The CML Building in Goulburn.
Riversdale, The Mill Goulburn and CML Building will receive funding under the NSW Government's Heritage Grants Program for restoration and repair works.
Member for Goulburn Pru Goward said the announcement marked this year's Australian Heritage Festival, which runs until May 21.
"Looking after our heritage is everyone's responsibility and communities play an important role in maintaining and promoting local heritage," Ms Goward said.
"We have so many beautiful buildings and it is my pleasure to announce funding for these three preservation projects.
The CML building will be upgraded to the tune of $35,000, for patching and repainting of the building's exterior. There is also building upgrade works for accessibility compliance under the disability access premises code, 2010.
The Mill Goulburn will receive $25, 200 for external painting of the whole building's exterior.
Other local government Heritage Advisor and Heritage Places Funding projects were also announced including: $12,000 for the Goulburn Mulwaree Heritage Adviser Service, $12,000 for the Upper Lachlan Shire Local Government Heritage Advisor Program, $12,000 for the Goulburn Mulwaree Heritage Places Grant and $11,000 for the Upper Lachlan Shire Council Local Heritage Places Grant.
Councils, Aboriginal organisations, peak heritage organisations and owners of heritage items have been awarded a share of $5.4 million in grant funding as part of the program.
Heritage Minister Gabrielle Upton said almost 220 grants were awarded across the state in consultation with the NSW Heritage Council.
"These successful grant projects will help to continue to preserve and promote our connection with our past," Ms Upton said.
This year also marks the 40th anniversary of the Heritage Act.


text:
No, It Doesn't Work Well, but It Can Still Be Fun
Is the Eggstractor (affiliate link) an eggsellent product? Will your peeling be over easy, or will the Eggstractor leave your nerves fried and patience hard-boiled?
More likely the latter than the former. The Eggstractor doesn't live up to its promise ... but it might still be a fun gadget for some people.
The Eggstractor is featured in one of our favorite infomercials. It's a simple product - a plastic base into which a hard-cooked egg is situated; a plastic bellows (a cylinder open at one end with accordian-like sides allowing it to be pressed down) that goes over the top of the egg and rests on the base.
According to the infomercial and the instructions, the power of air pressure forces the egg out of its shell. It's supposed to pop out of its shell, which remains on the base, onto a plate placed below, all in one piece and free of shell.
The first thing a new user needs to know is this: follow the instructions exactly. If the instructions aren't followed exactly, there's no chance the Eggstractor will work properly. The egg might explode, or only the yolk may pop out, or, perhaps, nothing at all will happen. And if that's the case, it's the product with egg on its face, but the yolk's on you.
The instructions are precise: place eggs in a pan, cover with water and add a heaping teaspoon of salt; bring to boil and cook another 6-8 minutes. Pour off the hot water and run cold water over the eggs. Then place the eggs in ice water for at least 10 minutes.
To peel the egg, remove from water and tap the small end on the piercer, a small, pointed nub that is on the base of the Eggstractor. You must pierce not only the eggshell, but also the inner lining of the egg. Crack the large end of the egg on a table or counter, then place the egg, small side up, onto the base.
Place the bellows over the egg and onto the base, criss cross both hands on top of the bellows and press.
The instructional booklet says that it might take you a couple tries to get the hang of it, but that "if you follow the Eggstructions Eggsactly, you will be an Eggspert Eggstractor." Not eggsactly. But it is fun trying.
First, when they say follow the instructions exactly, they mean it. We left out salt the first few times we boiled our eggs, and the result was the same each time: Upon "eggstraction," the large end of the egg separated from the rest of the egg, leaving most of the egg peeled but without a top.
We finally realized we were leaving out a step and started using salt. The results improved. But we were never able to get an egg to pop out completely free of shell. All eggs we tried — and we tried many — had at least a little shell remaining on the large end of the egg.
There are other drawbacks to the Eggstractor. Foremost is that there are some people who, because of physical limitations, won't be able to get it to work at all.
