#1980s Uruguay

[gothmusiclatinamerica]

Short-lived 1980s Uruguayan post-punk act La Tribu de los Cristianos performing “Maldición" in 1987

[justapeperobox]

Oda al flaco spinetta (notese la referencia jsjs) lo re extraño :’) 💚 (los clips no son míos)

[sheliach]

1989~3 de noviembre~2024

[elarea]

Repechaje A-B (1980)

Gracias al aporte de Daniel "El Bombardero de la Villa" Yermolayew se ha añadido a la sección Repechajes y playoffs por el ascenso a Primera División (1937 - 2020) una galería con siete imágenes del Repechaje de 1980, m��s concretamente del partido final entre Liverpool y Rentistas, que decretó el ascenso negriazul y el descenso del bicho.

El material gráfico se complementa con un excelente análisis de ese match por parte del gran "Bombardero".

[goalhofer]

Uruguayan-Mexican actor Gustavo Rojo.

[zhanteimi]

Raíces de América - Raíces de América

Brazil / Peru / Argentina / Uruguay / Chile, 1980, MPB Although I’ve got nothing to do with these cultures, I recognize a lot of what I’m hearing, at least tangentially, as I am somewhat familiar with the pan-Latin works of Parra, Neruda, and Viglietti. This album has opened my ears to more of the musical voices of South America, and I am blessed. The pattern here for the most part is one…

[theaskew]

Roanne Corteza (Canadian, b. 1980), Cold December, 2022. Acrylic on canvas, 20 × 20 × 1 1/2 in. | 50.8 × 50.8 × 3.8 cm. (Source: Galeria Azur, New York, Buenos Aires, Berlin, Miami, and Uruguay)

[ghminerals]

Hard to find true Peach Blossom Quartz Amethyst. Artigas, Uruguay. 4.5 inch. No damage. These Peach Blossom Quartz Amethyst were a one time find back in the 1980's. None are on the market but this from our collection. Last one. https://goldenhourminerals.etsy.com/listing/839287830

[mywifeleftme]

275: Travesía // Ni un minuto más de dolor

Ni un minuto más de dolor Travesía 1983, Ayuí (Bandcamp)

Travesía (trans. Crossing) was a Uruguayan folk pop trio formed in the early 1980s. Unusually for the time in Uruguay, the three women (Estela Magnone, Mariana Ingold, and Mayra Hugo) both sang and played their own instruments, and though they released only this single 1983 LP, they were much in demand as accompanists, lending their distinctive harmonies to some notable albums of the period. The trio met in an avant-garde-friendly Montevideo chamber choir, and their vocal style retains the technical precision they developed there, despite trading in the chamber for minimal arrangements of acoustic guitar, piano, flute, and harmonium.

Ni un minuto más de dolor (Not One More Minute of Pain) draws on a variety of influences, including Brazilian tropicália and the Beatles, but the results could often pass for a Cherry Red release or even something from the ‘00s indie pop revival. “Una canción gratuita” (“A Free Song”) has a bobbing piano figure and cutesy whistled outro that I could imagine the Shins working out, while the insistent chords and deconstructed arrangement of “Avalancha” faintly predict Spoon’s “The Way We Get By.” Just as Spoon’s unerring sense of rhythm allows them to strip their songs down to a sort of minimum viable arrangement and then work back up from there, the fact that Travesía’s harmonies easily carry their melodies a cappella frees them to use their instruments for elaboration rather than structure. This approach gives Ni un minuto más de dolor an ethereal quality, like ambling through a light mist.

Madrid’s Vampi Soul is a new reissue label to me, but between this one and Zulu’s self-titled (reviewed back in episode 239) I’ve been really enjoying the South American records they’ve unearthed. Working here alongside Uruguay’s Little Butterfly, they’ve done a great job with the sound and packaging, and I’ll have my eye out for more of their catalogue.

275/365

[jonathanyob]

Three Reasons to Visit Punta del Este in Uruguay

Punta del Este is a tourist destination in Uruguay, South America. Along Uruguay’s Atlantic coastline, just east of the Bay of Maldonado, Punta del Este stretches 40 miles and comprises several neighborhoods and small towns. The population swells during the busy summer months between December and March.

Several attractions attract tourists to Punta del Este, including:

Cultural events and celebrations. Residents of Punta del Este organize several carnivals during the year. On a carnival night, the resort’s main avenue, La Gorlero, turns into a catwalk with glamorous parades. Thousands of spectators flock to it and the restaurants and nightclubs, where tourists can enjoy local music, culture, and cuisine.

Art. Punta del Este has several artistic attractions, such as La Mano, a giant hand emerging from the sand at Playa Brava, created by Mario Irrazabal in the 1980s. Tourists can visit Casapueblo, a castle near the sea built by Carlos Paez, where guests can attend a daily sunset ceremony. In addition, Punta del Este has several museums, including the Sea Museum, with more than 5,000 specimens.

