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60-547: (Redirected from Victor Diaz ) Víctor Díaz may refer to: Victor Hugo Díaz (1927–1977), tango, folklore and jazz harmonicist Victor Diaz Lamich (born 1966), Chilean photojournalist Víctor Díaz (basketball) (born 1968), basketball player from Venezuela Víctor Díaz (baseball) (born 1981), Dominican baseball outfielder Víctor Díaz (footballer, born 1988) , Spanish footballer Víctor Díaz (footballer, born 1991) , Spanish footballer [REDACTED] Topics referred to by

120-469: A band with the name Soda Stereo . In 1980 friends who were enthralled by the wave of US and UK punk formed the band Los Violadores . Miguel Abuelo , a founding figure of Argentine rock in the 1960s, would return after a decade in Europe and form Los Abuelos de la Nada , which happened to feature a young man by the name of Andres Calamaro . Someone named Miguel Mateos , after talking to Freddie Mercury , won

180-516: A glimpse at the future: a band from La Plata called Patricio Rey y sus Redonditos de Ricota , with their comical costumes and nervy fast tempos, started performing. 1977 was a year in which certain bands had a short period of fame: Soluna ( Gustavo Santaolalla 's 2nd group), with their electric folk, and Orion's Beethoven , a progressive band that played since 1969 but had their moment of fame eight years later. Neither band sustained their popularity into 1978. Bubu with their album Anabelas , in 1978

240-748: A grass-roots rural guitar-based musical tradition, becoming Bluegrass and Country in the US, in Argentina Folklore and Pampas music. Country music is an important pillar of Rock & Roll. In Argentina folklore (at that time Nueva canción was sweeping Argentina), was increasingly crossing over to popular musical trends by the late 1950s. By 1965, rock music was developing rapidly in Argentina. On television, several shows such as Ritmo y Juventud and El Club del Clan , with singers like Palito Ortega , Violeta Rivas , Chico Navarro, and Lalo Fransen, featured

300-434: A great year in 1976 was ALAS . Their music was even more intellectual and unorthodox. ALAS would feature artists such as Rodolfo Mederos and Pedro Aznar . Luis Alberto Spinetta would begin his third band Invisible later in that year. Their symphonic sound tinged with tango would bring critical praise. A band that showed a lot of promise that never materialised was Reino de Munt . Formed by Raul Porchetto , it featured

360-559: A local radio. In spite of a highly successful career, he remained loyal to his youth's companions, such as the Abalos brothers and percussionist Domingo Cura with whom Díaz recorded on many occasions. His debut in Buenos Aires c.  1944 resulted in a series of record contracts with Odeon Records , TK Records , Jockey and later RCA Records . Although mostly known for his tango performances, his music has deep rural roots, above all in

420-517: A new band. Now all they needed was a bass player. Pedro Aznar was a lesser known bassist who had once been a member of progressive rock group "ALAS". He also happened to be a friend of Moro's, who knew of Aznar's ability with the funk and jazz bass. Moro brought Aznar into the group and they began to prepare themselves. Charly, Moro, Lebón, and Aznar created a sound that was distinctive from anything in English-language rock. Their rock style caught

480-507: A poppy version of rock, which owed equal amounts to Merseybeat and to Argentine and Italian romantic pop. Nevertheless, it was in the underground where the most influential figures of early Argentine rock would emerge. In former Jazz bars like "La Cueva" or "La Perla del Once" , figures like Moris , Pajarito Zaguri, Javier Martinez (drummer and lead singer in the Argentine blues band Manal ) Miguel Abuelo , and Tanguito would gather in

540-399: A rising subgenre that would predominate the first half of 1970s Argentine rock. A new group of musicians was to bring new ideas to the mixing bowl of early Argentine rock. By the turn of the decade the first real diversification in Argentine rock start taking place, although the split had been brewing even before, as some bands began playing much heavier music, with the world of rock entering

