly greater power and force at higher velocities in spite of their lower values at lower velocities when compared to males. This may be ascribed to both the genetic predispositions and the specificity of their acrobatic and dance elements including trunk rotations at various velocities under different load conditions.
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