Estadio Obras Sanitarias
Estadio Obras Sanitarias is an indoor arena in Buenos Aires, Argentina. Built in 1978, it holds 3,030 people, 4,700 for concerts, it is used for basketball and is one of the home arenas of the Obras Sanitarias along with Polideportivo Municipal de San Rafael. The arena hosted the 1978 Intercontinental Cup, the 1983 tournament of the same competition in which local Obras Sanitarias won the title, the 1986 edition of the same competition in which Žalgiris Kaunas won the title; some of the live albums and DVDs recorded at this stadium include: Megadeth - That One Night: Live in Buenos Aires Attaque 77 - Trapos Bersuit Vergarabat - De la Cabeza Almafuerte - En Vivo Obras 2001 La Renga - Bailando en una pata Hermética - Lo último Serú Girán - No llores por mí, Argentina Official site
Manal was an Argentine rock group. Together with Almendra and Los Gatos, they are considered founders of Argentine rock; the band members were Claudio Gabis on guitar, Javier Martínez on drums and vocals, Alejandro Medina on bass and vocals. Martínez was leading songwriter; the band grew out of the mythic "La Cueva" club. Martínez was a regular, Gabis played guitar with several bands, including Miguel Abuelo's Los Abuelos. Gabis was not keen about joining a band and as he was committed to college, but was persuaded by Martínez, Manal was born; the name "Manal" was based on the word mano, which had acquired an additional meaning among young people in Buenos Aires, to refer to "things" or "the situation". Martínez would use "manal" as a made-up adjective, instead of the correct "manual". Manal was influenced by The Beatles, Jimi Hendrix, The Animals and other blues rock acts, bringing the blues to Argentina's rock conscience. In 1968, after their demos being rejected by multiple record labels, the band approached long time friend and producer Jorge Alvarez, who teamed up with Pedro Pujó and created the Mandioca label, which became the first label dedicated to Argentine rock.
Under the fledgling label, Manal released their first two singles in 1968. Their moment of triumph came at the 1969 Pinap Festival. On the back of their near daily performances throughout the year, the group's tightness was apparent. Fans ended up doing choruses and singing along with Manal's three members, who had resorted to a cappella vocals as their bass and drums broke down from overuse. Manal released a self-titled debut album in 1970. Sales were encouraging, their major label debut El León proved less successful than Manal. By 1972 however, musical tastes had changed. Acoustic rock was on the verge of an explosion fueled by artists such as León Gieco, a heavier rock had become dominant. Blues-rock fell out of favor, Manal couldn't make the transition, their third album in 1972 was poorly received. Pappo, more at ease courting heavy metal audiences, would become the godfather of Argentine blues, a role he kept for over thirty years. However, in 1980, Argentine rock was caught up in a revival period of rock from the late 1960s, with Almendra reuniting.
Producers asked Manal to do the same, which they did, produced one last LP in 1981, named Reunión, but due to differences between Martinez and Gabis the meeting lasted only until 1981. After that meeting, Claudio Gabis not accept return to play again with Javier Martinez. Manal's well-attended last concerts across Argentina led to a live album, helped mitigate the unfortunate climate of their first separation. Furthermore, during the 1982 war, English-language music was informally banned from the airwaves for several months, resulting in increased airplay for Argentine bands, including Manal. In 1987 Javier Martínez returned from France and reunited Manal with Aldo Giacommino, Luis de León, Jorge Iacobellis and Jorge Szajko. Today, Manal are credited with bringing the grittier form of blues-rock to Argentine rock. Few at the time could have foreseen the strong influence Manal would have on the suburban rock explosion of the mid 1990s. Throughout their career, Manal's lyrics suggested a more mature outlook on life than their hippie-influenced colleagues.
