Perhaps it was the only media in Argentina that did not talk about the 1978 World Cup and that was a political and editorial decision.
Silencing the World Cup was a way of making the dictatorship invisible.
If you couldn't talk about the meaning of those facts, it was best to talk about the "other things."
El Expreso accompanied and was part of what was happening with rock, that music (movement?) that occupied a preponderant place globally, with enormous force during those years.
El Expreso, Zaff, Pan Caliente were the milestones in Jorge's life.
But not only in his.
This website does not only talk about Jorge, it also tries to value the perspective that the Imaginary Express raised during the military dictatorship.
What to do in such an oppressive climate, so dark, so hopeless?
Without ignoring the situation, the Express gave a breath of fresh air in the face of so much claustrophobia.
It allowed us to dream by placing ourselves in another reality
This website does not only talk about Jorge, it also tries to value the perspective that the Imaginary Express raised during the military dictatorship.
What to do in such an oppressive climate, so dark, so hopeless?
Without ignoring the situation, the Express gave a breath of fresh air in the face of so much claustrophobia.
It allowed us to dream by placing ourselves in another reality
Perhaps it was the only media in Argentina that did not talk about the 1978 World Cup and that was a political and editorial decision.
Silencing the World Cup was a way of making the dictatorship invisible.
If you couldn't talk about the meaning of those facts, it was best to talk about the "other things."
El Expreso accompanied and was part of what was happening with rock, that music (movement?) that occupied a preponderant place globally, with enormous force during those years.
El Expreso, Zaff, Pan Caliente were the milestones in Jorge's life.
But not only in his.
MYSTICISM
That was the word that would define my feelings towards the Imaginary Express.
He was 25 years old at that time and since the end of the month he was going to the kiosk.
I was waiting for the tour to pass and throw away the package of magazines that the kiosquero was diligently picking up.
"Is the Express out?" he asked as he untied the package.
When they told you that a magazine came out on a Wednesday, the truth was that at 8 pm on Tuesday it was already on the kiosk.
I couldn't wait to hold it in my hands, to leaf through it. "No," he would reply to my anxiety. "You can tell they're late. It'll happen tomorrow." Disillusioned, I returned home waiting for those 24 hours when I would again wait with my friend, the kiosquero. "And...? Will he arrive today?
SOUVENIRS OF THE IMAGINARY EXPRESS
In those years, the dear Jorge Pistocchi and Pipo Lernoud, leading the agitating crowd, entrusted me with one of the most pleasant tasks of my life: that of doing the graphic art for the magazine.
Made of pencils, Rotring, Letraset, strips of text, brushes, Chinese ink and glue, and which had the function of distributing by ear, without rules, all the juicy written material. horace fontova
In the Imaginary Express there were no computers like the one I'm using right now, but rather the smell of a band exchanging ideas, typing on typewriters, a common project.
In the Imaginary Express there were no computers like the one I'm using right now, but rather the smell of a band exchanging ideas, typing typewriters, a common project, crumpled papers or already made buns in bins dripping with imagination, darts stuck in an old door of wood, an improvised “football” in the newsroom, billiard lines as a dessert for lunch. But more than anything, the smell of something that occurs at special moments: an affinity that indicates that the work of a tribe can be protected by himself from the dangerous presence of criminal dolls that I prefer not to mention.
Dolls that at that time could not even catalog or register the colorful threat of the beloved Express.In those years, the dear Jorge Pistocchi and Pipo Lernoud, leading the agitating crowd, entrusted me with one of the most pleasant tasks of my life: that of doing the graphic art for the magazine.Made of pencils, Rotring, Letraset, strips of text, brushes, Chinese ink and glue, and which had the function of distributing by ear, without rules, all the juicy written material.And to illustrate the ideas of my co-workers (Edy Rodriguez, Claudio Kleiman, Alfredo Rosso, Pelusa Confalonieri, Fernando Basabru, Gloria Guerrero, Sandra Russo, José Luis D'Amato, Diana Bellessi, Lucas Chiappe, Miguel Grinberg, Hugo Tabachnik, Rubén De León, Uberto Sagramoso, Aníbal Cicardi, Ralph Rothschild and others) with the collaboration of illustration masters such as René Olivares, Rocambole, Rolando Rojo, Springe Hornos, Gustavo Dallocchio, among others.Trying to define a graphic style would be impossible, because the style of the Express was non-style, chaos taken care of to the millimeter, captured in print without going back.This is how he came out fresh on the street, on August 6, 1976, in the middle of the military dictatorship.It's that bands come together when reality turns sour.Perhaps that is why many of our colleagues are together today, fighting side by side, in these unfortunate days Nac&Pop
texts and covers
In this deepest dive on the web I have not found the complete collection of the espresso.