600-504: A young Alejandro Lerner , and musicians like Gustavo Basterrica and Frank Ojsterseck. Charly García formed his first post- Sui Generis band, La Máquina de Hacer Pájaros , which began Garcia's explorations of symphonic and progressive rock. Other symphonic and progressive bands of renown would be Torax , Ave Rock , Anacrusa , and Materia Gris . Arco Iris meanwhile continued expanding on their symphonic-folk rock and were joined by veteran Chilean band Los Jaivas , whom were escaping

660-402: Is different from Wikidata All article disambiguation pages All disambiguation pages Victor Hugo D%C3%ADaz Díaz was born to a poor family in the small city of Santiago del Estero. At the age of five he lost his sight when hit by a soccer ball, which led him to play the harmonica . Two years later, after surgery restored his eyesight, he was already performing regularly for

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720-594: The Falkland Islands (Islas Malvinas). The popularity of the Argentine military government hit then bottom, and democratic elections were called shortly after. The war would be a dark chapter in Argentine history, but would have the paradoxical effect of creating one of the most fortuitous circumstances in the history of any rock genre. In May of '82 the Festival for Latin American Solidarity brought together all

780-532: The Heavy metal era. Among them, Pescado Rabioso , Vox Dei , and Billy Bond y La Pesada del Rock and Roll . Pappo's Blues was acknowledged as one of the greatest guitarist of all time by B.B King , who invited him to play in the Madison Square Garden. Another important but overlooked heavy rock act of the period is El Reloj , but they would drift towards progressive rock in the following years. Conversely,

840-709: The Pat Metheny Group ). Serú Girán (which at the time was even planning tours in Europe), had a strong sendoff on March 6–7, 1982, when they performed for the last time at the Arena Obras Sanitarias . They performed the song "No llores por mí, Argentina" ("Don't Cry for me, Argentina", which has no relation to the Evita musical theme), which was full of symbolism. It was not only a farewell for Aznar, and for Serú Girán, but for an era in Argentine music, and history. The timing

900-486: The Pinochet dictatorship that had come to power in their nation in 1973. The two along with Contraluz were the main exponent of the subgenre. On March 24, 1976, the democratic government was toppled by a military coup . It opened one of the darkest political chapters in Argentina's history , full of repression, fear, and missing citizens. Argentine rock by no means would be immune to the military crackdown, and would suffer

960-456: The mid-1960s Argentina to exchange ideas. Los Beatnicks , of which Moris and Martinez where members, began the transition that would slowly take Argentine rock from imitation to a more creative state (while still following UK trends mainly). Forming in quiet beaches of Villa Gesell , they recorded the first Spanish language single in 1966 called "Rebelde" . The definitive breakthrough of Spanish-language, original material rock would be up to

1020-419: The 1960s now mature adults. Some of these names were Juan Carlos Baglietto (who was optimistic about a young musician from Rosario named Fito Páez ), Alejandro Lerner , and Celeste Carballo . In heavy metal, Pappo founded his new band Riff , and newcomers V8 and La Torre would emerge. New witty rock bands like Los Twist , Suéter , and the riot grrrl group Viuda e hijas de Roque Enroll crashed to

1080-558: The 1970s and into the 1980s. A distinguishing trait of Argentine rock is its insistence on Spanish language lyrics. Argentine rock today is a blanket term describing a number of rock styles and sub-cultures within Argentina. Several terms are used to describe the artistic expressions of rock and roll in Iberian America, which are often confused or given different meanings in different countries. Generally, these terms are: Rock and roll first began to appear in Argentina in 1956 after

1140-532: The 1980s as a member of the Viuda e hijas de Roque Enroll (English: Widow and Daughters of Roque Enroll ). The sound of his harmonica was captured in the song Milonga Triste included in the film The Tango Lesson , directed by Sally Potter . More recently it was heard as background music in the 2006 Austrian film The Counterfeiters (2008 Academy Award winner for Best Foreign Language Film ). The Argentine documentary film A los cuatro vientos (Spanish: To