One song advised that the recipe for success was to have "cold tomato juice in your veins". StudioManal - Mandioca, 1970 El león - RCA, 1971 Reunión - CBS, 1981Live albumsManal en Obras - Tonodisc, 1982 Manal En Vivo - M&M, 1994 En vivo en el Roxy -, 1995CompilationCronología - RCA, Sony BMG, 1992 Obras Cumbres - Sony BMG, 2002
Vox Dei is an Argentine rock band credited for recording the country's first concept album, The Bible. Its most prolific years were the 1970s. Vox Dei have had a five-year hiatus, their third and most commercially successful line-up featured Ricardo Soulé, Willy Quiroga and Rubén Basoalto. This line-up was active from 1972 to 1974, was revived from 1986 to 1989, again from 1996 to 1998; the band's line-up has been much more stable in recent years, although drummer Rubén Basoalto's death in 2010 left Willy Quiroga as the only original member still in the band. The band's original members were Ricardo Soulé, Rubén Basoalto and Willy Quiroga. Vox Dei started playing songs from bands like The Rolling Stones, The Beatles, The Kinks and The Byrds. In 1968, they recorded a demo version of Percy Sledge's "When a Man Loves a Woman", Spencer Davis Group's "Gimme Some Lovin'"; the company Mandioca organized an audition for them in the Payró theatre. The members of Manal and Almendra were present, a few hours they played together.
After this show, Luis Alberto Spinetta asked them to sing in Spanish, to which they agreed. Shortly and Soulé began to discuss their desire to take the band in a new direction. In 1970, Jorge Álvarez produced their recording sessions in TNT Studios, managed by Tim Croato, their first studio album of this period, released in mid-1970, was Caliente. In the B. A. Rock Festival Vox Dei played the first part of the theme "Genesis", which had no lyrics yet, advancing his next LP. During the recording, Ricardo Soulé and Yodi Godoy had musical differences and Godoy felt considerable fatigue and left the group in late 1970, before the final sessions. At the time, Mandioca label went bankrupt, Vox Dei are hired for Disc-Jockey Records, get the deal to release their second LP. In February 1971, released La Biblia. Being the first Argentine concept album, it became a turning point in the history of Argentine rock. Right after the recording of La Biblia, Yodi Godoy was replaced by Nacho Smilari, the new Vox Dei line-up began a national tour, successful to attract more attention from a new audience.
After the tour, in late 1971, Disc-Jockey released "Donde has estado todo este tiempo" as a promotional single, with the Nacho Smilari only contribution, who left the band due to health problems during the same sessions, which continued with the three remaining musicians, thus giving the first LP made as "power-trio": Jeremías Pies de Plomo published in the first half of 1972. In December, was released Cuero Caliente, with eight new versions songs from Caliente, the main single "El Momento en Que Estás" was released with great air-playing. One alive version played at B. A. Rock'72, was included on the 1973 film Hasta que se ponga el Sol. Meanwhile, Vox Dei undertook during the next tours in 1973 to began to work a live album, La Nave Infernal, the last LP published by DJ label. A few months the group signed with Columbia Records, with their first release on the label being Es una Nube, no hay duda. In 1974, during the next album sessions, Ricardo Soulé was invited by the Heavy Metal Kids keyboardist Danny Peyronel, go to London to see his performance as Alice Cooper support act at Wembley Stadium.
With Vox Dei para Vox Dei released that same year, Soulé announced would leave the band to start as a soloist at the end of year after his holidays. In early 1975, Carlos Michelini and Beto Fortunato were hired into the band and continued to work in new material; this line-up recorded one song: "Nada es tan dificil como estar vivo", to Rock Competition LP but only Carlos Michelini remained with Vox Dei and released Estamos en la Pecera published that same year. The band continued to take a more experimental direction, the album has, gained more appreciation from fans as time has passed since its initial release. In 1976, by the dictatorship, Michelini left the band and traveled to Spain, to be replaced by two guitars again: Raúl Fernandez and Enrique "Avellaneda" Díaz. With this four-piece line-up, Vox Dei recording Ciegos de Siglos, released in that same year, followed by an extended tour in Argentina. After the Ciegos de Siglos Tour, in late 1977, Fernandez and Díaz left the band due to Columbia decides not to renew their deal.