Pipo Lernoud edited a cd with the pdf of notes that he selected and that you will find on the next page and then there is the work of http://laexpresoimaginario.blogspot.com/
What follows are the covers of the issues where Jorge participated and the articles he wrote.
Click on the cover to see content
Photo gallery
superrag
vs.
“…Supertrapo was the official team of the magazine that, in addition to facing the MIA, played against the staff of Periscope, Ohanian Producciones and was shamefully beaten by a combination of integrated rock musicians, among others, by people like Charly García, Ciro Fogliatta, Nito Mestre, Oscar Moro and Rinaldo Rafanelli, scorer of the match with four goals.
With an irregular performance and fluctuating formation, from Supertrapo the virtues of Sagramoso under the three posts and the choreographic plasticity of Pistocchi barely remained in the memory.
Precisely through communions like these, between editors, musicians, technicians and the public, rock was consolidated as the most forceful vehicle to express the ideas of the counterculture, above all due to its immediacy, due to the almost physical way of conveying its slogans. …”
Bajo Belgrano Hikers Court.
Friday April 22, 1977
Final result: Musicians 11 - Superrag 3
From the book:
"Impossible station. Journalism and counterculture in the 1970s: the history of the Imaginary Express”
By Martín Graciano and Sebastián Benedetti
the farewell
Pipo:
From the previous number, in which I decided to leave the direction of the Express and join the list of collaborators, I promised you some explanatory lines. It took me a while to decide because it is difficult to give reasons when you separate from something that you loved very much and, like any affective detachment. It was produced more by doubts than by certainties. These doubts do not mean leaving a pale floating on the editorial line, since I totally trust that you in Carlos Ponce and all the editorial guys will continue fighting it until the end. I say doubts, on a personal level, of continuing to find in this adventure that great spirit that emerged five years ago at a table in the "Imperio" pizzeria (Oh! the names!), and that we baptized "Express Imaginary". One wheel in reality and another in dreams, we said, to recover the vision of these two territories, putting ourselves out of reach of those who fall asleep in one, or of those who want to turn life into a meccano in the other.
other. In the midst of this world with so much death and confusion, starting a journey towards poetry was not an easy thing. However, all the polenta was present the day that to get the first number out on the street we inserted, folded and fastened one hundred and twenty thousand sheets by hand and even friends and relatives were dragged into the company. That thing that produced the great reunions with Alfredo, Pelusa, Uberto, Edy, the black Fontova, and the appearance of new brothers: Lucas, Claudio, Diego, Springe, José Luis, Ralph, Rolando, Peti, and..... ........................................ (put here your name, as Uncle Tabachnik would say).
All of us who ever end up sitting in front of a cup of coffee in The Forum or the Sportmen looking at us are faces of Idiots after those Intense closures and several sleepless nights.
Finally, Pipo, that famous spirit, elusive and jumping, who constantly changes his name and place, who does not attend Mirta Legrand's lunches, who sticks out his tongue at us every time we think we have arrived somewhere, who seems slow to freedom and, fortunately, no one ever managed to register it in the Intellectual Property Registry.
All of this is very subjective but I can't help but be at a time when I'm trying to find my own clarity. Either way, wrong or not, I know that if we're looking for the same thing, on the Express, on the street, or anywhere else, it has to come up again. Whoever locates it first, let him whistle and we'll all meet again.
Well, more or less for all this is that I wanted to get off the beloved Express after three years of travel, and continue collaborating with you every time I have a note worth publishing. The threads that united us remain intact, let's keep trusting in love, always! And since movement is demonstrated by walking, let's start walking, Let's go still.
Jorge Pistocchi