We were surprised at just how much force is required to depress the bellows, popping out the egg. We asked our missus to give it a shot, and it took her three tries before she could make it work. We feel that many women and many elderly folks would have a lot of trouble making the Eggstractor work at any level of efficiency, much less peak efficiency.
So why did we say we'd still recommend it in some cases? Well, because it's fun. It makes loud whooshing and popping noises that kids (and overgrown kids) are likely to think are fun. And who wants to peel an egg? Our missus said she could have completely peeled an egg the old-fashioned way in the time it took her to get the Eggstractor to work. But she's a girl. Girls know what they're doing.
Boys, and men who still behave like boys, will get a kick out of the Eggstractor, whether it works well for them or not.
So if you find it at a cheap price, perhaps in a bargain bin or on clearance, it's worth a few bucks to get a few kicks.
The Eggstractor's instructional booklet contains dozens of egg-based recipes, some of which looked quite tasty. It also comes with an egg slicer as a bonus. And as egg slicers go, it was pretty nice.
Want to try it yourself? Check out the Eggstractor on Amazon.
Labels: As Seen On TV

redpajama_set_name: RedPajamaCommonCrawl


Abundant free parking, cheaper rent and cool new places to hangout are among the many reasons The Domain and the surrounding area have become the place to be for companies such as Facebook and Amazon.
Hawaii affordable housing developer Ahe Group and Redwood Housing on Thursday marked the opening of the $17.3 million redevelopment of the Hausten Gardens senior affordable rental in Honolulu.
Carucci decided to get his license to sell real estate in 1983. After three months without a sale, he finally caught a break. An out-of-town client with a $500,000 budget was coming to town for a single weekend to find a condo.
About 450 people heard about the latest developments in transportation, real estate and employee recruiting at this year's North Austin Growth Summit, held April 18 at The Westin hotel in The Domain.
When you speak to San Antonio's top real estate agents – whether they work alone, deal in luxury homes or ranches, or are part of team – some common themes emerge.
New renderings show off the crown jewel feature of each unit.
The Two Light luxury apartment tower in downtown Kansas City has reached 96 percent occupancy just ahead of hitting its one-year mark. Nick Benjamin, managing director of multifamily development for The Cordish Cos., offers an intriguing update on the status of Three Light.


I'm honestly tempted to not make any comments on this page, 'cos Momma always told me if I didn't have anything good to say I shouldn't say anything at all. Seriously, this page is a MESS. I'd have just tossed this page out and started over from scratch if I honestly believed I'd be able to come up with something less messy in the remaining time. *sigh* employment and cartooning simply refuse to coexist.
Ironically, I'm actually quite happy with how the new Voting Incentive comic turned out. So go vote and see something I DON'T want to kill with fire.
Why would you add blinking lights that don't do anything? Duh! Why wouldn't you?
Especially when you can program them to blink in different patterns, or using the rules for The Game of Life.


text:
Festival Rock y Ruedas de Avándaro
Avandaro
Rock and folk, including jazz-rock, blues-rock, folk rock, latin rock, experimental rock and psychedelic rock styles.
Tenantongo, Valle de Bravo, State of Mexico, Mexico.
Original festival held in 1971
PROMOTORA GO, S.A. (Eduardo Lopez Negrete, President)/TELESISTEMA MEXICANO (Luis de Llano Macedo, Producer).