1200-448: The Argentine rock movement. None of these groups would have an extended history: in fact most disbanded by the early 1970s. The early Argentine rock scene was characterised by a lot of line-up changes in bands, and even member swapping between bands, or members of different bands meeting and forming new groups. The shuffles provided for a lot of experimentation and creativity. Almendra split in 1970 and Spinetta formed Pescado Rabioso , and

1260-401: The Argentine underground were new bands with a radically different sound from either acoustic or heavy rock: influenced by some of acoustic rock's more experimental works (such as Arco Iris and their Agitor Lucens V with its world music influences), by Tango music and also by British progressive rock . This would be the blueprint of Argentine progressive rock that would bloom into the apex of

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1320-413: The attention of both the lower and upper classes. Serú Girán could be 'brainy' yet unpretentious rockers simultaneously. Partly because the group lived for three months in northeast Brazil, the band's first album shows clear influences of Brazilian music , mixed with symphonic rock and jazz . But the band's first live concert to support the album created one of the strangest anecdotes in Argentine rock:

1380-452: The band Los Gatos . After playing in "La Cueva" for a few months, the band released two singles in 1967. One of them, " La Balsa " , co-written by Tanguito and Litto Nebbia , sold 200,000 copies. This contributed to the widespread popularity of the genre because it was in Spanish and it was an original composition. The following year saw the first publication of Pinap , a rock magazine, and

1440-426: The dictatorship). That year they had also performed in concert with Spinetta Jade , Luis Alberto Spinetta 's latest project and the other popular rock group of the early 1980s. It was an event in which both bands eventually played some songs of each other's repertoire. Spinetta Jade was a blend of jazz and rock that escaped the trappings of symphonic rock, something that was unheard in Argentina at that time. Towards

1500-550: The early 1970s being the height of the hippie movement in Argentina, led to the Acusticazo of 1972. Several acoustic rock bands would gain popularity from their performances there, including Vivencia , Pastoral , and Alma y Vida . The behemothic success of the Acusticazo was a turning point in which Argentine began to be listened massively. That same year, Tanguito was killed hit by a train . Conspiracies about his death abound, including that he committed suicide and even that he

1560-470: The end of the 'Classic' Argentine rock era. Acoustic rock was passing into history: bands dissolved, changed their sound, and those that remained lost popularity and became only cult followings. Argentine progressive rock was on the rise, and so was the political repression to freedoms of expression. Also, several bands would leave the country for greener pastures in Europe, mostly Spain, among them Moris and Aquelarre . The Classic era of Argentine rock music

1620-438: The end of the decade. The '78-'79 period was not the most prolific period for rock, as the progressive bands continued with their blueprint, and symphonic rock bands actually turned slightly commercial. At the height of symphonic rock, Crucis was joined at the top by the popularity of Espíritu ; the two are generally seen as the most well-known outfits of the symphonic rock period. The first album of La Máquina de Hacer Pájaros

1680-545: The fans did not understand the strange costumes the band used (entirely in white except for Garcia with a black jacket and shoes); and then when they played the song "Disco Shock" , a satire poking fun at disco music (which was at its height in 1978), people thought they were really serious. Whistles and boos would follow and what should have been a great concert turned into a fiasco, with fans clamoring for Sui Generis songs. Serú Girán did not get their point across their ideas as expected. It would all fuel wild speculations about

1740-479: The first B.A Rock festival (now promoted by Pinap magazine successor Revista Pelo), had many of the artists and bands that would lead the Acoustic rock movement: Gustavo Santaolalla forming Arco Iris , León Gieco 's folk-rock hybrid, Sui Generis and the start of Charly García 's music career, Raul Porchetto , and Pedro y Pablo, among other bands. The proliferation of these bands and their increasing popularity,

1800-464: The founding of the first Argentine rock label, Mandioca . In 1969, four major concerts of so-called "música beat" (" beat music ") were held: the June Sunday concerts, Festival Nacional de Música Beat , Festival Pinap and Festival de Música Joven . In the wake of Los Gatos, several bands emerged, including Luis Alberto Spinetta 's Almendra , and Manal . The three are considered the founders of