In early 1978, Ricardo Soulé returned to the band, with his bandmates, appeared at the Teatro Estrellas with several shows where received a positive reception from the press. In October, Vox Dei signed to Polydor Records and started work on their new album Gata de Noche, released in December 1978 and proved to be a successful album for the group; the differences between the musicians started to grow during the making of next album: El Cid Campeador, but Polydor refuses to produce it. During 1980, Vox Dei decided to embark on a local tour titled 10 años de la Biblia performing his classic master-piece La Biblia. Tensions began to appear within Ricardo Soulé and Willy Quiroga, on 25 April 1981, Vox Dei performing a Farewell Show at the Estadio Obras Sanitarias. After the split, Ricardo Soulé returned to his solo career, releasing in 1982 Romances de Gesta, while Willy Quiroga formed a new band: Destroyer, with Palo Penayo on guitar and vocals, Beto T
Psychedelic rock is a diverse style of rock music inspired, influenced, or representative of psychedelic culture, centred around perception-altering hallucinogenic drugs. The music is intended to replicate and enhance the mind-altering experiences of psychedelic drugs, most notably LSD. Many psychedelic groups differ in style, the label is applied spuriously. Originating in the mid-1960s among British and American musicians, the sounds of psychedelic rock invokes three core effects of LSD: depersonalization and dynamization. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, extended instrumental segments; some of the earlier 1960s psychedelic rock musicians were based in folk and the blues, while others showcased an explicit Indian classical influence called "raga rock". In the 1960s, there existed two main variants of the genre: the whimsical British pop-psychedelia and the harder American West Coast acid rock.
While "acid rock" is sometimes deployed interchangeably with the term "psychedelic rock", it refers more to the heavier and more extreme ends of the genre. The peak years of psychedelic rock were between 1966 and 1969, with milestone events including the 1967 Summer of Love and the 1969 Woodstock Rock Festival, becoming an international musical movement associated with a widespread counterculture before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas; the genre bridged the transition from early blues and folk-based rock to progressive rock and hard rock, as a result contributed to the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia; as a musical style, psychedelic rock attempted to replicate the effects of and enhance the mind-altering experiences of hallucinogenic drugs, incorporating new electronic sound effects and recording effects, extended solos, improvisation.
Common features include: electric guitars used with feedback, wah wah and fuzzbox effects units. The term "psychedelic" was coined in 1956 by psychiatrist Humphry Osmond first as an alternative descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy; as the countercultural scene developed in San Francisco, the terms acid rock and psychedelic rock were used in 1966 to describe the new drug-influenced music and were being used by 1967. The terms psychedelic rock and acid rock are used interchangeably, but acid rock may be distinguished as a more extreme variation, heavier, relied on long jams, focused more directly on LSD, made greater use of distortion. In the popular music of the early 1960s, it was common for producers and engineers to experiment with musical form, unnatural reverb, other sound effects; some of the best known examples are Phil Spector's Wall of Sound production formula and Joe Meek's use of homemade electronics for acts like the Tornados. XTC's Andy Partridge interprets the music of psychedelic groups as a "grown-up" version of children's novelty records, believing that many acts were trying to emulate those records that they grew up with.
There was no transition to be made. You go from things like'Flying Purple People Eater' to'I Am the Walrus', they go hand-in-hand." Music critic Richie Unterberger says that attempts to "pin down" the first psychedelic record are therefore "nearly as elusive as trying to name the first rock & roll record". Some of the "far-fetched claims" include the instrumental "Telstar" and the Dave Clark Five's "massively reverb-laden" "Any Way You Want It"; the first mention of LSD on a rock record was the Gamblers' 1960 surf instrumental "LSD 25". A 1962 single by The Ventures, "The 2000 Pound Bee", issued forth the buzz of a distorted, "fuzztone" guitar, the quest into "the possibilities of heavy, transistorised distortion" and other effects, like improved reverb and echo began in earnest on London's fertile rock'n' roll scene. By 1964 fuzztone could be heard on singles by P. J. Proby, the Beatles had employed feedback in "I Feel Fine", their 6th consecutive No. 1 hit in the UK. American folk singer Bob Dylan was a massive influence on mid 1960s rock music.
He led directly to the creation of folk rock and the psychedelic rock musicians that followed, his lyrics were a touchstone for the psychedelic songwriters of the late 1960s. Virtuoso sitarist Ravi Shankar had begun in 1956 a mission to bring Indian classical music to the West, inspiring jazz and folk musicians.