The Festival Rock y Ruedas de Avándaro (also known as the Festival de Avándaro or simply Avándaro) was a historic Mexican rock festival held on September 11–12, 1971, on the shores of Lake Avándaro near the Avándaro Golf Club, in a hamlet called Tenantongo, near the town of Valle de Bravo in the central State of Mexico. The festival, organized by brothers Eduardo and Alfonso Lopez Negrete's company Promotora Go, McCann Erickson executive and sports promoter Justino Compean and Telesistema Mexicano producer Luis de Llano Macedo, took place at the height of La Onda and celebrated life, youth, ecology, music, peace and free love,[1][2] has been compared to the American Woodstock festival[3] for its psychedelic music, counterculture imagery and artwork, and open drug use. A milestone in the history of Mexican rock music, the festival has drawn anywhere from an estimated 100,000 to 500,000 concertgoers.[4][5][6][7][8][9]
The festival originally scheduled 12 bands booked by music impresarios Waldo Tena and Armando Molina Solis' agency, but a total of 18 acts performed outdoors during the first, sometimes rainy weekend, before a massive crowd.[10] The event was captured in film by, among others, Cinematográfica Marco Polo, Telesistema Mexicano, Cablevision and Peliculas Candiani. Audio was captured by Polydor Records and a live radio broadcast was sponsored by The Coca-Cola Company. Images of the festival were captured by photographers like Graciela Iturbide, Pedro Meyer and others.
The Super 8 short films Avándaro[11] produced by Gutiérrez y Prieto of Cablevision and directed by Alfredo Gurrola and Tinta Blanca en Avándaro produced by Raul Candiani of Peliculas Candiani and directed by Humberto Rubalcaba were the only films exclusively about the first festival. They were exhibited at international film festivals and theaters in 1972. Other movies, which partially used footage of the festival, were the Cinematográfica Marco Polo film "La verdadera vocación de Magdalena" produced by Anuar Badin and directed by Jaime Humberto Hermosillo and the Super 8 films "The year of the rat" by Enrique Escalona[12] and "La segunda primera matriz"[13] by Alfredo Gurrola.
An accompanying soundtrack with a selection of the live recordings produced by Luis de Llano's company LUDELL/BAKITA Records and named Avandaro, por fin... 32 años después (Avandaro, at last ... 32 years later), was finally released in 2003.[14]
1 Before Avandaro: Massive events, student repression and La Onda
3 The venue
3.1 Expectations
3.2 Live Radio Broadcasting
3.3 Lighting and sound systems
3.5 Terms between the organizers and mayor Montes de Oca
4 Cancellation of the auto race
5 The music
5.1 Pre-festival
5.2 Festival
6 Festival development
7 Exodus
8 Aftermath: Avandarazo and controversies
9 Films and TV
9.1 Short films
9.2 Documentaries
9.3 TV specials
9.4 The festival in documentaries about Mexican rock
9.5 Documentaries in production
9.6 The festival in movies and TV shows
9.7 The Telenovelas (soap operas)
10 The Play
11 Literature exclusively about Avandaro
11.1 Books
11.2 Comics
11.3 Magazines
12 Soundtracks
12.1 Live soundtrack
12.2 Other soundtracks
13 Curiosities
13.1 La encuerada de Avandaro
13.2 The lost Telesistema Mexicano videotapes
13.3 Booked acts who failed to show up
13.4 Acts who declined to participate
14 Legacy and Official Recognition in 2019
15 Picture gallery
Before Avandaro: Massive events, student repression and La Onda[edit]
By 1971 Mexico, ruled by the PRI, had organized two of the most important sporting events in the world: the 1970 FIFA World Cup and the 1968 Summer Olympics, gaining a fresh and modern image its government wanted to show to the outside world. At the same time, its government had violently repressed political youth movements known as the Tlatelolco massacre and the Halconazo, which in turn gave way to the so-called Mexican Dirty War of the early 1970s.[15]
The Mexican hippies, called "jipitecas" by Catholic priest and scholar Enrique Marroquin,[16] created a multidisciplinary movement called La Onda (The wave). In accordance to their hippie values, La Onda did not advocate a violent overthrow of the PRI, but it did advocate change. By 1969 the government had already banned the musical Hair after a unique performance of it in Acapulco, censuring the rock band Los Shakes (which included stars Pixie Hopkin,[17] Mayita Campos and Nono Zaldivar),[18] investigating impresario Alfredo Elias Calles (grandson of late president Plutarco Elias Calles) and deporting foreign actors and producers like Michael Butler, Gerome Ragni and James Rado. Such actions were heavily covered by local and American media like The New York Times and Time.[19][20][21][22][23] Writer Carlos Monsivais, who witnessed the event, wrote an extensive article about the incident in his book Dias de guardar.[24] Also in 1969, the band Pop Music Team had suffered censorship due to their hit "Tlatelolco" (which only had two weeks of radio airplay)[25] and in February 1971 in Monterrey, a collective band called Sierra Madre, led by Teja Cunningham, and a state-of-the-art lights spectacle named "Music and light show" had faced repression after a failed attempt to hold a three-day concert, called Concierto Blanco (white concert) inside the State government palace in Monterrey's main square. The violent incidents after the White concert, which were extensively covered by the media, seriously damaged then Nuevo Leon governor Eduardo Elizondo's political career.[26]
News from Cuba (Varadero '70), Colombia (Festival de Ancon), Argentina (Festival Buenos Aires Rock),[27] Chile (Festival de los Dominicos "Piedra Roja"),[28] England (Isle of Wight) and films from American festivals like "Monterey Pop" and "Woodstock" fueled the desire for the jipitecas to host their own major counterculture event. The opportunity arrived in the spring of 1971.
