Beginnings
In the mid-50s American youth were enchanted by the rhythm and chords of a musical genre that revolutionized the customs of countries like the U.S. and England: the rock and roll. In the city of Los Angeles wins the Chicano Richard Stephen Valenzuela, known as Richie Valens, who manages to enter the Mexican folklore in the public North America with his version of "La Bamba" and start the history of Rock in English. Numerous bands in Latin America English lyrics put to the greatest hits from artists like Elvis and Little Richard and make their way into the record charts in their countries.
in Venezuela are the precursors Impala, five young men from Maracaibo in the early 60s face the challenge of playing the compositions of the famous global groupings. Pop culture is gaining ground throughout the world and Rock begins to feed on various elements that will result in the birth of numerous genres. Following in the footsteps of The Impala, arise the country bands like The Jetsons, The Dangers, The Dynamics, The Claners, The 007, The Four Coins The Clippers, who won in the media space and make the local TV multiply the presence of youth in their programming, starting at the same time finding a personal style. Carried out numerous initiatives to give a boost to domestic production, mostly concerts sought to imitate the great musical events that occurred in the United States and other countries.
So Venezuelans enjoyed the Festucab of Macuto presentations, the Festival of the old airport in Maracaibo Grano de Oro and the Park Festival East, whose only entry requirement was to carry a flower. In their race to consolidate, the Rock native has strong allies in the magazine Young People. "
In the 70s Venezuela struggles to keep role in the development of English rock, enter the fray A Light, Pastel People, The Zigui and Fourth Street, among other projects, however, fail to give Building on the success of the genre a few years ago. Only manage to stay on the scene musicians like Vitas Brener, with sophisticated proposals that merge concepts rockers with Venezuelan rhythms and jazz resources.
From Underground to the record
Back in the 80s, the inventory of native bands extending as much as the genera within the rock. Venezuela is experiencing a time of change and the music does not escape it. All those groups who are inclined to the Rock and its variants materialize a kind of urban treaty took popularity as the "movement of new bands." The first half of the decade registered an encouraging movement HEAVY ROCK, led by musicians like Paul Gillman, Archangel leader, and bands like Resistance, High Frequency, Fahrenheit, Iceberg, La Misma Gente, Haz, Escape, Grand Bite and Aditus. Trying to balance the gender balance, Homeland Security presents a work influenced by punk culture. The New Wave makes an appearance with PP's.
The 80s continue to evolve and the purity of heavy rock bands is not enough to feed an audience that is constantly bombarded by new cultures and counterculture. Heavy representatives sink in his antipathy to the mergers and changes and as well as take voice in the national groups with innovative proposals, which are influenced by genres like dark, punk and ska, as well as the rise of pop, now more sophisticated and incisive. In the midst of this process is strengthened one of the most iconic bands in the history of rock nacional: Sentimiento Muerto.
a country awakened to the demands of a global economy, exchange controls, democracy as a celebrated not pleased enough to keep all people and intellectuals discussing the need to "sow the oil "it fit a scenario where the slogans of the youth who were disillusioned by national scene. Amid this atmosphere begins to play in the underground scene "Dead Feeling", a training sought to express the discontent of young people through their issues with an attitude and anarchic rejection of the system raised. "Dead Feeling" translates its name into English, and this is how you begin to popularize "Sentimiento Muerto", whose premise "perhaps being young is criminal," began to gain currency.
The pair, among other bands that make up the underground culture inspired two formations are becoming stronger in other styles, Public Disorder spreads its themes of protest to the rhythm of ska and reggae and Zapato 3 dives into the dark. Sentimiento Muerto After numerous performances drew the attention of one of the nation's largest record labels, signing a contract, and national bands gives the idea of \u200b\u200ba rebirth of rock in the music industry in the country. For a little over 10 years of history Sentimiento Muerto recorded three albums, "Love does not exist, it must be done" (1987), "Without a shadow there is light" (1989) and "Infectious affection" (1991), plus the collection: "Although you do not want" (1997). The group gave concerts in various countries in Latin America and Spain and recorded the video for her song "Clown" at the legendary CBGB in New York.
For its part, public disorder and did what his Zapato 3, consolidating a trilogy that opened new horizons to rock. This new boom rise once again to the media, they notice a wide audience interested in the homemade rock recounting their problems, their sorrows, their reality.
New Bands: a new ally
Evident is the strength of sentiment Dead Public Disorder Shoe and 3 as the most important bands in the country and these are then in charge of representing the national scene in the Latin American Rock Festival, held in Caracas in late 1991, involving groups and figures of wide experience, as I Paralamas do Sucesso, Los Rodríguez, La Union, Argentina's Fito Paez and English Miguel Ríos. This same year marks the first time the Festival of New Bands, an initiative that aims since then support and publicize the new proposals that emerge from the national scene and has become the best annual inventory of the Venezuelan rock.
0 comments:
Post a Comment