Resultados de la búsqueda

pan caliente movil Magazines The festival Testimonials The Round Ones Hikers Tribute Press monona Videos Second stage On certain mobile devices the page load may take time to display due to the loading of magazines and multimedia material. Please, be patient.... continue zaff On certain mobile devices the page load may take time to display due to the loading of magazines and multimedia material. Please, be patient.... continue Ancla 2

gogabolson Jorge Pistocchi Ears to the Universe THE TEMPLE OF ART El Bolson - Rio Negro - Argentina GOGA RADIO DISCS PHOTOS MEDIA Nacion 1 3 2 Rio Negro FUNDAMENTALS The GOGA Project is conceived as a Cultural Pole in the most complete of the term. A space for the expression of artists, musicians, creators, panelists, acrobats and any manifestation conceived from creativity and free expression. GOGA, "Temple of Art" for its creators, GOGA from FM Radio, GOGA TV, multimedia and Internet. The philosophical and objective foundations of the GOGA project are framed in the global and multicultural world in which we live. The interior of the country is in tune with almost all the capitals of the world regarding communication and interaction thanks to the advancement of technologies, cultural industries and modern and advanced forms of communication. GOGA is planned and located in the most charming, attractive and mystical natural enclave in the province of Río Negro: the city of El Bolsón. This place, full of magic and charm, with its fifty thousand inhabitants, with an extremely attractive cultural pole and, not least, organic culture, a film university, tourism, is currently a true emitting and receiving center for cultural activities. The project was conceived by a large group of construction professionals and technicians who participated in making sketches, drawings and plans. Other architects, engineers and master builders contributed on more specific issues, such as facilities and structures. The GOGA project, "The Temple of Art", will create a room for almost 300 people, with all the comforts, and was designed by the CMBPZ, Associated Architects studio, which is made up of Manuel Colombo, Luis Martín, Alejo Balestri, Fernanda Pesado and Natalia Zarate. It is a group of young architects, between 30 and 40 years old, graduated from the faculties of Buenos Aires and La Plata, some of whom had known each other since their student days and others in El Bolsón. The team has been formed three years ago and everyone understands architecture "as a group discipline, where the exchange of ideas and the collective work of analysis, reflection and design is fed back with the opinion of all". El Bolsón is flattered by the decision to carry out this project, since it comes to cover a space and a need in the entire Andean region. The statements of the group that carries out the construction task to a regional morning newspaper are transcribed for their interest and truth: " The building consists of a main hall with capacity for 296 spectators (196 seats in the stalls and 100 in the pullman), a public bar area, lobby and services for bathrooms, kitchens, changing rooms, dressing rooms, storage rooms and a 45 m2 stage. In the central sector of the building there is a technological room from which everything related to specific multimedia installations will be controlled and everything related to safety and accident prevention will be monitored. In this technological sector, with views towards the access hall to the room and the stage, there is a radio studio for live broadcasts on Radio GOGA, FM 103.5, which is already on the air in El Bolsón since the 21st. last December. In general terms, the building consists of a reinforced concrete structure with normal spans in the bar sector; and metal profiles with large spans, with a sheet metal roof, in the room sector. The interior and exterior walls of the building will be executed with prefabricated dry-armed systems, constituting the plates of acoustic and thermal materials that contemplate the condition of fire retardants. The morphology of the building was conceived, from an organic form corresponding to an insect found in the area of El Turbio in the Lago Puelo National Park, by a collaborator of the study. One of the most important challenges of the materialization stage of the work was for the designers, since they had to resolve the cover with large spans and maintain the idea of a large shell that makes up the skin of the building. The premise was to develop simple shapes, possible to be built and assembled with the resources of the environment, such as the cutting of flat grids and metal frames. In urban terms, the building is conceived as a connecting link within the transit of the city. Established on the land of an old sawmill, the proposal tends to complete the urban fabric and the articulation between areas of the city that until now have been fragmented. The building is located within a large public access park in which an amphitheater for 800 people stands out. It is served through a large lift gate from the same stage that the room has, and it has all the equipment and the same technology for outdoor events. Likewise, in the space of the park there is a parking lot for the public with capacity for 30 vehicles. A series of walkways, sidewalks and terraces cross the terrain inside and complete an urban proposal that has the volume of the room as the main protagonist, which allows the building to be explored and appreciated from different pedestrian perspectives. GOGA joins other proposals for equipment for the arts that are currently being developed in El Bolsón, a tourist city that has one of its greatest attractions in its cultural offer, added to the impressive natural landscape, which is respected in all its magnitude”. It should be noted that the GOGA center does not have a shopping mall or mall in the building, which makes it even more important. The idea of its creator is to repeat the experience of this Temple of Art in other cities in the interior of the country; Create a true network of GOGA centers, where regional cultural expression is their identity trait, accompanying the Federal Corridor of Aerolíneas Argentinas. In this way, the aforementioned circuit would be joined by a federal cultural circuit that would ensure artists an itinerary through the interior of the country in a framework of excellence. - GOGA Education: The project contemplates providing the school and student population, in the area between Villa La Angostura and Esquel, a space of _cc781905-5cde- 3194-bb3b-136bad5cf58d_ _cc781905-5cde -3194-bb3b-136bad5cf58d_ artistic and cultural expression and participation. - GOGA Cultura: High-level shows, in the full range of musical expressions, including Film Festivals. Its own cultural pole through radio (which already works) and its own Internet. - GOGA Turismo: multilingual menus on tablets, interactivity through the Web, inclusion in international guides. - GOGA Architecture: Modern, high-level architectural concept with integration ramps. Internal and external stage with views of the incomparable landscape of the Valley of El Bolsón. Reclining seats, innovative design acoustics. Local labor. - GOGA CARD: Implementation of the GOGA Card, which offers a 50% discount to the local population and the area for any event and/or artistic performance. The conceptual author and manager of the proposal is a 61-year-old man, Ralph Rothschild, journalist, former editor-in-chief of Expresso I, Zaff and Pan Caliente. He worked in Video for seven (7) years with Mario Sábato and Miguel Mato, apart from making productions such as Fontova Presidente, Spinetta, the Video of Letters, the first computer program on television, etc. He was editor of magazines such as La Mano and Un Caño. He has lived in El Bolsón for five years, the place where he has devised this multicultural and multicultural proposal. He used all the technologies of the moment, but he also has man as the center of the scene and the main actor. Thus: Author: Ruben Alfredo Torres. THE LEGISLATURE OF THE PROVINCE OF RIO NEGRO DECLARES Article 1.- Of cultural, social, educational and community interest, the GOGA project "Temple of Art" that will be located in the city of El Bolsón. It will have its center of action in the Andean Region, crossing the region between the cities of Bariloche, Villa La Angostura and Esquel, and will act in parallel with the Federal Corridor of Aerolíneas Argentinas, points where other GOGA Centers will also be created to benefit art. , culture, communication and all manifestations linked to this end, according to the conceptual author and manager of the proposal, the journalist, Ralph Rothschild, who has lived for five years (5) in El Bolsón. Bolson