Trying to resurrect their popular auto racing spot, Circuito Avándaro, after being cancelled in 1969 as a result of the fatal accident of racing driver Moisés Solana, Promotora Go owners brothers Eduardo and Alfonso López Negrete in partnership with McCann vice-president Justino Compeán decided to organize a massive auto race with live rock music acts [29][30][31][32] and consulted then Telesistema Mexicano promoter Luis de Llano Macedo to video-record the motoring event and to hire Javier Bátiz and La Revolución de Emiliano Zapata, two of the most popular Mexican rock acts of the time. Luis de Llano was at the time producing a section named La onda de Woodstock in the Jacobo Zabludovsky's program Hoy Domingo (Today Sunday). De Llano assembled a team of around 330 individuals to organize the music part of the festival, among them reporter/musicologist Jaime Almeida, screenwriter Armando Molina, publicist Carlos Alazraki, and MCs Roberto Naranjo and Eduardo Davis.[33] Molina, himself an impresario and musician from La Maquina del Sonido fame, was appointed Music Coordinator.[34] The music coordination was in the hands of the company ArTe, owned by Molina and Waldo Tena (of Los rebeldes del Rock fame). After many negotitations and declining invitations Molina proceeded to book 12 bands. Designer Joe Vera was hired to design the official poster and tickets were sold at AUTOMEX-Chrysler agencies across the country for MX$25.[35] Jacobo Zabludovsky heavily supported and promoted the festival in his daily news program "24hrs" and he was one of the few mainstream broadcasters to defend it in its aftermath.[36]
The venue[edit]
Expectations[edit]
As was reported in the Corpus Christi Caller-Times, a maximum of 25,000 attendees, 122 pilots with their staff (with their number expected to reduce after the technical inspections) and 12 Mexican bands with a possible last-minute inclusion of American bands to bolster the event was expected. The bands were going to play from Saturday 7 pm to Sunday 7 am, making way for the auto race to start in public roads around the lake. 2 weeks before the event, the 5 hotels in town were already booked.[37] In the TV Azteca documentary "Historias Engarzadas: Alex Lora" Alex Lora explained that this possible "inclusion of American bands" was going to be a surprise visit by Santana.
Live Radio Broadcasting[edit]
Sports promoter Justino Compean and Radio Juventud General Manager Ramiro Garza made a deal with then Coca-Cola Company Marketing Director, Vicente Fox Quezada, to sponsor the live broadcasting.[38]
Lighting and sound systems[edit]
Héctor Yaber from Telesistema Mexicano was in charge of the lighting system and Gustavo Cota from the company Audiorama S.A. of the PA system. All equipments were transported by the company Mudanzas Galván of José C. Galván Castro.
