top of page

Resultados de la búsqueda

176 items found for ""

  • Pipo Lernoud | Orejas al Universo

    mate en el campo mate en el campo 1/60

  • Radio | Orejas al Universo


  • Abril 2024 | Orejas al Universo

    Orejas 2024 Abril 2024 Luis Alberto Spinetta y Gustavo Cerati forman parte de los artistas a quienes el Dr. Orejas admira como a pocos. Su música, su poesía, su sentir, su aura lo han acompañado desde el principio de sus carreras y una extraña emoción le recorrió cuando se enteró de la mutua admiración que ambos sentían por el otro. Así es como nació este programa doble que comienza hoy y tiene una segunda parta la semana que viene. Nació de las ganas de escuchar intercalados a ambos en temas imborrables y disfrutar de la belleza por partida doble.. En este programa recorreremos momentos de la carrera solista dejando de lado las bandas que integraron. No encontraran en el mismo muchos comentarios, mas que los necesarios. Estaba la alternativa de explicar cada tema, su contexto y demostrar todo lo que el Dr. Orejas puede saber de todo eso. Pero para eso esta Odol Pregunta, mejor dicho, estaba; y el otro motivo por el cual mis intervenciones serán minimas es que sería dejar de lado lo importante que es esa maravillosa música que nos brindaron en vida y aún se mantiene actual, presente y nos sigue emocionando. La selección es caprichosa. Tantos temas dejados de lado pero en fin, esto es lo que el Dr. sintió que tenía ganas de escuchar y compartir. Segunda parte del programa que comenzó la semana pasada. Como dijimos entonces: la selección es caprichosa. Tantos temas dejados de lado pero en fin, esto es lo que el Dr. sintió que tenía ganas de escuchar y compartir. Editor del Noticiero de Canal 13 a comienzos de los 80, Productor en Badía & Cía, Realizador Independiente de videos, musicalizador en teatro, archivista, creador de Armusa,su canal de You Tube.Investigador y periodista musical es el invitado especial del Dr. Orejas. Porque esto es una payada donde la lucha promete ser intensa...Su nombre es Claudio Koremblit y seguiremos escuchando música con él... Koremblit En la trinchera Koremblit y el Dr. Orejas combaten los prejuicios musicales. Y discuten amigablemente a muerte una payada donde participan Feli Colina, Painkiller, Barry McGuire, Los Shakers, Los Blops, Skeleton Crew, Medicine Head, BAP, Catherine Jauniaix & Ikue Mori, Roque Narvaja y John Oswald. Desafío a tus orejas en Orejas al Universo. Primer Round Segundo Round de Otras Yerbas en Orejas al Universo. Con menos pelea. ¿Será que los gustos están coincidiendo? No lo sabremos hasta el próximo programa. Y con muchos cambios ya que volvemos a la duración original de 2 (dos) horas. Y aquí, por orden de aparición y para que no se lleven ninguna sorpresa: Them con Van Morrison, Marc Ribot, Gabriela, Henry Cow, Sting, Mateo, Gustavo "El Principe" Pena, Esteban Klisch, Dino Saluzzi, Andres Bedó y Jefferson Airplane. Pueden deducir quien eligio qué. Segundo Round Botón Home Botón Enero/Marzo 2024 Mayo 2024