Mordisco fue la primera publicación dirigida por Jorge Pistocchi. Aquí encontrarás todos sus números. JORGE Mordisco took to the streets in mid-1974. He set up the newsroom in his home, a small loft on the corner of Viamonte and Pasteur. His plan was to nurture the movement that had been generated around rock. He did not want to restrict himself to music. He tried to reach poetry, painting, philosophy, art in all its expressions. “Today we start the march towards a station called impossible. Getting there can be dangerous, but we trust that the contents of our luggage will protect us. While there are no weapons inside them, as we left them at the departure station, instead they carry our rock music, the books that enlightened us, the techniques and inventions of men who didn't try to destroy us, and all our royal possessions, that is, the things we love.” Thus ended his first editorial as director of a magazine, and began a path that he would never have imagined. Report: Diego Fernandez Romeral gogabolson Jorge Pistocchi Ears to the Universe MEDIA HOT BREAD zaff EXPRESS NIBBLE HAIR Discharge continue listening and browse other pages click here Long before Mordisco was a supplement to Expreso, its first issue came out. It was one more magazine among the rock magazines of the time. This is how the first issue ended: “Well…this was our first step. We gave it behind that magazine that we always wanted to do, but it only existed in our fantasy. We will try to catch that fantasy through the successive numbers or "Bites", that come. If we succeed, we hope to retain it until it becomes a reality that serves us all " Later, with the departure of the Express, the story is already known. First it was an integral part of the magazine. The idea was to get out of the concept that contemporary magazines such as Pinap, Pelo or Algún Día had. And that's how the first number came out But for the second, the strength of rock as a vehicle for the counterculture forced Expreso to release it as a supplement. But that... that's another story. A huge thank you to my friend Gustavo Koch, who took the trouble to digitize page by page so that we can enjoy it. The text and material is published in http://laexpresoimaginario.blogspot.com / , by Freddy Berro, an excellent page where the numbers of Mordisco that we reproduce here are digitized. EXPRESS

La música y las letras de Bob Dylan en dos podcasts del programa "Orejas al Universo" Ante el estreno de la película "Un Completo Desconocido" que trata de la vida de Bob Dylan qué mejor que repasar su música, a través de covers que realizaron otros artistas así como los originales de Dylan. October 2016

7 years ago, Orejas al Universo was born on Frecuencia Zero FM 92.5) in Buenos Aires, to which several radio stations from the interior were added. We celebrate it with a six-episode miniseries telling the story of Pipo Lernoud, stage name of Alberto Raúl Lernoud (November 5th de 1946 ), un poet , composer , journalist and precursor of the ecological or organic farming en Argentina . Considered one of the founders of the Argentine national rock . Author of well-known songs such as «just yesterday » (together with die ) and "The Golden Princess". He was founder and director of rock magazines such as The Imaginary Express y sing rock , among other. Keep reading mate en el campo mate en el campo 1/60 other websites of Mr. Orejas

Orejas al Universo, un programa de música que cuenta historias. Más de 200 podcasts de música, historias, personajes, sociedad para escuchar y descargar. Ancla 1 Cycle 2021 1 Navidad con el Sr. Orejas 00:00 / 01:04 2 Navidad con el Sr. Orejas 00:00 / 01:04 3 Navidad con el Sr. Orejas 00:00 / 01:04 4 Navidad con el Sr. Orejas 00:00 / 01:04 December 2021 Located in New York, the Chelsea Hotel is not just any hotel. Other musicians passed through there Among the best known who passed through Chelsea Keith Richards , Patti Smith , virgil thomson , Dee Dee Ramone de The Ramones , Henri Chopin , John Cale , Edith Piaf , Joni Mitchell , Bob Dylan (wrote on this hotel Sad Eyed Lady of the Lowlands dedicated to Sarah Dylan ), Janis Joplin , Jimi Hendrix , sid vicious (who killed his partner there), Leonard Cohen , Anthony Kiedis , Bob Marley , and many songs were dedicated to Chelsea. There Arthur Clarke wrote 2001, Mark Twain, Bucovski and many more. Andy Warhol. The list is endless 1 Chelsea Hotel 00:00 / 01:04 2 Chelsea Hotel 00:00 / 01:04 3 Chelsea Hotel 00:00 / 01:04 4 Chelsea Hotel 00:00 / 01:04 December 2021 1 Cocaina 00:00 / 01:04 2 Cocaina 00:00 / 01:04 3 Cocaina 00:00 / 01:04 4 Cocaina 00:00 / 01:04 December 2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Last program of the year of the International Record News of the year 2021 in its sixth consecutive year on www.orejasaluniverso.com.ar . And selecting only one song from many albums -which is not necessarily the broadcast- we are accompanied by Courtney Barnett, Damon Albarn, Dave Gahan, Deep Purple, Deerhoof, Elbow, Electric Eye, Eric Clapton, Joe Bonamassa, Kills Birds, Richard Ashcroft, Robert Plant, Rod Stewart, Sting, The Black Veils and The War On Drugs November 2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Can you imagine a world without police? It's hard to think about it. I would say even risky. The problem is the way they behave, the victims they choose: PICKETERS, ROCKERS, BLACKS, POOR, MARIJUANERS, are their favorite catch. In this program, rock sings to the police... and not in very good terms. We are joined by: Arbol, Claudio Gabis, Cypress Hill, Dead Kennedys, HER, Happy Mondays, León Gieco, Los Abuelos de la Nada, Los Piojos, Los Twist, NWA, Northern Faces, Once Tiros, Paulina La Popi, Quinteto Negro La Boca , Radiohead, Paranoid Mice, Redonditos de Ricota and Urban Resistance November 2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 A tour of the West Coast in the 60s with Jefferson Airplane, Hot Tuna, Sly and the family Stone, Santana, Spirit, Doobie Brothers, Janis Joplin, Grateful Dead, Love, Electric Prunes, Three Dog Night, Steppenwolf, The Beach Boys, Mamas & the Papas, The Byrds, Country Joe & The Fish, The United States of America, Buffalo Springfield, CSN & The Doors November 2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Many musicians pass through Mr. Orejas' Library, choose a book and sing to it. THE LORD OF THE RINGS (JRR Tolkien): Led Zeppelin, Black Sabbath and Joni Mitchell. THE BIBLE: Vox Dei MARTIN FIERRO (José Hernández): Juana Molina 1984 (George Orwell): David Bowie, Ricotta Roundups, Radiohead, Dead Kennedy and Anti-Flag ALICE IN WONDERLAND (Lewis Carroll): The Great Society, Aerosmith, Seru Girán Y The Beatles LOLITA (Vladimir Nabokov): Billy Bond and The Police THE TELL-TELL HEART (Edgar Allan Poe): Soda Stereo THE ILIAD (Homer): Cream and Suzanne Vega THE OPEN VEINS OF LATIN AMERICA (Eduardo Galeano): Los Fabulos Cadillacs INSOMNIA (Jorge Luis Borges): Pedro Aznar THE GRAPES OF WRATH (John Steinbeck): Bruce Spingsteen November 2021 1 Alcoholicos no tan anónimos 00:00 / 01:04 2 Alcoholicos no tan anónimos 00:00 / 01:04 3 Alcoholicos no tan anónimos 00:00 / 01:04 4 Alcoholicos no tan anónimos 00:00 / 01:04 October 2021 Listen in moderation. This is the music that refers to alcohol with Amy Winehouse, Carlos Gardel, Cuca, Divididos, Guns N Roses, Janis Joplin, Joe Bonamassa, Manos Fillipi, Mike Laure, Mägo de Oz, Muddy Waters, Pappo, Ronnie Wood, Roque Narvaja , The Doors, The National, The Paul Butterfield Blues Band, The Who and Wishbone Ash Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 November 2021 more monthly news Ancla 2 1 Sexoh! 00:00 / 01:04 2 Sexoh! 00:00 / 01:04 3 Sexoh! 00:00 / 01:04 4 Sexoh! 00:00 / 01:04 In this program the musicians sing to sex. We warn because it may affect the sensitivity of some people. Do not say that we did not warn. They warm you up Aguaturbia, Grindhouse, Hakuna Tanaka, James Brown, Juliana Hatfield, Kraftwerk, Led Zeppelin, Lito Vitale/Pedro Aznar. Los Prisioneros, Luis Alberto Spinetta, Martín Buscaglia, Pescado Rabioso, Peter Gabriel, PJ Harvey, Prince, Rammstein, Red Hot Chili Peppers, Santana, Ska-P, Soda Stereo, The Beatles, The Rolling Stones and Yoko Ono click to see uncensored October 2021 more society Cycle 2021 more nature 1 Estrellas 00:00 / 01:04 2 Estrellas 00:00 / 01:04 3 Estrellas 00:00 / 01:04 4 Estrellas 00:00 / 01:04 A Broken Silence - Bunbury - Charly Garcia - David Bowie - Dead Can Dance - Grateful Dead - Gustavo "Principe" Pena - Hole - Los 7 Delfines - Manal - Matthew Sweet - Soda Stereo - Spinetta - Sumo - The Beatles - The Cure - The Mission - They Might Be Giants October 2021 more nature 1 Nubes 00:00 / 01:04 2 Nubes 00:00 / 01:04 3 Nubes 00:00 / 01:04 4 Nubes 00:00 / 01:04 Human Color - David Lebon - Drive-By Truckers - Explota Elizabetta - Gabo Ferro - Jefferson Airplane - Joni Mitchell - La Portuaria - Las Pelotas - Leon Gieco - Los 7 Delfines - Los Gatos Mauro Figliuolo - Nito Mestre - Pedro Aznar - Phish - Skay Beilinson - The Rolling Stones Vox Dei - The Incredible String Band - The Rolling Stones - Vox Dei October 2021 more nature 1 Orejas