Security[edit]
The security was going to be in charge of the State of Mexico's Judicial Police chief Cuauhtémoc Cardenas (not the politician of the same name), who was going to receive support from 200 state troopers, 120 army troops and 50 Special Agents from the Secretariat of the Interior as well as Valle de Bravo's Fire Department. Nevertheless, reports of the total amount of security agents were mixed.Variety reported a total of 700 law-enforcement agents.[37][39]
Terms between the organizers and mayor Montes de Oca[edit]
The festival president Eduardo Lopez Negrete and Valle de Bravo's then-mayor Juan Montes de Oca Loza agreed that no liquor was going to be sold. Beer would be sold only with a meal.[37] In an in-depth radio/video interview with radio host Rafael Catana, Armando Molina stated that mayor Montes de Oca suggested to Valle de Bravo's inhabitants to be polite with the hippie crowd as they felt being overwhelmed by the excessive numbers of them. In the end, not a single Valle de Bravo inhabitant complained about the hippies.
Cancellation of the auto race[edit]
Early Saturday morning it was decided, as stated by Alfonso Lopez Negrete, in an on-site interview made by a Telesistema Mexicano, to cancel the auto race due to the quantity of festival attendees which surpassed all expectations.[40]
The Circuito Avandaro auto-race was going to be suspended for decades to come since authorities tied the sport with massive crowds.[41]
The music[edit]
Pre-festival[edit]
As stated by Armando Nava, Alex Lora and De Llano in the "Memorias de un cierto dia: Avandaro" documentary, tens of thousands of jipitecas were already on-site so activities started September 9 (Thursday) with special shows and even some brief concerts some bands like El Amor, Dug Dug's and Three Souls in my Mind offered while at the same time doing their sound-check for Saturday. By Saturday 11 at 6AM, hundreds of thousands of attendees were already on-site so Molina and De Llano decided to formally start the festival with a "Pre-festival". The acts which performed were:
Carlos Baca (Yoga session and ecology lecture)
Eduardo Ruiz Saviñón and UNAM's experimental theater troupe with Carlos Steward. (Performed The Who's "Tommy" rock opera)
La Ley de Herodes (band of the famous Arau family.)
La Sociedad Anonima
Los Soul Masters
La Fachada de Piedra with Larry Sanchez (39.4)
Festival[edit]
La Fachada de Piedra concluded their act at approx. 5pm. After a brief pause the festival resumed as follows:
Los Dug Dug's
El Epilogo
La División del Norte
Los Yaki with Mayita Campos
Tinta Blanca
Three Souls in my Mind
At around Sunday 9am, Three Souls in my Mind finished their act and the massive exodus started.
Festival development[edit]
As stated by Armando Molina in the official soundtrack (narration part)[42] and by his then assistant Jaime Almeida,[43] the whole festival was held in peace with the only problem being that the attendees destroyed the barricade and invaded reserved areas of the light towers and even the stage. In the official soundtrack desperate calls for order from Molina's assistant Roberto Naranjo and band members from Dug Dug's, El Epilogo, and Peace and Love can be heard. At one point, an attendee fainted and Tequila's world-class Mexican-American singer, Maricela Durazo, ordered the crowd to take good care and protect her. As many thousands of jipitecas were on-site since Friday 10, co-organizer Luis de Llano stated the famous phrase: "They survived for three days sharing rain and mud; that was in attempt to have an identity."[44]
Francisco Martinez Gallardo, chief of the medical team and voluntaries of the improvised in-site hospital stated: "There was one case of acute appendicitis, 20 intoxicated with pills, 50 with marijuana, 5 with alcoholic congestion, 5 cases of gastroenteritis and some with wounded heads, ankle fractures and burns."[45]
Exodus[edit]
President Luis Echeverria agreed to send 300 buses to pick up some of the attendees. The news were cheered with a rarely seen approval for a Mexican president from his country's youth. As one of the organizers yelled, with heavy use of slangs, through the audio system: "Lets cheer up Luis Echeverria, who is gonna send 300 buses of 50 seats each so we can go back...is a good guy that fella" (un aplauso para Luis Echeverría que nos va a mandar 300 camiones de 50 pasajeros para el regreso ... a todo dar el chavo ese).[45] As can be seen in the Gurrola film, thousands upon thousands of hippies were walking from the site and many of them were overwhelming the buses.