  • Jorge Pistocchi| Curriculum

    Youth Photo Pipo Miguel Grandpa Spinetta Peter Count Cosmic Center lavalol the baggin Mouth not everything is roses Phrases Videos Miguel Grinberg Farewell gogabolson Jorge Pistocchi Ears to the Universe MEDIA HOT BREAD zaff EXPRESS NIBBLE HAIR JORGE Start To the readers Resume a los lectores This website and It is made to honor a person who has influenced many. That he has gathered energies around him in pursuit of creativity. And creativity means many things, so it would be good for those who pass through here to exercise it through reader mail, anecdotes or uploading photos where we can share memories, material, opinions, projects, past and future. The contribution of material is welcome. In such a way we can fill some potholes that obviously exist. Curriculum resume This curriculum was dictated to me for printing by Jorge in February 2008 (Ralph, help me, you write very fast) 1940/52 I was born in the capital on February 13 that year and I lived my childhood in the Santa Rita neighborhood completing my primary studies at the Jorge Newbery school. 1953/60 I attend the Otto Krause industrial school, which I left in my fifth year to dedicate myself to the plastic arts, attending various drawing and painting workshops. With the sculptor Victor Marchesse I learned to work with different materials and the craft of carving wood. 1960/70 During the 1960s I share a xylography workshop with the artist Osvaldo Romberg making engravings and mural works. These activities inevitably linked me to the boisterous bohemia of those days. The bars where he circulated were true creative powerhouses nurtured by artists from the most diverse disciplines. I make friends with many of them sharing trips, dreams and projects. Todas estas experiencias marcan decididamente mis pasos futuros _cc781905-5cde-3194-bb3b -136bad5cf58d_ 1970/72 At the beginning of the 70s, my workshop on Viamonte street became a meeting place for many of the musicians who originated the national rock movement. During this time I put all my energy into promoting their bands: Almond, The Egg, Human Color, The Chocolate Bar, Rabid Fish. 1973 I start my journalistic experience in the magazine "Pelo"; where I write a monthly column, I also draw the cartoon "Golan and Tarma". 1974 I design and direct the magazine "Mordisco";. In this same year we also aired, with the same name, a radio program produced by Daniel Morano on Radio Rivadavia 1975 The magazine stops publishing due to financial problems but the editorial staff continues to meet behind a new editorial project, the 'Expreso Imaginario'. The situation in the country is increasingly dramatic, many of our collaborators left the country while others went into seclusion in distant valleys. We ourselves began to question the meaning of our meetings, increasingly depopulated. Until unexpectedly everything is resolved, Pipo Lernoud and Horacio Fontova join as reinforcements and much more unexpectedly the lawyer Alberto Ohanian offers to edit the magazine for us. 1976 After postponing its release for a few months as a result of the irruption of the military dictatorship and overcoming innumerable difficulties, in August of this year, the first issue of 'Expreso Imaginario' finally came out 1979 I resign from the Imaginary Express for disagreeing with the editor regarding the editorial line. 1980 I direct the magazine Zaff!! for eight issues 1981 I edit the magazine "Pan Caliente"; 1982 "Bread Caliente Festival" at the Excursionistas stadium. On January 2 of that year, this festival is held with the purpose of raising funds to continue publishing the publication. Both sound musicians and illuminators collaborate absolutely free of charge. Many groups register, so many, that the programming runs from 3:00 p.m. to 3:00 a.m. the following day. Some of the participating artists and groups: León Gieco, Lito Nebia, Los Abuelos de la Nada, Celeste Carvallo, La Fuente, Los Redonditos de Ricota… 1982 "Festival of Living Expressions"; in the rural In September 1982 We organized this festival as a farewell to Pan Caliente magazine. More than five hundred invited artists participated. 1983/92 Canal Cero: Together with the architect Joaquín Amat, we created the Experimental Video Center. Through it, various works and installations emerged that were presented in different cultural spaces. The most important were held in the CC. La Recoleta: "; The Cube of Mirrors 88, The Sudden Channel and La Revancha de América in 92. 1987 "The Neighborhood Channel". Project presented for the neighborhood cultural programs of the capital. It consisted of encouraging the neighbors to use home video equipment to document different aspects, both personal and social, of reality. The objective was that they would later be displayed in the centers and could discuss their concerns. 1988 DC. LLAVALLOL. Together with the journalist Miguel Briante and the painter Emilio Renard We were invited by Joaquín Amat to participate in a new project to be carried out in a textile spare parts workshop in the town of Llavallol. The proposal consists of taking advantage of the idle hours (16) for the development of cultural and labor projects in conjunction with workers and technicians of the establishment. 1990 Food cooperative. A new inflationary blow shakes the country. Salaries are consumed in a week. In the workshop the idea of investing all the savings from extra work in food arises. This cooperative is so successful that in a short time it spreads to the neighborhood. 1993 Greenhouses. The first greenhouse prototype designed entirely by the cultural center team is finalized 1995 (March) Bankruptcy of the textile company Amat de Monte Grande Retex, the textile spare parts workshop that depended on this factory, is forced to close. Its staff are fired and closing strips are placed on the gates. From that moment on, I began to coordinate the creation of a Press Department to achieve its reopening. 1995 (August) The court temporarily lifts the bankruptcy and the factory reopens without electricity, without water, without gas. Despite everything, and with a superhuman effort, in December of that year, one by one the services are recovered and the factory starts up again. 1996 (March) We are declared bankrupt again. This time the factory is taken over by the workers. Thousands of signatures gather and we begin an intense campaign to demand and support the project presented for the recovery of the source of work. 1996 (June) The plant is reopened and the task begins, for the second time in less than a year, the task of putting it back into operation. 1996/ 2000 For four years the gigantic factory, supported by only two hundred workers (this time in a cooperative way) put not only all the sectors in operation but also generated a vacation camp for more than one hundred boys, (who were given breakfast and free lunch), a medical service, an organic garden and many other achievements that deserved in the press titles like these: "The working class goes to paradise" (Chronicle) / "Todos unidos we will triumph" (Page 12) / "Miracle in Monte Grande "(The Nation). Notes attached. All these achievements were useless so that in the year 2000 the definitive closure of the factory was decreed. My work throughout this administration was that of the cooperative's press officer. 2001/2007 After the closure, I resumed various communication projects with former writing colleagues after meeting again in a radio program that we put on the air for a year on FM La Tribu. With them we also developed a new format of open newsrooms, where we gather art and information that we have already presented in different cultural spaces: CC Rojas, General San Martín Theater, Malvinas Islands Cultural Center (La Plata), and others._cc781905-5cde-3194 -bb3b-136bad5cf58d_ At the same time, at this moment we are dedicated to recovering the activities in the Lavallol Cultural Center. Youth - Pipo Photo