Show - 2021 00:00 / 01:04 2 Orejas Show - 2021 00:00 / 01:04 3 Orejas Show - 2021 00:00 / 01:04 4 Orejas Show - 2021 00:00 / 01:04 After a long time, the Orejas Show, the recital program, returns. alt-J - Death Cab for Cutie - Eric Clapton & Friends - Janis Joplin - Jimi Hendrix - Kurt Vile & The Violators - King Gizzard & The Lizard Wizard - Los Lobos_cc781905-5cde-3194-bb3b participate -136bad5cf58d_ - Metallica - Mark Knopfler - Neil Young - Nirvana - Pearl Jam - Robert Plant - Roger Waters - The Chameleons September 2021 more recitals 1 Cielo 00:00 / 01:04 2 Cielo 00:00 / 01:04 3 Cielo 00:00 / 01:04 4 Cielo 00:00 / 01:04 Billy Bond and La Pesada del Rock & Roll, Charly Garcia, Pedro Aznar, Chris Cornell, Coldplay, Divididos, El Cuarteto de Nos, Gustavo Cerati, Jorge Drexler, Kate Bush, La Barra de Chocolate, La Cofradía de la Flor Solar, La Roca, Lou Reed, Norman Greenbaum, Outlaws, Patricio Rey y sus Redonditos de Ricota, Phish, Skay Beilinson, The Beatles, The Jimi Hendrix Experience, The Kinks September 2021 more nature 1 Tiny Desk 00:00 / 01:04 2 Tiny Desk 00:00 / 01:04 3 Tiny Desk 00:00 / 01:04 4 Tiny Desk 00:00 / 01:04 Mr. Orejas visits NPR, National Public Radio in Washington to enjoy Alt-j - Ani DiFranco - Bob Weir And Wolf Bros - Bomba Estereo - Café Tacvba - Coldplay - Courtney Barnett - Daughter - Death Cab For Cutie - Jackson Browne - Jorge Drexler - Juana Molina - Liz Phair - Sting & Shirazee - Suzanne Vega - Tash Sultana - The Black Crowes - The Lumineers - Trey Anastasio - Weezer - Yusuf Cat Stevens _cc781905-5cde-3194 -bb3b-136bad5cf58d_ _cc781905 -5cde-3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194- bb3b-136bad5cf58d_ _cc781905- 5cde-3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194-bb3b -136bad5cf58d_ _cc781905-5cde -3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194-bb3b- 136bad5cf58d_ _cc781905-5cde- 3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194 -bb3b-136bad5cf58d_ Setiembre 2021 more earscasts Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 September 2021 more monthly news 1 La Despedida 00:00 / 01:04 2 La Despedida 00:00 / 01:04 3 La Despedida 00:00 / 01:04 4 La Despedida 00:00 / 01:04 It is not that Mr. Orejas is saying goodbye but that at Orejas al Universo we talk about goodbyes. Lionel Messi, Atomic Rooster, Bill Haley, Cypress Hill, Everly Brothers, Fito Páez, Franz Ferdinand, Gustavo Cerati, Jaime Roos, Joan Baez, Joe Bonamassa, Leonard Cohen, Manu Chao, Mavi Díaz, Paul Simon, Pink Floyd, The Beatles, The Doors, Toto La Momposina and his Drums and Charlie Watts _cc781905-5cde-3194 -bb3b-136bad5cf58d_ _cc781905 -5cde-3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194- bb3b-136bad5cf58d_ _cc781905- 5cde-3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194-bb3b -136bad5cf58d_ _cc781905-5cde -3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194-bb3b- 136bad5cf58d_ _cc781905-5cde- 3194-bb3b-136bad5cf58d_ _cc781905-5cde-3194 -bb3b-136bad5cf58d_ Setiembre 2021 more similar programs 1 Cartas 00:00 / 01:04 2 Cartas 00:00 / 01:04 3 Cartas 00:00 / 01:04 4 Cartas 00:00 / 01:04 August 2021 click to enlarge more similar programs cycle 2021 1 Cambio Climático 00:00 / 01:04 2 Cambio Climático 00:00 / 01:04 3 Cambio Climático 00:00 / 01:04 4 Cambio Climático 00:00 / 01:04 August 2021 more nature 1 Crónicas Musicales de la Pandemia 00:00 / 01:04 2 Crónicas Musicales de la Pandemia 00:00 / 01:04 3 Crónicas Musicales de la Pandemia 00:00 / 01:04 4 Crónicas Musicales de la Pandemia 00:00 / 01:04 August 2021 more earscasts 1 Miguel Cantilo 00:00 / 01:04 2 Miguel Cantilo 00:00 / 01:04 3 Miguel Cantilo 00:00 / 01:04 4 Miguel Cantilo 00:00 / 01:04 August 2021 more characters 1 Bombas 00:00 / 01:04 2 Bombas 00:00 / 01:04 3 Bombas 00:00 / 01:04 4 Bombas 00:00 / 01:04 click to enlarge more similar programs 1 Los Días de la Semana 00:00 / 01:04 2 Los Días de la Semana 00:00 / 01:04 3 Los Días de la Semana 00:00 / 01:04 4 Los Días de la Semana 00:00 / 01:04 more nature Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 12 - https://archive.org/details/abril-2021_202106 more monthly news 17 - https://archive.org/details/march-2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 more monthly news 1 Volar 00:00 / 01:04 2 Volar 00:00 / 01:04 3 Volar 00:00 / 01:04 4 Volar 00:00 / 01:04 6 episode miniseries 7 years ago, Orejas al Universo was born on Frecuencia Zero FM 92.5) in Buenos Aires, to which several radio stations from the interior were added. We celebrate it with a six-episode miniseries telling the story of Pipo Lernoud, stage name of Alberto Raúl Lernoud (November 5th de 1946 ), un poet , composer , journalist and precursor of the ecological or organic farming en Argentina . Considered one of the founders of the Argentine national rock . Author of well-known songs such as «just yesterday » (together with die ) and "The Golden Princess". He was founder and director of rock magazines such as The Imaginary Express y sing rock , among other. Keep reading click here 1/24 Very young and naive at the age of 18, Mr. Orejas traveled to the United States. New York was the first stop. Winter. On January 24, 1969, I had tickets to see Blood, Sweat & Tears in Manhattan. He lived in the suburbs, Flushing to be exact, and that day one of the biggest snowfalls in history had fallen. But big, big. Then he walked to the train station since there were no bondis or buses in English. After the icy and slippery journey he arrived at a theater called Fillmore. The recital begins and the band that I was going to see was preceded by a group that I had not heard of and that was debuting in the United States. A skinny, tall, gangly flutist was jumping from one end of the stage to the other. He looked closely at the program and said Jethro Tull who would become one of Mr. Ears' favorites. Awesome! Then the main band came and it was good but... Despite the snowfall, Mr. Orejas came back floating wrapped in the music he had discovered. Two months later he was in San Francisco. And in San Francisco there was the Fillmore West. Here there were no seats like en Long-haired men on the floor passed a cigarette at that time unknown to the naive Mr. Ears. And onstage a flood of music spilled out through the strange-smelling smoke. It was Spirit, a great band and then, wow, Ten Years After… The Englishman Alvin Lee & Co. It's a serious thing. Blues, rock, infinite energy. The Fillmores were the temples of rock from coast to coast. They didn't last long. Enough so that the main representatives of that generation could germinate in a friendly and powerful space. NY. 1 Fillmore East 00:00 / 01:04 2 Fillmore East 00:00 / 01:04 3 Fillmore East 00:00 / 01:04 4 Fillmore East 00:00 / 01:04 1 Fillmore West 00:00 / 01:04 2 Fillmore West 00:00 / 01:04 3 Fillmore West 00:00 / 01:04 4 Fillmore West 00:00 / 01:04 1/6 Bloque 4 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 12 - https://archive.org/details/abril-2021_202106 17 - https://archive.org/details/march-2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 1 Martin Scorsese 00:00 / 01:04 2 Martin Scorsese 00:00 / 01:04 3 Martin Scorsese 00:00 / 01:04 4 Martin Scorsese 00:00 / 01:04 5 Martin Scorsese 00:00 / 01:04 6 Martin Scorsese 00:00 / 01:04 7 Martin Scorsese 00:00 / 01:04 8 Martin Scorsese 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 17 - https://archive.org/details/march-2021 1 Saborido 00:00 / 01:04 2 Saborido 00:00 / 01:04 3 Saborido 00:00 / 01:04 4 Saborido 00:00 / 01:04 1 Beatles Covers 00:00 / 01:04 2 Beatles Covers 00:00 / 01:04 3 Beatles Covers 00:00 / 01:04 4 Beatles Covers 00:00 / 01:04 Did you know that there was a fifth beatle and he was Argentine? click here 24 - https://archive.org/details/02-novedades-febrero-2021 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 1 Lalo Mir 00:00 / 01:04 2 Lalo Mir 00:00 / 01:04 3 Lalo Mir 00:00 / 01:04 4 Lalo Mir 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 98 - https://archive.org/details/music-january-2021 up