Aftermath: Avandarazo and controversies[edit]
As can be heard in the soundtrack, the band Peace and Love performed the songs "Marihuana" and "We got the power," that were considered controversial to Mexican society. At the same time, Peace and Love front-man Ricardo Ochoa used some foul language in order to cheer up the crowd, echoing what Country Joe McDonald did at Woodstock. Since the festival was being broadcast live through Radio Juventud and relay stations all over the country, some segments of society took this as a direct threat to the establishment ("Marihuana" for advocating open drug-use and "We got the power" for wrongly associating it with a possible popular uprising). The possible association of jipitecas with subversive and radical political movements is what caused the so-called Avandarazo.[46][47]
In the aftermath of the post-festival turmoil, several interviewed Avandaro attendees declared that the whole festival was held in peace and not a single major accident happened[48] but Moya Palencia, then Secretary of the Interior, accused the organizers of acting with intent and Carlos Hank González, then governor of the State of Mexico, condemned the festival's organizers and in his own defense stated that "They were given permission to perform a sporting event, but instead presented a rock festival"[49][50] but, as stated by Armando Fuentes Aguirre Caton, his political opponents took this as an opportunity to destroy his presidential aspirations.[51][52]
Opinions from the world of politics, religion and academia were deeply divided. While influential university professors and La Onda writers such as Parménides García and José Agustín, mostly gave the festival a positive review,[53] and some intellectuals like Paco Ignacio Taibo I, Elena Poniatowska (herself an attendee), Octavio Paz and José Emilio Pacheco gave a fairly positive evaluation too,[54] others criticized it negatively like Roberto Blanco Moheno and Eduardo "Rius" del Rio. Writer and political activist Carlos Monsiváis initially gave the festival a negative review but changed his mind soon afterwards.[55] As Guadalajara Cardinal José Garibi y Rivera condemned it,[56] popular liberal priest and festival attendee Enrique Marroquin praised it, publishing in Piedra Rodante a controversial article in its defense called "God wants the rain so we can unite."[57] There was also a notable incident at La Profesa, when during mass in homage to Mexico's Independence figure Agustin de Iturbide, a group of about 250 individuals belonging to a conservative civil movement left the building in protest as mass was being served by Monsignor Rafael Vazquez Corona, a strong supporter of the festival.[58] Monsignor Vazquez Corona was then heavily criticized by then rector of the University of Guadalajara, Dr. Garibay Gutiérrez, in his 1972 book about the festival "El gran desafio: Volver a pensar".[59]
Union leader Fidel Velazquez simply called the festival "a Bacchanalia", Attorney General Ojeda Paullada labelled it as a "witches' Sabbath" and President of the Senate, Enrique Olivares Santana, yelled in a press conference: "Let there be no more Avandaros in the republic!". Finally and under pressure, president Luis Echeverría made a strong statement against the festival, saying: "While we regret and condemn the phenomenon of Avándaro, it also encourages us in our belief that only a small part of our youth are in favor of such acts and entertainment."[60]
President Echeverria then proceeded to crack down La Onda. Some early 1970s hit-songs like "Avandaro" from Rosario, "Seguir al sol" by Pajaro Alberto and others which commemorated the event, were banned from radio air play,[61][62][63][64] Radio Juventud DJs Félix Ruano Mendez, Jaime Marin and Agustín Meza de la Peña were temporarily suspended but, contrary to popular belief, they were not terminated.[65][66] On the other hand, the influential Piedra Rodante magazine was indeed terminated in early 1972[67][68][69] and festival co-organizer Justino Compean left the country for a while.[70]
The band Tinta Blanca and other rock musicians tried unsuccessfully to hold a meeting with president Echeverria with a famous protest outside Los Pinos. After a short time the protest was peacefully dissolved.[71]
Films and TV[edit]
Short films[edit]
Avandaro. A 1971 Super 8 short film of approximately 20 minutes of footage with live soundtrack, produced by Luis Gutiérrez y Prieto[72] and directed/edited by Alfredo Gurrola.[73] Photographers were awarded-filmmakers Héctor Abadie, David Celestinos and Sergio Garcia Michel. Facing government pressure in the aftermath of the festival, the film was briefly screened in selected theaters, cultural centers and international Super 8 film festivals only. By the end of the 1970s, the film was acquired by Cablevision thanks to the efforts of Gutiérrez y Prieto. As stated in Garcia Michel essay Toward a fourth cinema: "Apart from the technical achievements, Luis always sympathized with this Movement, sponsoring films such as Avándaro, Pasiones [Passions] and La lucha [The Struggle]; the first two were transferred from super-8 to videotape and belong to Cablevisión."[74] In 2006, the company Video Grupo Empresarial included it as a DVD-extra in the release of the 1983 Sergio Garcia film Three Souls in my mind: Una larga experiencia.