  • 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

  • Jorge Pistocchi - Revista Pelo

    JORGE JORGE gogabolson Jorge Pistocchi Ears to the Universe MEDIA HOT BREAD zaff EXPRESS NIBBLE HAIR In August 1972, Jorge Pistocchi sat down in front of a typewriter for the first time in his life. He was twenty-two years old and had already gotten a few jobs as a sculptor. Until then I had no interest in journalism. He had grown up on the street with Miguel Abuelo and the things he had seen and heard had no place in newspapers and magazines. His friend Luis Alberto Spinetta used to insist that he accompany him to the Pelo newsroom, and there he had long discussions with Daniel Ripoll, the magazine's director, whom he accused of showing a face of rock that "ignored reality"._cc781905- 5cde-3194-bb3b-136bad5cf58d_ Ripoll offered him a column to say what he thought. Then he began to write about the need for poets and artists to be in charge of blowing up a system that was dying. He exclaimed that rock should become the catalyst for experiences that would lead to freedom of body and mind. He wrote about fascism and ecology, about the concrete possibility that in a short time life in this world would end. A few months after starting those publishers, he was asked to run his own magazine. He had no experience, but he was convinced that he had to do it. Report: Diego Fernandez Romeral In 1972 I started as a journalist for Pelo magazine. I was more related to the plastic arts; Circumstances had brought me closer to art through sculpture. Before that, I had never written. It had many misspellings and I was embarrassed. If I wrote a letter, I had it checked because it was a mess. I also had a bit of dyslexia and then it was hard for me. In Pelo they told me: “Take half a page and write whatever you want”. And I started quite successfully, many people responded to me. I felt that I had a hot iron in my hand, because I had to start writing; but I felt, at the same time, a commitment to what I was doing. It was a hot iron because there, from an independent position, you very easily made an enemy of everyone. If you said certain things, they were accepted; If you said what you thought, no. I openly said what I thought and had a lot of repercussions for that, for talking about topics that nobody dared. It was a moment in which you had to be on one side or the other. It was a very difficult time to freely say what one thought. I was talking about the reality of that moment from a rock and roll point of view. What the rockers meant at that time is perhaps very difficult to understand from this reality, because there was a very abrupt marginalization. Committing any transgression was highly frowned upon by the people. In Pelo I also drew a comic and it was a lot of fun doing it. The cartoon and the opinion columns are taken from the Pelo magazine website: In 1972 I started as a journalist for Pelo magazine. I was more related to the plastic arts; Circumstances had brought me closer to art through sculpture. Before that, I had never written. It had many misspellings and I was embarrassed. If I wrote a letter, I had it checked because it was a mess. I also had a bit of dyslexia and then it was hard for me. In Pelo they told me: “Take half a page and write whatever you want”. And I started quite successfully, many people responded to me. I felt that I had a hot iron in my hand, because I had to start writing; but I felt, at the same time, a commitment to what I was doing. It was a hot iron because there, from an independent position, you very easily made an enemy of everyone. If you said certain things, they were accepted; If you said what you thought, no. I openly said what I thought and had a lot of repercussions for that, for talking about topics that nobody dared. It was a moment in which you had to be on one side or the other. It was a very difficult time to freely say what one thought. I was talking about the reality of that moment from a rock and roll point of view. What the rockers meant at that time is perhaps very difficult to understand from this reality, because there was a very abrupt marginalization. Committing any transgression was highly frowned upon by the people. In Pelo I also drew a comic and it was a lot of fun doing it. Click on the image NIBBLE