1860-449: The four winds ) premiered in 2007. The film, deeply musical, is a homage to Hugo Díaz and includes many of his interpretations. TANGO: FOLKLÓRICO: COMPILATIONS: Argentine rock Argentine rock (known locally as rock nacional [ˈrok nasjoˈnal] , "national rock" in the sense of "local", "not international") is rock music composed or performed by Argentine bands or artists mostly in Spanish. Argentine rock

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1920-810: The genre was created in the United States in 1954-1955, based largely on rhythm and blues and country and western . Elvis Presley and Bill Haley (who visited Argentina in 1958) awakened the interest of several Argentine artists. The most notable among Argentine garage bands which sprung up in this period was Sandro y Los de Fuego , who recorded a successful series of Spanish language covers of American rock and roll hits, and attained commercial popularity. Sandro would soon embark on his own contemporary pop standards career that would make him popular. Others include Eddie Pequenino , Los Cinco Latinos and Billy Cafaro. The first few years of rock music in Argentina were confined to cover bands. In 1964, Argentina, like much of

1980-412: The government. The music continued developing against the odds. Along with the plethora of symphonic/progressive bands, heavies Vox Dei and Pappo's Blues continued to sustain their popularity during the period. Yet another heavy metal band, Plus , made their debut in '76 and enjoyed success through the end of the decade. Argentine rock continued its symphonic, so-called 'concert hall' sound through

2040-435: The great bands of Argentine rock. It was a festival in support of the troops overseas, and also a veiled protest to war, and a call for peace (at first the musicians feared appearing for risk of being portrayed pro-war). This event was the final stepping stone of Argentine rock in becoming the dominant form of music in the country. At the same time, English-language rock was wiped out from radio play. The programmers had to fill

2100-714: The interplay between the electric guitar and keyboards captivating. The rhythm-section sounded powerful and adventurous. Espíritu , who formed in 1973 but had roots since 1969, would go on to be an internationally followed group in the latter part of symphonic rock's heyday. The first album Crisalida is cited as their best effort, with beautiful and alternating compositions and changing atmospheres (from mellow with acoustic guitar to up-tempo with heavy electric guitar), lush keyboards and some vocal harmonies. Former heavy rockers El Reloj turned to prog with 1975's self-titled album. Their sound has been compared to Uriah Heep 's mystic and proggy sound. A symphonic band that would have

2160-842: The last bands of the progressive era. Serú Girán went touring in Brazil in 1980, where their reception by fans at the Monterrey Jazz Festival in Rio de Janeiro was so enjoyed that the organizers requested that they perform again, the next day, but on the main stage with jazz-rockers Weather Report . There, Pedro Aznar met Pat Metheny , to whom he gave some cassettes with his own works. Serú Girán returned home, released "Bicicleta" and gathered 60,000 fans in La Rural back in Buenos Aires chanting no se banca más ("it isn't bearable anymore", alluding to

2220-415: The last two albums, the sound became a little bit more "pop", and embedded with electronic elements (samplers and synthesizers with "artificial" textures). Serú Girán released their fourth album Peperina in 1981 and promoted it on tour, but by the end of the year Pedro Aznar decided to leave the band because he wanted to study at Berklee . (When he was there, by the end of 1982, he was called to join

2280-612: The masses; the Acusticazo of '72. In the drought days of 1978, Serú Girán emerged as a ' supergroup '. In 1977 Charly García got together with his friend David Lebón , an ex member of Luis Alberto Spinetta 's band Pescado Rabioso , to write songs in Brazil. There, Charly re-encountered Oscar Moro , the drummer of his former band "La Máquina De Hacer Pájaros" and they decided to invite him to help compose new material. The trio soon decided that instead of selling their songs like they had originally planned, they would play them themselves in

