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.
Background and Study: The modern type of competitive activity of qualified athletes of acrobatic rock and roll is undergoing contradictory changes in the content of the competitive program ...“Acrobatics” of the category “Main class contact style” due to an increase in the static performance of acrobatic elements, their number in combinations, where a loss of dynamics in the implementation of the competitive program is observed, which contradicts the definition of “rock and roll” as a dance where the acrobatic elements performed are the emotional, culminating accents of the dance figures. The main purpose of the study is to identify the patterns of the evolutionary process of the content of competitive programs of qualified acrobatic rock and roll athletes. Material and methods. As a result of the study, a comparative analysis of video materials of the final part of the competition was carried out: the final of the Ukrainian Championship in the category “Basic class contact style” (2010) 6 pairs (n=12); final of the Ukrainian Championship in the category “Basic Contact Style Class” (2023) – 6 pairs (n=12); final of the World Championship category “Basic freestyle class” (2011) –7 pairs (n=14); final of the World Championship category “Basic freestyle class” (2020) – 7 pairs (n=14). Results. During the analysis of viewing video materials of the final part of the Ukrainian and World Championships, structural changes were identified that affected the percentage of components of the competitive program “Acrobatics” in the category “Basic class contact style”, where acrobatic elements and their combinations with a large number of their components become a priority in the competitive program in relation to the structure of the competitive program “Acrobatics” of the category “Main class free style”. Conclusions. The evolutionary process of the content of the competitive program in acrobatic rock and roll has been identified, which is carried out due to changes in the Competition Rules, the implementation of new achievements of choreographic different styles of dance figures and the search for extreme, optimally adjusted motor actions in performing complex (high-risk) actions, which in the future involves changes and differentiation of the components of the educational and training process of qualified acrobatic rock and roll athletes.
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.
Purpose: to substantiate the effectiveness of the author’s program for the development of strength abilities of athletes aged 10-11 engaged in acrobatic rock and roll. Material and methods: the study ...was conducted in the period from September 2019 to October 2020 on the base of the acrobatic rock and roll club “SUMMIT” in Kharkiv. The study involved 20 young athletes from 10 to 11 years old (10 boys and 10 girls). All studied athletes were engaged in the group of preliminary basic training of the 1st year of training. The following methods were used in the work: analysis and generalization of scientific and methodological literature; pedagogical experiment; methods of mathematical statistics. Results: considering the level of physical fitness of athletes, a training program was developed for the integrated development of strength abilities of young athletes aged 10-11 years, who are engaged in acrobatic rock and roll. The program provided for an increase in the level of development of the strength abilities of the muscles: arms, shoulder girdle, neck, torso, and legs. The introduction of the training program helped to increase the level of development of muscle strength: the upper shoulder girdle by 17.5% in boys and 22% in girls; torso muscles by 12.6% in boys and 10.2% in girls; explosive force of leg muscles by 0.9% in boys and 0.6% of girls. Conclusions: because of the ascertaining experiment with the use of a specially developed training program in young men there was a significant increase of the development strength abilities level of the muscles of the upper shoulder girdle and torso (p <0,05-0,001). As for girls, because of the implementation of the developed training program, the development strength abilities level of the muscles of the upper shoulder girdle significantly increased (p <0.05-0.001).
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.
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