  • TELAM | Orejas al Universo

    gogabolson Jorge Pistocchi Ears to the Universe THE TEMPLE OF ART El Bolson - Rio Negro - Argentina GOGA RADIO DISCS PHOTOS MEDIA

  • Multimedia | Orejas al Universo

    VIDEOS Spinetta, the video It was made by Pablo Perel and Ralph Rothschild with the production of Ernesto Stillerman, in the year 1985. The video did not see the light until 2011 because Luis did not want it to be broadcast as he was so exposed in many aspects. We respect your decision (with much sadness). Shortly before he died, he authorized its broadcast and when he died, the Encuentro channel and INCAA broadcast it over and over again. This is the original video taken from master Towards the end of the 1980s, the beginning of the 1990s, television channels did not accept third-party productions. That did not prevent us and all the people who participated in this delirium from making the attempt. Like so many things in life (see gogabolson ) we failed. Of course, we had a lot of fun. This video was made by Pablo Rothschild and Luciano Cervio, my mother's grandchildren when she was 90 years old. Shortly after he passed away but I wanted to share it, not only for affective reasons, but because it is excellent! It is recommended to enlarge it RADIO holanda 82 00:00 / 22:53 While I'm not a radio listener, I've always been passionate about it in a way. I remember my childhood days listening to "Tarzan"... I was lucky enough to do a 3-hour Argentine rock special in 1982 when I was tired of so much violence, on the national radio in Holland (today the Netherlands), found a radio station in the south and do "Orejas al Universo" in recent years " COMPUTING The only time in my life when I covered myself with twine. The idea was - towards the end of the 90's - to make the first sales system through computers. At that time, the Internet was for few and slow as a pregnant turtle and we launched a CD that allowed you to shop for Disco Supermarkets via modem. At one point Disco considered that the data we handled and bought us for a considerable fortune. I spent those morlaco editing magazines and making a fitzcarraldic movie theater in El Bolsón after which my bank account was left with a balance of $0 and much higher debts. Fontova President In 1988 the campaign for the presidential elections was taking place. There it occurred to me to make a fictitious video presenting Fontova as a candidate. Taking advantage of this nonsense, several artists joined the campaign, even on television. Politicians, actors, conductors participate in this bizarre production. Said Page 12 One day, in El Bolsón, I was watching the news when suddenly the announcer presented a note of an unpublished video of Soda Stereo that was part of a television pilot back in the 90s that I directed. It was recorded at my house in Buenos Aires and it featured Lalo Mir, the protagonist of that program that never came out (Movil 8) and Ana María Giunta, apart from Perejil, my faithful dog. The video was commented on in all the Latin American media, although it should be noted that it is not official and was made within the context of the program. DISCS My passion for music has always been one of my addictions. But we will see that in the book "My Life as Ralph" of a future edition. I mark two important facts: the informal recording that we made with Jorge Pistocchi in my house with a cassette recorder of Miguel Abuelo singing... and Discos Goga that tried to promote musicians from the South. By clicking on the images you will know what I mean. GRAPHIC MEDIA Aside from being a vinyl addict, my other passion was magazines. In my tender though dark childhood I collected them. Comics, fobal, and already younger we were generals. And when a magazine talked about music, well... La Pelo, La Mordisco, and finally El Expreso, which was waiting anxiously, accompanying the magazine rack, waiting for the cast to bring the magazines. But that is already part of the book that I am not writing yet. After some hard research, I was able to scan many journals in their entirety and publish them on (ie here). How I later became editor of "La Mano" and "Un Caño", but that will also form part of the book. I'm very worried because Avelluto, my ghost writer doesn't call me... He just finished a book called "For What" and he seems tired... ​ Spinetta soda