2340-434: The members' sexual orientations, a PR nightmare at the time. But the group bounced back with a vengeance with their 2nd album La Grasa de las Capitales . It was well received by the specialist press, and would cement their status as the most popular band of their time. Serú Girán's third album Bicicleta (1980) was tepidly received at first, but in time would be considered the band's best work. Both albums departed from

2400-510: The more symphonic and less progressive side of Argentine rock. Patricio Rey y sus Redonditos de Ricota , who had started in 1977, were growing a larger following on a monthly basis. In 1979 in La Plata , Federico Moura would form a pioneering new wave band called Virus . In Buenos Aires , three young men influenced by the advent of post-punk in Britain started exchanging ideas, and decided to form

2460-478: The most important part of his Tango musical legacy during the 1970s. His first three albums (Hugo Diaz en Buenos Aires) were not recorded until 1972, 1973 and 1974 and in 1975 he made his last tango album (Hugo Díaz para Gardel 40 Años Despues) [1] He died on October 23, 1977. Díaz was married to Victoria Cura, Domingo Cura's sister, with whom he had a daughter, María Victoria, born in 1961. María ( Mavi ) Díaz became an important part of Argentine rock and roll in

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2520-518: The movement in 1975. As that year began few could foresee what a watershed it would become not just in Argentine rock history, but the country's too. Charly García and Nito Mestre decided it was time to leave Sui Generis. Their two final concerts took place at the Luna Park Arena, on September 5 of 1975, in front of 30,000 people. Historians have come to see the Sui Generis farewell concerts as

2580-469: The opportunity to open for Queen in Buenos Aires with his new band ZAS . At the local pubs in Mendoza a pop-rock act called Los Enanitos Verdes appeared. An Italian of Scottish background named Luca Prodan arrived in Argentina to fight his heroin addiction, worsened by the death of his friend Ian Curtis of Joy Division . Prodan would form Sumo . This band, one of the least conventional in Argentina at

2640-590: The provincial folkloric music he grew up with: chacareras , zambas and milongas camperas . In 1953 during a European tour, Hugo Díaz met with two admired musicians in Belgium: Larry Adler and Toots Thielemans . The admiration was mutual. He also played in the United States with Louis Armstrong and Oscar Peterson , and in La Scala , Milan with Renata Tebaldi and Mario del Monaco . Díaz recorded

2700-479: The remaining members started Color Humano and Aquelarre . Spinetta's album Artaud was considered the greatest Argentine rock album of all time by the Rolling Stone Magazine. [1] In 1970, Vox Dei refreshed the movement. Their album "La Biblia" (The Bible) is one of their most famous works of the early 1970s. In that same year, the first B.A ( Buenos Aires ) Rock festival became the first showcase of

2760-400: The rest of the world, was shaken by The Beatles phenomenon . Historians describe a parallel pattern of development with the United States in certain aspects of culture. Both countries were the destination for millions of Europeans, and their musical heritage were heavily influenced by Pan-European folk and traditional marches. These similar musical infusions yielded related results in both:

2820-404: The same term This disambiguation page lists articles about people with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Víctor_Díaz&oldid=936476159 " Category : Human name disambiguation pages Hidden categories: Short description

2880-479: The symphonic rock of the first LP, the music turning more visceral and 'simple' with less arrangement and pomp. Serú Girán would not be isolated in this trend, as slowly Argentine rock was writing the final chapters in its symphonic and progressive period. The nation was still in the grip of a dictatorship as the 1980s dawned, even as repression had eased somewhat by then. The start of the decade continued to feature Serú Girán , now with their less pretentious sound, at

2940-461: The time, and since, has been voted Best Argentine Band by a poll composed by rock journalists in 2009. Despite its 'underground' status, it has fervent followers in Chile, Uruguay, Mexico and a plethora of countries worldwide. From the Festival of Latin American Solidarity emerged solo artists that would go on to delve into a more adult oriented form of rock and pop music, with the Argentine youngsters of