Torcuato di Tella Institute
The Torcuato di Tella Institute is a non-profit foundation organized for the promotion of Argentine culture. The di Tella Foundation and its institute were created on July 22, 1958, the tenth anniversary of the death of industrialist and arts patron Torcuato di Tella. Funding for the project, organized by his sons and Guido di Tella, was raised using the United States model of corporate financing, as well as by the donation of 10% of the Siam di Tella corporation's public stock, its objective was limited to an arts program revolving around the display of the di Tella family's private collections, which prominently included works by Henry Moore, Pablo Picasso, Amedeo Modigliani and Jackson Pollock. The board of the foundation consisted of family members, though the institute was directed by a board that included academics and intellectuals from outside the family. Guido di Tella would serve as president, the post of director of the institute was offered to Enrique Oteiza, whose family were leading Pampas-area landowners.
The foundation received funding in the form of grants from the Ford and Rockefeller Foundations, after which the modest initiative expanded into theater and music, grew to become the most significant cultural institution in Buenos Aires of the 1960s. The institute continued to influence prevailing trends in the history of Argentine culture, it adopted and advanced a modernist trend in various artistic disciplines, its audiovisual center, established in 1960, directed by Roberto Villanueva, premiered with a play, El Desatino. The production's scenery backdrops were projected through slides, introduced audiences to Nacha Guevara and Les Luthiers; this format would be promoted in subsequent years for its ability to broadcast material through compact and portable media in a way that would stimulate a network of local groups active in the cultural field. Following its establishment, the di Tella art collection was transferred to the foundation, Jorge Romero Brest hosted a free show at the National Museum of Fine Arts, which the leading local art critic directed.
The activities were transferred to a small office in the Museum of Fine Arts in August 1960, this was followed by an annual award for national and international artists, many of which sold their works to the di Tella collection. As part of the awards program, the winners were awarded scholarships covering study abroad and an exhibition of works in a North American or European gallery. Growing local interest in Latin American art was accompanied by an initiative to show the di Tella collection across the Argentine hinterland, for which a minibus was purchased in 1963. An initiative by Guido di Tella led to the institute's relocation into a modern, newly completed Florida Street building in August 1963; the offices were rented by SIAM di Tella at the northern end of Florida Street, near Plaza San Martín, a busy pedestrian intersection in the upscale Retiro district that could attract larger audiences. The building was refurbished with the addition of three stage theatres, interiors designed to be inviting, with a floor-to-ceiling glass panel façade featuring publicity photos taken by Humberto Rivas, a large lobby.
The modern, air-conditioned building was propitious for exhibits and artistic events year-round. Its café, like the gallery, was staffed by attendants who wore no uniforms, allowed patrons to smoke and take photographs at their leisure. Founded by classical composer Alberto Ginastera, CLAEM was made part of the institute in 1962, yielding numerous productions of dodecaphonic and acoustic music. A visual arts center was inaugurated at the new address. Directed by Romero Brest, CAV became the leading Buenos Aires center for the display and promotion for avant-garde creations. CAV introduced art patrons to sculptors Juan Carlos Distéfano, Julio Le Parc, Clorindo Testa, as well as painters Romulo Macció, Luis Felipe Noé, Jorge de la Vega, Ernesto Deira, Antonio Seguí, conceptual artists such as Edgardo Giménez and Marta Minujín; the latter garnered interest after earning the institute's first National Award in 1964, became known for her "happenings." Erotic in some aspects, provocative to conservative local audiences, her early di Tella Institute events included Eróticos en technicolor and the interactive Revuélquese y viva.
She joined Rubén Santantonín in 1965 to create La Menesunda, where participants were asked to go through sixteen chambers, each separated by a human-shaped entry. Led by neon lights, groups of eight visitors would encounter rooms with television sets at full blast, couples making love in bed, a cosmetics counter, a dental office from which dialing an oversized rotary phone was required to leave, a walk-in freezer with dangling fabrics, a mirrored room with black lighting, falling confetti, the scent of frying food; the use of advertising throughout suggested the influence of pop art in Minujín's "mayhem." Established as the leading local center for pop art, the di Tella Institute became a forum for art as political commentary. This was dramatized by what became the center's most contentious display, sculptor León Ferrari's La civilización occidental y cristiana, in October 1965; the work displays Christ crucified not by the traditional cross. A turn of historical events in 196
Contemporary folk music
Contemporary folk music refers to a wide variety of genres that emerged in the mid 20th century and afterwards which were associated with traditional folk music. Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. The most common name for this new form of music is "folk music", but is called "contemporary folk music" or "folk revival music" to make the distinction; the transition was somewhat centered in the US and is called the American folk music revival. Fusion genres such as folk rock and others evolved within this phenomenon. While contemporary folk music is a genre distinct from traditional folk music, it shares the same English name and venues as traditional folk music. While the Romantic nationalism of the first folk revival had its greatest influence on art-music, the "second folk revival" of the 20th century brought a new genre of popular music with artists marketed through concerts and broadcasting.