  • PODCASTS | Orejas al Universo

    International Record News month by month, Mr. Orejas selects the news. I chose the year you want to remember 2015 2016 2017 2018 2019 2020 2021 Podcasts click here Novedades Orejudas Novedades Orejudas Mayo 2023 00:00 / 01:04 Luego de los extenuantes 10 episodios de Rock y Dictadura, el programa respira música con las novedades discográficas de mayo 2023. Entre otros: Sparks, Amos The Kid, Paul Simon, Ezequiel Borra, un recuerdo musical de Tina Turner y algunas cosas más Los Discos que se Vienen 00:00 / 01:04 ​ Esta semana en Orejas al Universo presentamos “Los Discos que se Vienen”, los nuevos lanzamientos que se esperan hasta mitad del año… Y las novedades son muchas. Nuevos álbumes de U2. Kele, The New Pornographers, Metallica, Temples, The Tallest Man on Earth, Jethro Tull, The National, Graham Nash, Dave Matthews Band, Sparks y Noel Gallagher's High Flying Birds. discos vienen Calor 2023 00:00 / 01:04 Ante el calor record que esta sufriendo la Argentina en este 2023, el Dr. Orejas hace con mucho sudor y sufrimiento este programa donde participan Abuelos de la Nada - Westing - Ty Segall & Emmett Kelly, The Vines - Beach Boys - The Ortega´s Clash - Screaming Females - David Lee Roth - Kiko Veneno - The Grass Roots - Gorillaz - Led Zeppelin - Los Fabulosos Cadillacs. calor invierno 2023 Pese a que el Dr. Orejas ya está en la cuarta edad de su vida sigue escarbando en la música que surge así como presenta las novedades de quienes lo acompañaron toda la vida. Como le sucedió con Mozart, Salieri, Beethoven, alias “el sordo”, Bach, Vivaldi y muchos otros, a veces tuvo el tino de reconocer su valía y otras se alucinó con música a la que la historia enterró en el olvido. Ya en el siglo XXI sigue buscando notas que lo sorprendan y estas existen. Algo así como “Todo tiempo pasado fue mejor, mañana es mejor” en lo que a música se refiere. Hoy abrimos nuestras orejas al hemisferio norte -eso de norte puede depender de cómo pongamos el mapa que obviamente fue hecho por el norte . ​ ​ Te invitamos a recorrer la música que está apareciendo en el Invierno 2023. Bandas y solistas que seguramente no conocías pero lo harás si escuchás este programa lleno de descubrimientos: July Talk, Scrounge, Helvetia, Jaws of Love, Fantastic Negrito, The Tubs, Guided By Voices, The Laissez Fairs, The Reytons, Ghost Woman, Black Swan Lane, Real Ones, The Laissez Fairs y The WAEVE. Invierno 2023 00:00 / 01:04 verano 2 Verano 2023 00:00 / 01:04 ​ Segundo programa de Orejas al Universo, verano. Rendimos homenaje a Jeff Beck y presentamos nuevos temas de Peter Gabriel y Metallica. Soda Stereo y Luis Alberto Spinetta cantando en inglés + lo nuevo de All Them Witches. Segundo programa de Orejas al Universo, verano. Rendimos homenaje a Jeff Beck y presentamos nuevos temas de Peter Gabriel y Metallica. Soda Stereo y Luis Alberto Spinetta cantando en inglés + lo nuevo de All Them Witches. verano 2023 1 Verano 2023 00:00 / 01:04 Y llega el verano, cuando el Dr. Orejas presenta la música que halaga sus oídos. Este primer programa con iggy pop - single mothers - the who - arthur brown - jethro tull - savoy brown - blood, sweat & tears - feli colina - invisible - lucas ferrara y linda martini 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 September 2021 tiny Bootlegs Bootlegs s01e04 00:00 / 01:04 May 2015 A bootleg is an unauthorized edition, which can be as much music as books, video games, television series or movies. In the case of videogames and anime, this phenomenon is widespread, and normally consists of the production of articles that, without being official, try to pass themselves off as such. Bootleg production in this case is an activity that occurs predominantly in countries such as Singapore, Hong Kong and Taiwan. Etymologically, bootleg (in English, contraband) means the leg of the boot, which refers to the tradition of hiding the bottle of illegal liquor in the boot. In musical terms, a bootleg is a recording that has not been officially released by the artist or their record company. They can be live recordings of concerts, studio sessions, rehearsals or simply jams (musical improvisations). The source of these recordings are usually CDs offered for sale by companies dedicated to the trade in these recordings, analogue audio tapes or CD-Rs obtained directly during the concerts by people who came to them with portable home recorders, or tapes or CD- R that left the recording studio in a dubious manner, without the knowledge of the artist or record company. The