3000-419: The top of the charts. Vox Dei entered their 3rd decade in rock, a virtual first for any local band, and León Gieco 's popularity as a solo artist was on the rise. One of the last progressive bands would be Tantor . They were less symphonic and far more prog-experimental, with jazz as a major support. Their first eponymous album was a hit in the scene, and the band would continue till the mid-1980s as one of

3060-416: The voids with something, and that was with Argentine rock. This created the opportunity of exposure to countless underground bands. It would set the foundations for the explosion of rock in the mid-1980s. In the latter days of symphonic rock, a great number of new groups started popping seemingly out of nowhere. In reality, these were bands influenced by post-punk , new wave from the US and Britain, and by

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3120-467: The worst period of censorship in its history. Rock was seen as subversive by the nation's authority figures, who began to clamp down on the music. In a 1976 speech, Admiral Emilio Massera denounced rock musicians and fans as potential subversives and repression of them began in 1977. Before the end of the decade, rock had gone increasingly underground. Rock Nacional avoided the government's heavy media censorship and allowed an outlet for codified criticism of

3180-485: The years leading to the rise of symphonic and Argentine progressive rock. Its albums were acclaimed nationally and by progressive rock fans worldwide. Another symphonic/progressive band was Crucis . Their music began attracting attention in the underground, and so they started getting bigger performing venues. As change swept Argentine rock in 1975, their music was rapidly rising to popular musical tastes. Their compositions were strong and dynamic with unexpected breaks, and

3240-406: Was a mixture of effort, individual performances, melodies, dynamic contrasts, ensemble work and arrangements. 1977 was a year of separation and endings: Crucis would disband at the end of the year. In heavy metal, Pappo 's blues would see their nearly seven-year run end. Aquelarre would return from their Spanish stint, but following a tour run went their separate ways. But the year would show

3300-552: Was beyond befitting. Argentina's economy was in full recession in 1982, and discontent with the military government was rampant. On April 2, the world would awake yet again in the 20th century to the horror of war . After a season of death and destruction in the South Atlantic in which both sides suffered sunken ships, aircraft blown from the sky, and hundreds of young lives were cut short, the United Kingdom regained control over

3360-452: Was completely over by 1976. As this year began, Argentine rock became far more sophisticated and conceptual. A few acoustic bands would continue having moderate success, including Pastoral , and Nito Mestre y Los Desconocidos de Siempre . But it was the beginning of the period of symphonic and progressive rock dominance. As early as 1973, the band Contraluz combined rock with progressive and folk tinges. They would be an influential group in

3420-560: Was host in 1978), and the disco craze, rock music suffered the worst drought since its inception. The media was openly calling out 'the death' of Argentine rock. Throughout the years, different figures and events helped Argentine rock to expand worldwide: Sandro y los del fuego in 1963; the Uruguayan Invasion of 1965 that proved the commercial viability of non-US or UK bands; the massive hit of " La balsa " by Los Gatos in '67 showing that Spanish language rock could be appealing to

3480-449: Was one of those bands too. And even more bands ceased to be. After two successful albums that featured several would-be classics of the era, La Máquina de Hacer Pájaros hung up, as did Invisible , leaving as a legacy three albums: Invisible , Durazno Sangrando and Jardin de los Presentes . Pastoral , one of the last acoustic groups still successful, split by 1978, as did ALAS . With the country gripped by World Cup mania (Argentina

3540-440: Was the earliest incarnation of Spanish-language rock. It began by recycling hits of English-language rock & roll. A rising trend of composing new songs mostly in Spanish can be traced at least back to the late 1960s , when several garage groups and aspiring musicians began composing songs and lyrics that related to local social and musical topics. Since then, Argentine rock started a continued and uninterrupted evolution through

3600-409: Was thrown onto the tracks by police. As he was a heavy drug user, others contend he simply might have tripped. The 1993 motion picture Tango Feroz ("Wild Tango") tells the life of Tanguito. As the 1970s progressed, acoustic rock continued as the most popular style in the country. Sui Generis began shifting from their classic acoustic rock to a more electric and visceral sound. Also, stirring in

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