Outdoor activities. Tourists at Punta del Este can swim with sea lions at Isla de Lobos, boat ride, jet ski, kite surf, or paddle board. It also provides on-land activities, including golf, running, cycling, and tennis.

[gothmusiclatinamerica]

"Esa pasión" by short-lived 1980s post-punk band Los Estómagos from Pando, Uruguay off of their 1986 album La Ley es Otra

[justapeperobox]

Y el es tan videoclub ✨💛 (los clips no me pertenecen)

[thatscarletflycatcher]

I recently saw a post about different styles of posting on social media about one's engagement, coming right after I finished a conversation with some friends about weddings, and it struck me once again, the slow loss of our privacy coupled with a progressive increase on our personal isolation, and how that is, hm, bad.

I'm gonna try to explain. Back when my parents married (Uruguay, early 1980s) a wedding was an important event because marriage was a socially relevant thing. Not telling someone you were getting married was seen as extremely rude; it was set custom to make two sets of wedding invitations: one, including the information about the reception, for the people you were inviting to the party, and another with just the date, time and place of the ceremony, ending in "the bride and bridegroom will greet you at [insert the entrance to the location where the wedding was to be performed]" that you sent to acquaintances and pinned to a corkboard at your workplace/social club/dance studio/whatever. Basically everyone was notified and invited to attend the ceremony and bring a gift if they were so inclined, or not, at will.

A decade ago people would catch wind of your engagement because you changed your relationship status on facebook. The more daring would post a picture with some text. Fine. Nowadays you catch wind that someone is engaged or married by being bombarded on instagram by pictures of the proposal, wedding, reception and honeymoon, for which you were never even given a short "hey, I'm getting married!!!" text.

Expectations for wedding receptions are sky high. You need to show off the wealth that you most likely don't have, and everything that gets the wedding label automatically becomes 10x more expensive. So people, reasonably, invite less and less guests to their weddings. Some schew the whole social event altogether and elope or get secretly and quietly married.* And yet most of the time you are still getting the unsolicited picture album. And maybe some people think that the picture assault is notification enough. But that's also something I positively dislike. Telling someone you are getting married, a proper communication, is not the same thing as just posting pictures. One is personal, the other is impersonal.

In other words, what used to be more private and personal (the pictures and video of the event, what you shared with close relatives and friends) is now broadcasted, and what used to be the thing you broadcasted (a communication to everyone of your new relationship status and establishing of a new family) is now rather private. There's a dissonance by which less and less people get to participate in a wedding, but more and more people are made to watch it from outside as complete strangers. It's mildly voyeuristic, and from and for a lot of people, a sort of "rubbing in their faces", a fundamentally adversarial attitude.

*mind you, my parents had a wedding reception consisting on "sandwiches, cake and soda" at grandma's house, where people took turns to sit and where dishes and cutlery came from several different borrowings to make up the number, and if there was whiskey that was because one of the guests brought a bottle. But that's hardly an instagrammable reception these days, says I like a cranky 80 year old.

[elbiotipo]

There's a very deep and fascinating alternate history project, Doomsday; 1983, about a WWIII that happens by accident in 1983 and how things go from that, that I've been following for years, and it's very interesting, but they're now cleaning up a lot of crap that grew over the years (like Greece somehow colonizing North Africa and restoring the Byzantine borders, all the monarchies restored for no reason, the Argentina-Uruguay union for no reason with the ugliest flag I've ever seen, I could go on and on) Some things, are, again, very well done, there's a reason why I'm a fan.

But one thing about that setting that always made me laugh is that well, both the US and the USSR (and Europe and lots of other places) get bombed to hell, right? And in the US, every survivor town is like, "oh we survived, time to make a new constitution and a quirky flag and political parties and roleplay and now we're fighting wars against other quirky microstates!"

It's an almost delusional denial of the damage a nuclear war would cause. Millions dying horribly, and the survivors burned, blind, deaf, traumatized both physically and mentally. The complete collapse of any and all institutions and supply chains. No time to heal or feed the millions who somehow survived, no possibility to organize anything beyond small platoons of soldiers. Nuclear plants spewing radioactive waste, like fifty open Chernobyls. With no help forthcoming for years, even decades. And in the long term, who would bring and raise children into this world, if they are even born?

I actually have my doubts if agriculture would be possible at all in the Northern Hemisphere, even assuming survivors get organized enough to plant something. A nuclear war, especially with the arsenals of the 1980s, wouldn't mean towns surviving and making new quirky city states with cute little flags. It would be quite probably the complete extinction of not only civilization, but of the human race, in the Northern Hemisphere.

[elarea]

Los nenes rojiverdes (1980)

Hace tres días el glorioso Rampla Juniors Fútbol Club cumplió 110 años de vida y Daniel "El Bombardero de la Villa" Yermolayew quiso homenajear al "rival de todas las horas" con esta fotografía en la que aparecen Graffigna, Mameli y Prestes, pilares para el retorno de Rampla a Primera División en la temporada 1980.