people who make such pirated recordings are called bootlegers. We can also find videos that can be collected on video tapes or in the currently used format of DVDs. Bootlegs s01e03 00:00 / 01:04 Bootlegs s01e02 00:00 / 01:04 Bootlegs s01e01 00:00 / 01:04 Bootlegs s02e01 00:00 / 01:04 Bootlegs s02e02 00:00 / 01:04 Bootlegs s02e03 00:00 / 01:04 Bootlegs s02e04 00:00 / 01:04 February 2016 Bootlegs s03e02 00:00 / 01:04 Bootlegs s03e04 00:00 / 01:04 November 2016 Bootlegs s03e03 00:00 / 01:04 Bootlegs s03e01 00:00 / 01:04 Covers It was the first Ears to the Universe program broadcast in March 2015 on FM Frecuencia Zero Covers s01e01 00:00 / 01:04 Covers s01e02 00:00 / 01:04 Covers s01e03 00:00 / 01:04 Covers s01e04 00:00 / 01:04 October 2015 Covers s02e01 00:00 / 01:04 Covers s02e02 00:00 / 01:04 Covers s03e03 00:00 / 01:04 Covers s02e04 00:00 / 01:04 June 2016 Covers s03e01 00:00 / 01:04 Covers s03e02 00:00 / 01:04 Covers s03e03 00:00 / 01:04 Covers s03e04 00:00 / 01:04 March 2017 Tributos click on the photo to enlarge 1 Homenajes y Tributos 00:00 / 01:04 2 Homenajes y Tributos 00:00 / 01:04 3 Homenajes y Tributos 00:00 / 01:04 4 Homenajes y Tributos 00:00 / 01:04 June 2016 1 Redondos en Stereo 00:00 / 01:04 2 Soda de Ricota 00:00 / 01:04 3 Redondos en Stereo 00:00 / 01:04 4 Soda de Ricota 00:00 / 01:04 October 2016 redondos 1 Luis y Gustavo 00:00 / 01:04 2 Gustavo y Luis 00:00 / 01:04 3 Spinetta y Cerati 00:00 / 01:04 4 Cerati y Spinetta 00:00 / 01:04 More from Luis Alberto Spinetta: click here April 2018 spinetta cerati October 2016 Did you know that there was a fifth beatle and he was Argentine? click here 3 Beatles Covers 00:00 / 01:04 2 Beatles Covers 00:00 / 01:04 1 Beatles Covers 00:00 / 01:04 4 Beatles Covers 00:00 / 01:04 covers beatles 1 Los Rolling Beatles 00:00 / 01:04 2 Los Rolling Beatles 00:00 / 01:04 3 Los Rolling Beatles 00:00 / 01:04 4 Los Rolling Beatles 00:00 / 01:04 5 Los Rolling Beatles 00:00 / 01:04 6 Los Rolling Beatles 00:00 / 01:04 June 2015 rolling beatles 1 Lados B de Beatles y Rolling Stones 00:00 / 01:04 2 Lados B de Beatles y Rolling Stones 00:00 / 01:04 3 Lados B de Beatles y Rolling Stones 00:00 / 01:04 4 Lados B de Beatles y Rolling Stones 00:00 / 01:04 5 Lados B de Beatles y Rolling Stones 00:00 / 01:04 6 Lados B de Beatles y Rolling Stones 00:00 / 01:04 7 Lados B de Beatles y Rolling Stones 00:00 / 01:04 8 Lados B de Beatles y Rolling Stones 00:00 / 01:04 May 2020 simples 1 Rock Sinfónico 00:00 / 01:04 1 Rock Sinfónico 00:00 / 01:04 3 Rock Sinfónico 00:00 / 01:04 4 Rock Sinfónico 00:00 / 01:04 May 2015 sinfonico duos 1 Dúos 00:00 / 01:04 1 Dúos 00:00 / 01:04 3 Dúos 00:00 / 01:04 4 Dúos 00:00 / 01:04 November 2016 tranqui 1 Un programa tranqui 00:00 / 01:04 2 Un programa tranqui 00:00 / 01:04 3 Un programa tranqui 00:00 / 01:04 4 Un programa tranqui 00:00 / 01:04 September 2015 When we turn 150 programs we invite the music@s to send their songs. With Xilocaine, Svat, Supraural, Serun, Bangkok Project, Time Pilots, Paulo Mux, Paulino Cardenas, Nuevo Mantra, Miguel Schiaffino Meridion, Magusanos, Calcutta Sea, Paper Machine, Luz Pereira, Jorge Politi, Darío Hernán Castañeda, Dailyde Flash, Confused, Carla Casiano, Adrian Malvasi, 2 engines and (oai) 1 Orejas Under 00:00 / 01:04 2 Orejas Under 00:00 / 01:04 3 Orejas Under 00:00 / 01:04 4 Orejas Under 00:00 / 01:04 October 2018 under cumple 4 Orejas cumple 1 años 00:00 / 01:04 1 Orejas cumple 1 años 00:00 / 01:04 2 Orejas cumple 1 años 00:00 / 01:04 3 Orejas cumple 1 años 00:00 / 01:04 March 2016 quinta 2019: The fifth season begins and we hear many themes related to birthdays with luxury guests such as jimi hendrix, ian anderson, andres calamaro,_cc781905-5cde-3199 -bb3b-136bad5cf58d_ john mayall, sizzla, neil sedaka, beatles, jefferson airplane, bb king, el soldado, steppenwolf, michael jackson, durriti column, madonna, sufjan stevens, stevie wonder,_cc781905-5cde -3194-bb3b-136bad5cf58d_ kings of lion, janis joplin, violeta parra, twista, the killers,_cc781905- 5cde-3194-bb3b-136bad5cf58d_ ween, slothrust, fontova, low, ray barreto,_cc781905-5cde-3194 -bb3b-136bad5cf58d_ gabriela, lenny kravitz, ian anderson and you, dear listener... 2 La Fiesta de la Quinta Temporada 00:00 / 01:04 1 La Fiesta de la Quinta Temporada 00:00 / 01:04 3 La Fiesta de la Quinta Temporada 00:00 / 01:04 4 La Fiesta de la Quinta Temporada 00:00 / 01:04 March 2019 1 Las Mejores Portadas 00:00 / 01:04 2 Las Mejores Portadas 00:00 / 01:04 3 Las Mejores Portadas 00:00 / 01:04 4 Las Mejores Portadas 00:00 / 01:04 October 2015 portada