Orejas 2024 Julio 2024 Más de Nachito LB clic aquí La primera hora es bastante distinta de lo que acostumbra a ser Orejas al Universo. Resulta que el Dr. Orejas me llamó, casi perplejo, diciendome que no entiende a la juventud de hoy. Claro, a sus 123 años puede resultarle difícil, pero no crean que a mí me resulta tan fácil. Me pregunta: qué es eso del hip-hop, rap, trap que nunca escuchamos en el programa. Y sin duda es por un lado un asunto generacional y por otro, que este es un programa de rock. Entonces ese mundo nos es muy ajeno pero se nos despertó la curiosidad. Y si hablamos con un representante de ese género que ilumine un poco nuestra ignorancia? Y revisando los artistas en ascenso del género nos encontramos con Nachito LB, de 23 años y lo invitamos a que eche un poco de luz a nuestros interrogantes. La segunda hora está dedicada a un deporte muy popular en todos los géneros y que comúnmente se llama masturbación o popularmente paja. Vamos a recorrer canciones que se refieren a tan sano accionar que el ser humano ejerce sobre sí mismo y que algunos tratan -hipócritamente- de ocultar. claudio rosso Cuarto año consecutivo de nuestro especial anual con Alfredo Rosso recorriendo Glastonbury, su festival favorito. Y en este 2024 nos presenta a Coldplay, Mdou Moctar, Brittany Howard, Idles, The Breeders, PJ Harvey, Bombay Bicycle Club, Arooj Aftab, Baxter Dury, King Krule, Squid, Cyndi Lauper, Black Pumas y The National. Entrevistar a Claudio Kleiman es recorrer la historia del rock nacional. Sin duda es uno de los periodistas mas respetados, participante de las principales revistas desde la época del Expreso Imaginario, una revista de culto y madre de muchas publicaciones posteriores, pasando por Canta Rock, uno de los mayores éxitos editoriales junto a la revista Pelo, hasta ser periodista estrella de la Rolling Stone. Claudio tiene aparte la virtud de que los músicos se amigan -fruto de su personalidad- con él y se suman a otro aspecto importante de su vida que es la de ser músico. Es por eso que es nuestro invitado de hoy y aparte lo hemos pedido que traiga su guitarra para brindarnos un pequeño recital... demasiado Fueron muy jóvenes para morir y en este programa repasamos su música... y los extrañamos. Botón Home Junio 2024 Agosto 2024 Botón

Orejas Show 1 Orejas Show - 2021 00:00 / 01:04 2 Orejas Show - 2021 00:00 / 01:04 3 Orejas Show - 2021 00:00 / 01:04 4 Orejas Show - 2021 00:00 / 01:04 After a long time, the Orejas Show, the recital program, returns. alt-J - Death Cab for Cutie - Eric Clapton & Friends - Janis Joplin - Jimi Hendrix - Kurt Vile & The Violators - King Gizzard & The Lizard Wizard - Los Lobos_cc781905-5cde-3194-bb3b participate -136bad5cf58d_ - Metallica - Mark Knopfler - Neil Young - Nirvana - Pearl Jam - Robert Plant - Roger Waters - The Chameleons September 2021 1 Orejas Show - Programa 1 00:00 / 01:04 2 Orejas Show - Programa 1 00:00 / 01:04 1 Orejas Show - Programa 1 00:00 / 01:04 4 Orejas Show - Programa 1 00:00 / 01:04 Soda Stereo, Levelliers, Peter Gabriel, U2, Rolling Stones, The Doors, Robert Plant, Jefferson Airplane, El Principe Pena, Charly Garcia, Nirvana, Joe Jackson, Joni Mitchell, Traffic, Spinetta 1 Orejas Show - Programa 2 00:00 / 01:04 2 Orejas Show - Programa 2 00:00 / 01:04 3 Orejas Show - Programa 2 00:00 / 01:04 4 Orejas Show - Programa 2 00:00 / 01:04 Sha Na Na - John Lennon - Jane´s Addiction - Dire Straits - REM - Neil Young - Foals - All Them Witches - Calexico - Kraftwerk - Joe Bonamassa - Leonard Cohen 1 Orejas Show - Programa 3 00:00 / 01:04 2 Orejas Show - Programa 3 00:00 / 01:04 3 Orejas Show - Programa 3 00:00 / 01:04 4 Orejas Show - Programa 3 00:00 / 01:04 From the Marambio Base, border of the homeland in the Argentine Antarctic. Surrounded by penguins we go through recitals from today and yesterday. With David Gilmour, Linkin Park, George Harrison, Band of Horses, Eric Burdon, Liam Gallagher, The Who, Piazzolla/Goyeneche, The Police, Kansas, Bob Marley, Jefferson Airplane, Marcelo Tinelli and Dion 1 Orejas Show Nac & Pop - Programa 4 00:00 / 01:04 2 Orejas Show Nac & Pop - Programa 4 00:00 / 01:04 3 Orejas Show Nac & Pop - Programa 4 00:00 / 01:04 4 Orejas Show Nac & Pop - Programa 4 00:00 / 01:04 On this occasion with recitals by Argentine musicians: Illya Kuryaki And The Valderramas, Divididos, Los Abuelos de la Nada, Las Pelotas, Los Gatos, Soda Stereo, David Lebon, Virus, Los Piojos, Almendra,_cc781905-5cde-3194-bb3b- 136bad5cf58d_ La Renga, Pappo, Memphis la Blusera, Manal, Mancha de Rolando, Leon Gieco, Sui Generis, Pedro and Pablo, Miguel Abuelo and Miguel Cantilo 1 Orejas Show - Programa 5 00:00 / 01:04 2 Orejas Show - Programa 5 00:00 / 01:04 3 Orejas Show - Programa 5 00:00 / 01:04 4 Orejas Show - Programa 5 00:00 / 01:04 The Chameleons, Focus, Baby Woodrose, Donovan, The Rolling Stones, Deep Purple, Cold War Kids, Alvin Lee, Ray Charles, James Brown, Nirvana, Janis Joplin, CSNY and The Beatles 1 Orejas Show - Programa 6 00:00 / 01:04 2 Orejas Show - Programa 6 00:00 / 01:04 3 Orejas Show - Programa 6 00:00 / 01:04 4 Orejas Show - Programa 6 00:00 / 01:04 Greta Van Fleet, Death Cab for Cutie, alt-J, The Record Company, Buddy Guy, Jack White, King Gizzard & The Lizard Wizard, Primal Scream, Tash Sultana, Manic Street Preachers, Metallica, Hot Tuna, Real Estate, Alice in Chains, Ben Harper, Shame, Nirvana, Red Hot Chili Peppers, Our Girl, Arctic Monkeys and Franz Ferdinand 1 Orejas Show - Programa 7 00:00 / 01:04 2 Orejas Show - Programa 7 00:00 / 01:04 3 Orejas Show - Programa 7 00:00 / 01:04 4 Orejas Show - Programa 7 00:00 / 01:04 The War On Drugs - Fleet Foxes - The Breeders - Gomez - Hole - Echo & The Bunnymen- Babes In Toyland - Rory Gallagher - Car Seat Headrest - Foster the People - Sonic Youth - The Byrds - Eddie Vedder _cc781905-5cde-3194-bb3b -136bad5cf58d_- Concrete Blonde - The Smashing Pumpkins - Tracy Chapman - The The - Rory Gallagher - Guns N' Roses 1 Orejas Show - Programa 8 00:00 / 01:04 2 Orejas Show - Programa 8 00:00 / 01:04 3 Orejas Show - Programa 8 00:00 / 01:04 4 Orejas Show - Programa 8 00:00 / 01:04 Big Thief, Brant Bjork, Bush, Cage The Elephant, Catfish and the Bottlemen, Death Cab for Cutie, Flora Cash, Foals, Foo Fighters, Gary Clark Jr., Goo Goo Dolls, Idles, Judah & The Lion, King Gizzard & The Lizard Wizard, Kurt Vile & The Violators, Liam Gallagher, Rolling Blackouts Coastal Fever, Snail Mail, The Cure, The Lumineers, The National, The Record Company and The Strokes 1 Woodstock 00:00 / 01:04 2 Woodstock 00:00 / 01:04 3 Woodstock 00:00 / 01:04 4 Woodstock 00:00 / 01:04 5 Extra Web 00:00 / 01:04 Woodstock 1 Extrañando al Sr. Pogo 00:00 / 01:04 2 Extrañando al Sr. Pogo 00:00 / 01:04 3 Extrañando al Sr. Pogo 00:00 / 01:04 4 Extrañando al Sr. Pogo 00:00 / 01:04 Extrañando al Sr. Pogo 1 Bonnaroo 00:00 / 01:04 2 Bonnaroo 00:00 / 01:04 3 Bonnaroo 00:00 / 01:04 4 Bonnaroo 00:00 / 01:04 Bonnaroo Glastonbury 1 Glastonbury 00:00 / 01:04 2 Glastonbury 00:00 / 01:04 3 Glastonbury 00:00 / 01:04 4 Glastonbury 00:00 / 01:04 5 Glastonbury - Extra Web 00:00 / 01:04 6 Glastonbury - Extra Web 00:00 / 01:04 Glastonbury 2022 00:00 / 01:04 keep listening and browse other pages Glastonbury 2022 En Vivo en la Argentina 1 Programa 1 - Vivo en la Argentina 00:00 / 01:04 2 Programa 1 - Vivo en la Argentina 00:00 / 01:04 3 Programa 1 - Vivo en la Argentina 00:00 / 01:04 4 Programa 1 - Vivo en la Argentina 00:00 / 01:04 1 Programa 2 - Vivo en la Argentina 00:00 / 01:04 2 Programa 2 - Vivo en la Argentina 00:00 / 01:04 3 Programa 2 - Vivo en la Argentina 00:00 / 01:04 4 Programa 2 - Vivo en la Argentina 00:00 / 01:04 1 Programa 3 - Vivo en la Argentina 00:00 / 01:04 2 Programa 3 - Vivo en la Argentina 00:00 / 01:04 3 Programa 3 - Vivo en la Argentina 00:00 / 01:04 4 Programa 3 - Vivo en la Argentina 00:00 / 01:04 1 Programa 4 - Vivo en la Argentina 00:00 / 01:04 2 Programa 4 - Vivo en la Argentina 00:00 / 01:04 3 Programa 4 - Vivo en la Argentina 00:00 / 01:04 4 Programa 4 - Vivo en la Argentina 00:00 / 01:04 2022 ¿Te acordás de MTV? 00:00 / 01:04 MTV Unplugged 1/24 Very young and naive at the age of 18, Mr. Orejas traveled to the United States. New York was the first stop. Winter. On January 24, 1969, I had tickets to see Blood, Sweat & Tears in Manhattan. He lived in the suburbs, Flushing to be exact, and that day one of the biggest snowfalls in history had fallen. But big, big. Then he walked to the train station since there were no bondis or buses in English. After the icy and slippery journey he arrived at a theater called Fillmore. The recital begins and the band that I was going to see was preceded by a group that I had not heard of and that was debuting in the United States. A skinny, tall, gangly flutist was jumping from one end of the stage to the other. He looked closely at the program and said Jethro Tull who would become one of Mr. Ears' favorites. Awesome! Then the main band came and it was good but… Despite the snowfall, Mr. Orejas came back floating wrapped in the music he had discovered. Two months later he was in San Francisco. And in San Francisco there was the Fillmore West. Here there were no seats like en Long-haired men on the floor passed a cigarette at that time unknown to the naive Mr. Ears. And onstage a flood of music spilled out through the strange-smelling smoke. It was Spirit, a great band and then, wow, Ten Years After… The Englishman Alvin Lee & Co. It's a serious thing. Blues, rock, infinite energy. The Fillmores were the temples of rock from coast to coast. They didn't last long. Enough so that the main representatives of that generation could germinate in a friendly and powerful space. NY. 1/6 Fillmore

Ancla 1 2015 2016 2017 2018 2019 2020 2021 In 2016 there were only 2 programs at the end of the year synthesizing what Mr. Orejas considered the best of the year. In addition, two other exclusives were published for the web. Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 1 (Exclusivo Web) 00:00 / 01:04 Bloque 2 (Exclusivo Web) 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 1 (Exclusivo Web) 00:00 / 01:04 Bloque 2 (Exclusivo Web) 00:00 / 01:04