One of the earliest figures in this revival was Woody Guthrie, who sang traditional songs in the 1930s and 1940s as well as composing his own. In the United Kingdom, the folk revival fostered a generation of singer-songwriters such as Donovan, who achieved initial prominence in the 1960s; the folk revival spawned Canada's first true wave of internationally successful artists such as Gordon Lightfoot, Leonard Cohen, Joni Mitchell, Buffy Sainte-Marie. Major performers who emerged from the 1940s to the early 1960s included Woody Guthrie, Pete Seeger, Joan Baez, Bob Dylan; the mid-1960s through the early 1970s was associated with large musical, political and counterculture changes. Folk music underwent a related rapid evolution and diversification at that same time. Major changes occurred through the evolution of established performers such as Bob Dylan, Joan Baez, Judy Collins, the Seekers and Peter Paul and Mary, through the creation of new fusion genres with rock and pop. During this period, the term "protest music" was used to characterize folk music with topical political themes.
The Canadian performers Gordon Lightfoot, Leonard Cohen, Bruce Cockburn and Joni Mitchell represented such fusions and enjoyed great popularity in the U. S. Starting in the 1970s folk music was fueled by new singer-songwriters such as Joni Mitchell, John Denver, Harry Chapin. Other subgenres of folk include anti folk, folk punk, indie folk, freak folk and Americana and fusion genres such as folk metal, progressive folk, psychedelic folk, neofolk. Definitions of "contemporary folk music" are vague and variable. Here, it is taken to mean all music, called folk, not traditional music, a set of genres that began with and evolved from the folk revival of the mid-20th century. According to Hugh Blumenfeld, for the American folk scene: This is the common use of the term "contemporary folk music", but is not the only case of evolution of new forms from traditional ones. Nueva canción, a similar evolution of a new form of committed music, occurred in several Spanish-speaking countries, for example. Contemporary country music descends from a rural American folk tradition, but has evolved differently.
Bluegrass music is a professional development of American old time music, intermixed with blues and jazz. While the Romantic nationalism of the folk revival had its greatest influence on art-music, the "second folk revival" of the 20th century brought a new genre of popular music with artists marketed through concerts and broadcasting; this is the genre that remains as "contemporary folk music" when traditional music is considered to be a separate genre. One of the earliest figures in this revival was Woody Guthrie, who sang traditional songs in the 1930s and 1940s as well as composing his own. Among Guthrie's friends and followers as a collector and composer was Pete Seeger. In the 1930s, Jimmie Rodgers, in the 1940s Burl Ives, in the early 1950s Seeger's group the Weavers and Harry Belafonte, in the late 1950s the Kingston Trio as well as other professional, commercial groups became popular; some who defined commercialization as the beginning of this phase consider the commercial hit Tom Dooley by the Kingston Trio in 1958 as marking the beginning of this era.
In 1963–1964, the ABC television network aired the Hootenanny television series devoted to this brand of folk music and published the associated magazine ABC-TV Hootenanny. Starting in 1950, the Sing Out!, The Little Sandy Review magazines helped spread both traditional and composed songs, as did folk-revival-oriented record companies. In the United Kingdom, the folk revival fostered young artists like the Watersons, Martin Carthy and Roy Bailey and a generation of singer-songwriters such as Bert Jansch, Ralph McTell and Roy Harper. Bob Dylan, Paul Simon and Tom Paxton visited Britain for some time in the early 1960s, the first two making use of the traditional English material they heard. In 1950, prominent American folklorist and collector of traditional songs Alan Lomax came to Britain and met A. L.'Bert' Lloyd and Ewan MacColl, a meeting credited as inaugurating the second British folk revival. In London, the colleagues opened the Ballads and Blues Club renamed the Singers' Club the first folk club in the UK.