  • Setiembre 2023 | Orejas al Universo

    Setiembre 2023 Cuando se hizo este programa, el Dr. Orejas le tenía miedo a este personaje. Ahora le tiene terror. ¿Cómo terminará esta historia? Después del programa anterior el Dr. Orejas quedó hecho puré. Por eso tratamos de sacarle una sonrisa con un programa llamado Sonrisas al Universo donde cada canción incluye una sonrisa. Con la sonriente participación de León Gieco - Luis Alberto Spinetta - Miguel Abuelo - Fito Paez - Lisandro Artimuño - Charly García - Fabiana Cantilo - Carlos Gardel y Lali Espósito. Ánimo que la batalla no está perdida. El 23 de setiembre a las 03:25 vino a visitarme mi prima Vera con el Niño. Ni bien llegamos a casa vinieron a visitarla Miguel Abuelo, Roque Narvaja, Charly García, Beatriz Pichi Malen y el infaltable Palito Ortega. Además mandaron sus saludos musicales Santana y Marta Gomez. Una velada inolvidable con un misterioso final El rock y la policía no son los mejores de los amigos. Unos se miran a otros con desconfianza. Y es así que estos músicos se han inspirado en ellos: Árbol, Los Abuelos de la Nada, Trotsky Vengaran, Quinteto Negro La Boca, desde Usuahia Simón Radowitzky, Ratones Paranoicos, Paulina La Popi, Patricio Rey y sus Redonditos de Ricota, Palo Pandolfo y León Gieco. Botón Home Botón

  • La Década Del 70 | Orejas Al Universo | Argentina

    Ancla 1 Ancla 2 The 70's 1970 1971 1972 1973 1974 1970 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 70-2 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 70-3 70-4 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 1971 71-1 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 71-2 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 71-3 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 71-4 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 1972 72-1 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 2 00:00 / 01:04 72-2 72-3 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 1973 73-1 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 73-2 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 73-3 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 73-4 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 1974 74-1 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 1 00:00 / 01:04 74-2 74-3 Bloque 2 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 2 00:00 / 01:04 Bloque 3 00:00 / 01:04 Bloque 1 00:00 / 01:04 Bloque 4 00:00 / 01:04 74-4 to be continue

bottom of page