Tangible and Intangible And it was then that Dr. Orejas wondered: what is tangible, what is intangible. I asked God: "What are you, tangible or intangible?". He replied: "I am God, I am both, I am EVERYTHING" "And why can't I touch you?" I asked. And he replied: "The essential is invisible to the touch." Phrase that sounded similar to me but not the same. A library is something tangible, right? But at the same time it is intangible. And friendship, and love, and lies, and dreams....? It was so difficult for Dr. Orejas to classify these programs that he grouped them into the Tangible and the Intangible. Or vice versa. As you like. Amistad Amor Biblioteca Bicicletas Bombas Cartas Despedidas Diablo Dinero Dios & Roll Guitarras Martillo Mentira Navidad Papa "Porro" Noel Sonrisas Sueños del Norte Sueños del Sur Telefonos Volar

Pipo Lernoud, Resorte Hornos, Alfredo Rosso y Claudio Kleiman hablan de la mítica revista Expreso Imaginario EXPRESS JORGE gogabolson Jorge Pistocchi Ears to the Universe MEDIA HOT BREAD zaff NIBBLE HAIR Memories (Horace Fontova) Jorge's Texts and Covers Photos Farewell Letter Brief history (Pipo Lernoud) Spring Alfredo Rosso super rag Claudio Kleiman Envelope No. 0 The Express CD Ancla 1 Brief History of the Imaginary Express When finally, after months of searching and failed tests, the publisher-financier, the lawyer Alberto Ohanian, appeared, it was already summer. 1976 came upon us, and with it the military coup by Videla and his henchmen. We come together and ask ourselves: What to do? The decision was to go ahead, see how the hand came, not talk about stinging topics: politics, religion, drugs. Saying things through others, with literary and artistic metaphors. “There is a whole world outside of what is prohibited, and we are going to explore it so as not to suffocate. Let's look like a music magazine in the dull eyes of the censors.” The editorial meetings, crazy and creative, were what today would be called brain storming, except that the ideas and storms were very extreme, driven by Jorge's brilliant imagination and the corrosive humor of Negro Fontova. The newsroom was like a strange island of freedom in the middle of a silent and frightened city. It is already known that the covers of the Expreso were an indelible mark of the magazine, and a touch of color and madness in the monochrome and censored kiosks of the Process. The idea was that each cover was different, and told a story of its own. The famous tomato shot at Travolta, a symbol of the pasatista culture that the dictatorship wanted to impose, is an example SOME NOTABLE NOTES The Punk Note Punk was emerging against everything in England and the USA, and Alfredo brought every day the news that he was eagerly looking for in the foreign media, in times when there was no internet or computers, oddly enough today. We didn't know if reflecting the countercultural violence of English punk with its defiant lyrics and gory stories would be acceptable to the process mentality. But we didn't think too much either. We started from the assumption that almost anything could be said if it was in the words of foreign authors who belonged to the Western and Christian world, and, after all, Johnny Rotten was a foreigner. It occurred to me from the second issue to make a section called "Practical guide to inhabit the planet Earth", to speak for the first time of "applied ecology". Although read today the section seems naive, over the years I have met many people who became interested in food and natural medicine from those few pages, and the organic farming movement in Argentina arose from the readers of the Guide and the meticulous notes of José Luis Damato. Actually, I think we have to thank Damato for accustoming us to serious research and reliable information on "alternative" issues such as climate change (in 1978!!), renewable energy, genetic manipulation, criticism of nuclear power etc. In the nuclear field, José Luis made a devastating note from the movie China Syndrome, and for a moment we thought we were getting into trouble, since nuclear energy was always a private and secret business of the military, and at that time more than ever. Basabru's notes on jazz and avant-garde music and Claudio's on North American rock and folk also had serious research and detailed information. The idea of saying EVERYTHING about an artist resulted in pages and pages of typography that we called “gouging out your eyes” because no author wanted to cut off what they had worked so hard to figure out. It always seemed to us that as a good rock magazine, we had to talk about the greats of tango, folklore, Brazilian music or salsa. That is, it is not about musical genres, but about people who show new paths. It was so that on the sixth cover of the Expreso, before any rock musician, we put Piazzolla, with an extensive report. The brilliant Egberto Gismonti and Hermeto Paschoal from Brazil and Opa, a group of the Fatorrusso brothers from Uruguay, graced the cover of a popular magazine anywhere in the world for the first time. Egberto, with the history of his sound searches among the Amazonian Xingu tribes, mixed with his high-level classical and jazz training, caused surprise and a legion of followers. Hermeto showed Argentines for the first time that great technology was not needed -the central concern of the rockers of the time- to invent amazing music, and he kept Alfredo, Claudio, Fernando and me stunned with a one-hour recital with two soda bottles. Damato made a meticulous, many-page note on Jung's theory of the Collective Unconscious, picturing it with similar images from all cultures and times. From there came Charly's inspiration to compose the song, which speaks of "the eaves of the mind." Diana Bellessi, today an Argentine poet laureate, made a series of reports on aboriginal poetry and the singers of the ravines, working under the guidance of Leda Valladares. He also covered the various aboriginal cultures of the Americas, told as living and inspiring experiences. From the first issues, at the request of Pistocchi, we searched for creative cartoonists who would generate fun and direct stories. Rolando Rojo, Gustavo Dall'Occhio, Diego Vegezzi, Spring Hornos, Rubén Vásquez (Nebur) and others produced a series of highly satirical and delusional cartoon stories. Jorge got the rights to "Little Nemo in the Land of dreams”, one of the first comics. Jorge also had the idea of making fotonovelas, and with the help of exceptional photographers such as Eduardo Martí and Uberto Sagramoso, that territory became a new world in which, once again, things could be said without saying them. The list of journalists today who made their debut at El Expreso is very long: For example, the editorial secretaries of the different stages: Ralph Rotschild – today editor of La Mano, Sandra Russo, Gloria Guerrero. Adriana Franco today writing about rock in La Nación, began with some chronicles in the early 80s. Roberto Pettinatto came to the magazine through a letter from readers, hidden behind the pseudonym Laura Ponte, and he stayed forever. With his obsession with the “New Journalism” of Tom Wolfe, Truman Capote and Hunter Thomson, and his constant bouts of satire and sarcasm, he contributed to renewing the language. When little by little we all started leaving, Pettinatto was left to direct the last year of the magazine, already with a clearly musical tone. In the second issue we put a letter from the Scottish group Incredible String Band as an editorial, which is a statement of the magazine's principles, and the opposite of the intolerant thinking of the dictatorship at that time, and which I like to close these memories: “His head is so wide that everything life says has room to live and breathe and be, and even more…” Pipo Lernoud The beginning of the bloodiest dictatorship in Latin American history – which is already saying a lot – is not a good opportunity to start a magazine based on freedom and exploration. Actually, the idea already had its shooting time. It had emerged from the eternally creative head of Jorge Pistocchi, former patron of Almendra, former director of the magazine Mordisco, specialized in rock. Jorge contacted me in the middle of 1975 with a folder with drawings and notes, a logo and the first cover already designed. We began to look for financing for the project, and to think about putting together a team. The first one that occurred to us was Horacio Fontova, the “Renaissance Negro”, actor, cartoonist, musician, writer and old friend from shipwreck nights with Miguel Abuelo and Tanguito. Horacio would put the aesthetic stamp on the Express, a personality that stands out among the magazines of Argentina and probably the world. Jorge brought