As the 1950s progressed into the 1960s, the folk revival movement gathered momentum in both Britain and America. In much of rural Canad
Argentine rock is rock music composed or performed by Argentine bands or artists in Spanish. Argentine rock began by recycling hits of roll; however a rising trend of composing new songs in Spanish can be traced at late 1960s, when several garage groups and aspiring musicians began composing songs and lyrics that related to local social and musical themes. Since Argentine rock started a continued and uninterrupted evolution through the 1970s and into the 1980s, being considered one of the most prolific and successful forms of Rock en Español, one of the most important non-English language forms of rock music in the world. In Argentina it is known as "Rock Nacional" National Rock. A distinguishing trait of Argentine rock is its insistence on Spanish language lyrics. It's rare for an Argentine rock band to sing in a foreign language. Argentine Rock Nacional is one of the principal predecessors of the cultural and musical movement in Latin America known since the 80's as Rock Latino. Argentine rock today is a blanket term describing a number of rock styles and sub-cultures within Argentina.
Several terms are used to describe the artistic expressions of rock and roll in Iberian America, which are confused or given different meanings in different countries. These terms are: Iberian American Rock: includes all expressions of rock and roll by natives of Latin American countries and Spain; this includes Brazilian rock and rock sung in English and Native American languages. Rock en Español: includes all rock sung in Spanish. Latin Rock: includes all expressions of rock and roll in Latin American countries, the Caribbean, the Latin American community of the United States. In addition to rock sung in Spanish, this includes rock sung in English, Portuguese and other Latin-based languages; this refers to a cultural movement that began in the 80's throughout Latin America. Rock Nacional in Argentina: refers to a movement of progressive music that gained popularity in 1967 with the song "La Balsa". Argentine rock: refers to all expressions of rock performed in Argentina, regardless of language and subgenre.
Rock and roll first began to appear in Argentina in 1956 after the genre was created in the United States in 1954-1955, based on rhythm and blues and country and western. Elvis Presley and Bill Haley awakened the interest of several Argentine artists; the most notable among Argentine garage bands which sprung up in this period was Sandro y Los de Fuego, who recorded a successful series of Spanish language covers of American rock and roll hits, attained commercial popularity. Sandro would soon embark on his own contemporary pop standards career that would make him popular internationally. Others include Los Cinco Latinos and Billy Cafaro; the first few years of rock music in Argentina were confined to cover bands. In 1964, like much of the rest of the world, was shaken by The Beatles phenomenon. There was a development unique to Argentina which may help to explain, in retrospect, why the country would become a important rock music-producing nation. Historians describe a parallel pattern of development with the United States in certain aspects of culture.
Both countries were the destination for millions of Europeans, their musical heritage were influenced by Pan-European folk and traditional marches. These similar musical infusions yielded related results in both: a grass-roots rural guitar-based musical tradition, becoming Bluegrass and Country in the US, in Argentina Folklore and Pampas music. Country music is an important pillar of Roll. In Argentina folklore, was crossing over to popular musical trends by the late 1950s. By 1965, rock music was developing in Argentina. On television, several shows such as Ritmo y Juventud and El Club del Clan, with singers like Palito Ortega, Violeta Rivas, Chico Navarro, Lalo Fransen, featured a poppy version of rock, which owed equal amounts to Merseybeat and to Argentine and Italian romantic pop, but it was in the underground where the most influential figures of early Argentine rock would emerge. In former Jazz bars like "La Cueva" or "La Perla del Once", bohemians like Moris, Pajarito Zaguri, Javier Martinez - drummer and lead singer in the most known Argentine blues band Manal - Miguel Abuelo, Tanguito would gather in the lazy days of mid-1960s Argentina to exchange ideas.
Los Beatnicks, of which Moris and Martinez where members, began the transition that would take Argentine rock from imitation to a more creative state. Forming in quiet beaches of Villa Gesell, they recorded the first Spanish language single in 1966 called "Rebelde"; the definitive breakthrough of Spanish-language, original material rock would be up to the band Los Gatos. After playing in "La Cueva" for a few months, the band released two singles in 1967. "La Balsa", a sunny track vaguely reminiscent of The Doors, co-written by Tanguito and Litto Nebbia, sold 200,000 copies. The following year saw the first publication of Pinap, a rock magazine, the founding of the first Argentine rock label, Mandioca. In 1969, four major concert