Alfredo Rosso, who was finishing the colimba and writing for his previous magazine, Mordisco. The 20-something Rosso brought two friends, Claudio Kleiman –companion of the colimba- and Fernando Basabru. Resorte Dr. Hornos, for the Springe friends and for the law, Eduardo Sanz (*) accompanied Jorge with his illustrations, making the cartoons for the magazine and giving him, along with Fontova and many others, the graphics that made it distinctive. (*) A great companion at the police stations to which they used to take us after each recital in between and where they didn't know him as Springe... Alfredo "The Imaginary Express": journalism and counterculture The publication directed by Jorge Pistocchi and Pipo Lernoud put readers' mail, ecology, oriental philosophy and native peoples at the center of its interests. Alfredo Rosso tells of his beginnings as a chronicler in the mythical magazine. By Mariano Nieva -Paco Urondo Agency Alfredo Rosso: What you say, I learned in those years from colleagues like Claudio Kleiman, for example, who is the one who brought Brazilian music to the Express, and that's how we found out more than 40 years ago about the existence of Caetano Veloso, Gilberto Gil, Hermeto Pascoal and Ney Matogrosso. Pipo Lernoud, for his part, introduced folklore at a time when we were a bit afraid of this style, along with tango, because there was a kind of friction with the tangueros who had felt in the '60s that rock he had removed scenery and figuration, and somehow they were right. Some of that had happened at that time. UPA: And at what point do you feel that this mixture of sounds and styles began to be heard more clearly among our artists? AR: Everything began to integrate, like when Negra Sosa returned to the country after exile and, after the dictatorship was over, León Gieco and Charly García were on the stage where she performed. Or Daniel Sbarra, a musician from Virus, who was playing with Jaime Torres at the time. Then began a wonderful period that today is a constant and nobody is scared anymore, and that is that rock merges with folklore, for example. Of course, we must never stop honoring pioneers like Gustavo Santaolalla who already did this crossbreeding in the '70s with his group Arco Iris. If, for example, you listen to his song “I want to arrive”, you will find "piazzoleano" tango, folklore and also jazz. UPA: What did it mean to you to have been part of the Imaginary Express, taking into account that you had just left the colimba, the context in which the publication appeared and the stature of myth that it later reached? AR: The Express was an apprenticeship for me. Imagine that I was 21 years old and had just finished my military service with Claudio Kleiman, whom I met there, in the barracks. Fifteen days after being discharged, I began to do a section called “La hora de los inéditos” on the radio program “Viento a favor”, in collaboration with Fernando Basabru, who had been my classmate in high school and that today accompanies us and looks at us from somewhere in the cosmos. In addition, I worked in a record company editing records and when I entered the Expreso, which was just beginning, I met a generation that had between five and ten years of experience with me, and that also had a humanistic view of life and a desire for freedom through all price. UPA: People with a lot of lucidity and vision of the future. AR: Absolutely, Jorge Pistochi and Pipo Lernoud were there as its directors; Black Horacio Fontova, whom everyone knows as a musician and comedian but who is a great diagrammer and cartoonist and who did an enormous job in the magazine. José Luis Damato, who was in charge of all the notes on ecology, and many other people who joined, like Gloria Guerrero, Sandra Russo and Roberto Petinatto, who as we all know was a Sumo saxophonist and who became director in the last stage of the magazine to which many people do not give due ball. UPA: It is true what you say regarding the period in which Petinatto was in charge of the magazine, very few remember and recognize it. AR: I think the interesting thing about Petti's work is that he tried to insert the magazine in the '80s, in a very different context from the beginning. Although I accept that perhaps the first stage that goes from 76 to 79 has been the most fruitful of the publication. A tomato for Travolta. By 1978 the main groups on the local scene had dissolved. The news of the separations of La máquina de hacer pájaros, Invisible, Crucis, Polifemo, Soluna and Pastoral, among others, were known through the pages of the Imaginary Express. This situation, added to a context of suffocation resulting from the military dictatorship and the exile of great figures such as León Gieco, Lito Nebbia, Gustavo Santaolalla, Pino Marrone and Edelmiro Molinari, caused both the publication of new record materials and the the number of live shows. On the other hand, the film Saturday night fever released a year earlier, directed by John Badham, and the culture of disco music in our country were other factors that aggravated the situation. Artists like the Bee Gees, Donna Summer, Gloria Gaynor and Kool & The Gang were the main stars of a phenomenon that proposed disco and dance as an alternative to the communion of the recital. The Imaginary Express, in its own way, did not remain oblivious to this new circumstance and picking up the gauntlet in issue No. 26 of September 1978, put a tomato smack on the face of John Travolta, icon of disco music, on the cover. The cover was accompanied by a sarcastic centerpiece headlined "The Feverish Robots of Saturday Night." UPA: Another of the things that was rescued from the Express was that it had been a kind of advance journalism. They talked about what many were silent. AR: Pipo and José Luis Damato were pioneers in addressing what was coming, the environmental issue, the contamination of the seas and pollution in cities. We talked about all this in 1977 and 1978, in the section "The manual for inhabiting planet Earth", for example, something really "incorrect" for the time, because it was to address these issues in an ideal country where everything was fine and we were rights and human So with all those people we made a magazine that talked about cinema, theater, ecology and communities at a time when you couldn't talk about all that freely. For this reason, I believe that Expreso Imaginario was a place of cultural resistance in a terrible time. On the other hand, my contribution was in the musical part with Kleiman, Basabru and the unforgettable Edy “La Foca” Rodríguez, who also played with El Negro in the duo they formed and who named him Fontova y la Foca. UPA: Many do not know that El Expreso Imaginario had a fleeting step as a radio program. How did that experience come about? AR: After many years, there was an attempt in 2001 to revive the experience, but it did not go beyond a broadcast on La Tribu radio, which was fun and was hosted by Rubén de León, the singer and leader of La banda del paraíso, but he did not give to continue it. Later, Jorge Pistochi made some productions for single numbers, and nothing more. UPA: Today you are working on a book that has to do with rescuing your notes from the Express. Tell us a little more about this project AR: Indeed, we are making a book with Pipo and Kleiman of our notes on the Express. Of course we have to be selective, because it is a work that is going to have about 400 pages and we cannot put everything. Also, it's just our notes, to which we own the rights and we're very happy to do so. And since we are prolonging the interviews we did in those days, it also mobilized us a lot. UPA: Beyond the lots of memories you have from that time, what happened to you when you got back in touch with that material? AR: Imagine remembering again, for example, the report I did to Spinetta at the time of his album Kamikaze at his home in Florida, and everything that was happening around it, because the meeting with El Flaco happened in the middle of the Malvinas war. . Or the note to the Television group, which I remember I did a few blocks from where I worked at the Music Hall label and that I wrote it in a Chinese restaurant, where I would have lunch every day, so there are even humorous elements. In summary, it is a very strong exercise to remember those notes again and realize in most cases how current they are, how they are so current not only because of the musicians we are talking about, but also because of the vibe that the writings have. . UPA: Seeing a bit of current events in the media. Do you feel that they left some kind of legacy in the way of doing written journalism? AR: As for the inheritance, I think we did something very dignified in the time of The Hand, and in this sense I want to send a big hug to Ralph Rothschild who made it possible for the magazine to come out at another difficult time for written material, such as the years 2003. and 2004, after the 2001 disaster, and he gambled for the project and invested. We did this publication with Pipo Lernoud, Marcelo Fernández Bitar and Martín Pérez, "El Gavilán", today editor of Radar, the cultural supplement of Página/12, who was very important; and of course Roberto Petinatto, the guy who gave the publication much more than its name. And a lot of collaborators like Fernando García, who at the time of the final closing left a great phrase, when he said: “I am very glad to have worked in a magazine that is not a franchise”. La Mano lasted 6 years, maintaining, it seems to me, the spirit of the Imaginary Express. When talking about countercultural journalism in our country, the experience that took place between 1976 and 1983 and that was called El Expreso Imaginario, one of the most rebellious magazines that the vernacular written press had, immediately appears as a reference. Alfredo Rosso, one of the most prominent specialized rock journalists, tells in this interview for Agencia Paco Urondo his beginnings as a chronicler in the mythical publication, the unpublished topics for the time that were covered in its pages and the history of La Mano at the beginning of the new millennium which, according to Alfredo himself, preserved that rebellious and original spirit of the Express. Paco Urondo Agency: Today there is much talk of miscegenation in rock and perhaps no one will be surprised, for better or worse, by the fusion of styles that can be found. And it seems to me that El Expreso in this, as in so many other things, was avant-garde. Rock, folklore and tropicalism could coexist in its pages. Claudio by Humphrey Inzillo March 24, 2019 This song is for the old men, for Rosso, for Kleiman", says Indio Solari before singing "That lonely Cuban cow" in a memorable concert in Cemento, in 1987, where Luca Prodan shared the stage with Los Redondos and sang "Criminal mambo". Claudio Kleiman laughs when he remembers that dedication, immortalized on a pirated cassette. "By that time we were already the geezers," he says. Ten years earlier, he had been the first to write about that delirious group that would become one of the most popular in the history of vernacular rock. That's just one of the milestones in Kleiman's four decades as a rock journalist. In that course, he went from being a benchmark to becoming a legend. Founder of the Imaginary Express and a pillar of the Argentine edition of Rolling Stone since its first edition, in 1998, his firm is one of the most prestigious on the continent. In all these years of ink and music, he earned the admiration of Charly García (who eagerly awaited each of his criticisms) and Gustavo Santaolalla (who considers him one of the best journalists in the world), participated in memorable jams in the rehearsal rooms of La Renga and Divididos, and interviewed giants like Iggy Pop and Carlos Santana, among many others. However, and although he does not plan to abandon the profession of writing, his great motivation today is on stage. "Music is the closest human beings have to a transcendental experience, it is beyond words and concepts, it is air in motion," he says, inspired by his new main métier. "Music and journalism have always been like parallel paths, and for music to have a more visible place now is something I've been waiting for a long time." It is no coincidence that his debut album, It Was Time , he will arrive at a critical moment for his lifelong profession. "Journalism is in a transition that nobody knows very well where it is going. The one we met, with which we were trained, with long notes, research, opinion, now it is only found in drops, it has no place on the internet," reflect. Neither is the impressive list of guests who selflessly joined the album by chance (see box). Kleiman never had conflicts when it came to erasing the border between the musician and the journalist, and from the respect that each of his articles generated, he earned the friendship of several generations of Argentine musicians. Era hora is not a journalist's foray into the realm of musical practice, but the result of a lifelong passion: alongside his journalistic career, he played with Skay Beilinson in a line-up parallel to the Redondos (earlier from the 80s), he recorded a demo with a Latin American touch - which included a version by the Brazilian composer Alceu Valença - and led several projects essentially linked to blues. under the white album The first three volumes of the Kleiman disco seem like part of a manual for the perfect rocker: the White Album, by the Beatles; Almond and Manal. "They were the ones that had come out at that time, and I didn't imagine that they were going to be the best that I was going to listen to in my life," he says and evokes his adolescence, those years in which he went to concerts, bought vinyl records and wanted to know everything. . "Growing up in the 60s and 70s was a very rich breeding ground. My first recitals were BA Rock, but I also went to Luna Park to see Viglietti or Quilapayún, and to listen to Piazzolla with Gerry Mulligan at the Belgrano Auditorium. All of this, long before even thinking about the possibility of writing." It was during those years, too, that in addition to devouring record reviews in La Pelo and Cronopios, he began to write poetry and short stories, with a fleeting participation in an anthology of young poets by Miguel Grinberg, the priest of writers. with some pretense beatnik whom Kleiman followed with admiration in the newspaper La Opinión. "And that was before the Express, which was my approach to journalism and rock from within." When he finished high school, he began to study psychology without much conviction. Until his military service (in the Military Police Regiment, in Palermo) forced him to interrupt his studies. And, incredible as it may seem, it changed his life (for the better). Strictly speaking, it wasn't exactly the colimba that changed his life but a meeting with a colleague, Alfredo Rosso, who over the years would become another of the pillars of vernacular rock journalism. Together they formed an unbeatable tandem. "In the colimba I was with the radar attentive to see if any soul related to rock appeared within that confinement. And one day, in a guard that they called "imaginary" because it was without weapons, I came across a Mordisco magazine, which It was before the Expreso. It was owned by a kid who didn't look like he was a Mordisco reader. So I say to him: "Hey, is that magazine yours?" And then he tells me that a certain Rosso, from the First Sergeant's office. So I started looking for the owner of the magazine. And it turns out that he was not only a reader, but also wrote there. That's how I met him, and we immediately became new friends. And he immediately told me that the owner, Jorge Pistocchi, was devising another publication. The next free time we had, he took me to Pistocchi's apartment on Viamonte street. And that was a before and after for me." -Because? -His house was a mess, there were a couple of mattresses on the floor, a long table full of papers. And Pistocchi would start talking and he was like some kind of guru. Guru for his ability to persuade and for his thought, which was very deep. The people who gathered around him were extraordinary. An expected debut At the end of last year, Kleiman released his first album, Era hora, which includes an eclectic guest list, with legends such as León Gieco, Ricardo Mollo, Diego Arnedo and Gustavo Santaolalla; pioneers such as drummer Rodolfo García (Almendra), guitarist Claudio Gabis (Manal) and keyboardist Ciro Fogliatta (Los Gatos); blues heroes like the maestros Marcelo Ponce and Jorge Senno or the drummer Juan Carlos Tordó (La Mississippi); and a selection that includes the Uruguayan murguista Alejandro Balbis, the star violinist Javier Casalla, the singer Claudia Puyó and musicians from the Ratones Paranoicos, among many others. An impressive staff for any debut album, which garners the respect and, fundamentally, the affection that Kleiman has planted in all these years of music. There are eight own songs and two co-authored (with Skay Beilinson and Pipo Lernoud), which dialogue with some national rock obsessions, paint an urban landscape and investigate a certain neighborhood existentialism. When he returned to Psychology, in May 1976, Kleiman found himself with a completely different panorama from the one he had left before entering, still in a democracy. The halls of the college, which had previously been riddled with posters and abuzz with political activism, artistic expression and sexual tension, had died down. "The walls were white, bare. There was no activity, everyone was submissive, like something out of 1984, from Orwell. So if the race had interested me little from the beginning, the context definitely drove me away." At the time, the Imaginary Express was on the tails and Kleiman had taken over the record-review section. In part, because of his incipient training on the subject, but also because of his work in the bookstore and record store that his brother had in Flores, y where Pedro Aznar and Daniel Melero went to buy, allowed him to have access to the latest releases. For the first issue, which came out in August 1976 and offered a "Practical Guide to Inhabiting Planet Earth" on the cover, Kleiman reviewed records by Bob Dylan, Neil Young and Frank Zappa. The recognition came in the email of the second number, when Charly García sent a brief but extremely auspicious text, where he congratulated all the staff and especially highlighted the Records section. "I still didn't know him personally. That's why I owe it to him: I was a recently arrived asshole and, from that, they began to look at me with more respect." -You ever said that, more than a magazine, the Express... was a vital experience. -Clear. It was like a salvation for us, and many readers also felt that way, because we were able to create ourselves as a microworld. It was like an island within that sinister reality that was lived. The initial group was an amazing gathering of talent. In addition to Pistocchi, there was Pipo (Lernoud), who would be the co-director of the Express and Negro Fontova, an illustrator and art director. Also Alberto Ohanian, who was not for nothing later the manager of Spinetta and Soda Stereo, a very important guy to carry out the delusions that Pistocchi had in his head. And Uberto Sagramoso, who was the first photographer of the Express. They were all a few years older than Alfredo [Rosso] and me. Imagine that all of us who are still alive are still very good friends. -And how was the relationship with the musicians? -We were part of the same thing: a small group of people who had to close ranks. That immediately produced a brotherhood and many remain friends to this day: Gustavo Santaolalla, León Gieco, Claudio Gabis, even Luis [Alberto Spinetta] and Charly, of course. With some of them we played memorable football matches. rock wonder for this world Although he wrote many emblematic articles, such as a long profile of Bob Dylan and a couple of anthological interviews with Charly García, Claudio Kleiman will go down in history for the chronicle of the first of the Lozanazos, those famous concerts in La Plata that gave rise to the myth of the Round ones. "The incipient rock movement from La Plata seems to make old laurels green again. This is how the presentation, at the Lozano de La Plata theater, of Patricio Rey y sus Redonditos de Ricota, a delirious band of nine members and a multitude of collaborators, seems to herald it. rock and roll strength, wit and good humor seems to want to ape the golden days of psychedelia," he wrote. A couple of paragraphs later, he prophesied: "Those Redonditos de Ricota are going to give a lot to talk about in the future." Four decades later, Claudio recalls the initial shock and, once again, the instant friendship that was born that night. "The closest parallel that occurred to me when I saw them was with Frank Zappa and The Mothers of Invention, because they put on a freak circus on stage. There were special effects that failed, they threw chickens. Here, there was no precedent for something like that. And the name had a very clear reference to '50s rock & roll groups like Bill Haley & His Comets, and that was politically incorrect." The night of the first concert, in a bar, Kleiman, Skay and Poli forged a friendship that continues to this day. He met the others, but the approach and the talk was with them. "They made music that was different from any other music out there. That really appealed to me, because I realized all the cultural baggage they brought with them, that these guys had been trained in psychedelia and had read the same books that I had." -And from that initial meeting and that first mythical note, how did the relationship continue? -They had an apartment here in Buenos Aires and whenever they came, once a week, Poli would let me know and we would go out for drinks. We would go to drink and in those laps you would meet characters that they were incorporating into the Redondos. Like Enrique Symns, at that time a monologue of the under. And several more that we discovered on those nocturnal adventures. -And how did you get along with the Indian? -We had a bond on the side of melomania; he made some compilations on cassette because he said he got bored of listening to complete records. Ahead of his time (laughs). We listened to them when he went to the house. It was a box of surprises because he didn't mix them in any way, he had a question, he was a DJ. And we argued a lot because we didn't agree on many things. He boasted of being more open and he is right, I have always been more classic in my tastes. For example, at the time of the new romantic I didn't even bank there and he liked it. I'm talking about the second half of the 80s. Kleiman saw the exponential growth of the group until it reached the dimension of stadiums. And he also witnessed the consecration of artists such as León Gieco, Charly García and Gustavo Santaolalla. "Charly confessed to me, not long ago, that he was especially looking forward to reading my reviews of his records. And that, imagine, what it means to me", he prides himself between memories of recording sessions and shared reports. -How do you deal with the idea that many of your musician friends became millionaires? -I do the best I can. Let's say, that contradiction is not lost on me, but just as I have seen that, I have also seen very talented people end up in misery. Complaining would be pretentious or unfair on my part. Maybe I was never very clever. I was always more after what I was attracted to do than what could provide an economic return. And well, what do I know, skull does not squeal. I would have liked to earn more money, but I don't know if I didn't have the ability or the talent. On the other hand, if I had wanted to make money I would have pursued a career as a notary, just like my dad, which was what he wanted, and I would probably be very well off financially. I would have inherited my old man's office. But hey, one entered this as a way to rebel against the established order. And that, in my case, does not have many awards. Word of Santaolalla From Kuwait, where he is participating in a large video game conference, and before leaving for Switzerland for a special visit to CERN, the largest particle physics research laboratory in the world, Santaolalla writes about Kleiman. "Claudio is one of the most capable rock journalists I've ever met. I've always been an avid reader of music publications from around the world, and having read authors like Lester Bangs, Dave Marsh, Robert Hilburn, Timothy White and Joe Boyd, among others, I can say with certainty that Claudio is on a par with any of those monsters of world rock journalism.His knowledge is so vast and his capacity for analysis so accurate that he has always been a fundamental reference for the discovery of new artists and the deepening of the work of those already established.Claudio is one of the pioneers of rock journalism in our country and one of the few who have given validity and seriousness to the profession.To his work as a chronicler He has also added his talent as a musician and I think that today makes his understanding of what he writes even deeper. But in addition to his incredible skills as a chronicler, Claudio has a human quality that allows him to relate to his interviewees in a very special. In his reports we managed to discover aspects of an artist that are often unknown. Finally, I must confess that, in my case, the endearing affection I have for him as a friend adds to my admiration and respect as a professional". Claudio was a fundamental part of the history of the Express and this note could not be missing. In those distant times I used to listen to him sing and when I do it today I can't believe how he has grown and the perseverance he had to become considered an excellent musician and, as always, a journalist. Ralph ENVELOPE N°0

La mítica revista Expreso Imaginario en la web de Jorge Pistocchi. JORGE Expreso Memories (Horace Fontova) Spring Alfredo Rosso Claudio Kleiman Envelope No. 0 The Express CD EXPRESS gogabolson Jorge Pistocchi Ears to the Universe MEDIA HOT BREAD zaff NIBBLE HAIR Jorge's Texts and Covers Photos super rag Farewell Letter Brief history (Pipo Lernoud) 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 Recuerdos 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 textos 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 Fotos foto%20pistocchi%20pagina%2011_edited 1/20 superrag supertrapo 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 despedida 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 One would imagine that Jorge del Expreso's farewell would have a page, a photo, but it was a letter in the reader's mail. STAFF