Tinta Blanca en Avándaro. 16mm short film produced by Raul Candiani and directed by the band's manager, Humberto Rubalcaba Zuleta, about the band's participation in the festival. The film was exhibited at the Berlinale and awarded third prize ("Sombrero de Bronce") at the IVth Guadalajara's International Short Film Festival. Mexico, 1972.[75][76][77][78]
Avándaro: Imágenes Inéditas. Rarely seen footage shot on-site by Sergio Garcia in 1971 and transferred from Super 8 to digital in 2008 by American filmmaker Angela Reginato. This posthumous work was premiered on February 2, 2014 in Mexico City at the Benemérito de las Américas cultural center. Mexico 2008.[79][80][81]
Documentaries[edit]
Avándaro 20 años después. Documentary produced by Enrique Quintero Marmol, Mexico 1991.
Avándaro. Documentary produced by Tres Tristes Tigres/Enrique Quintero Marmol. A longer version of the 1991 documentary. Mexico 1996.
Las glorias de Avandaro. An independently produced documentary by Arturo Lara Lozano, Carlos Cruz, Manuel Martinez, Angel Velazquez and Arnulfo Martinez y Torres, Mexico 2005.
Bajo el sol y frente a Dios. Independent documentary by Arturo Lara Lozano/Enciclopedia del rock mexicano. Mexico, 2016.[82]
TV specials[edit]
Jueves Espectaculares : Avándaro. Special program of this Telesistema Mexicano's variety show. Presenter Julio Aleman interviewed some of the Festival's organizers as well as the mayor of Valle de Bravo, Mr. Juan Montes de Oca Loza. Mexico, 1971.[83]
Pantalla de Cristal: Enrique Quintero Marmol. Special program produced by Canal 22-CONACULTA. Presenter Jose Fernandez interviews Quintero Marmol about the festival and his 1991-1996 documentaries. Mexico, 2002.
In Memoriam: Avándaro. Special program produced by Canal Once/Enrique Quintero Marmol, Mexico 2003.
Memoria viva de ciertos dias: Festival de Avándaro. Special program produced by Canal 22 (CONACULTA). Includes interviews with Alex Lora, Luis de Llano, Armando Nava and others. Mexico 2003.
La historia detras del mito: Avándaro. Special program produced and aired by TV Azteca, Mexico 2012.
El observador: 40 años de Avándaro, Partes 1 y 2. Special program produced by Television Metropolitana S.A. de C.V.- Canal 22. Consejo Nacional para la Cultura y las Artes, Mexico 2013.
Susana Adicción: Hablando del Festival de Avándaro. Special program dedicated to the festival conducted by Monclova-born singer Susana Zabaleta. Produced by Luis de Llano for UNICABLE-TELEVISA. Mexico 2013.[84][85]
Observatorio Cotidiano: 45 años de Avándaro. Special program to commemorate the 45th anniversary of the festival. Includes a short documentary about festival photographer Graciela Iturbide. Produced by TV UNAM. Mexico, 2016.
Leyendas: Avándaro. Special program hosted by Luis de LLano where he interviews Justino Compean, Graciela Iturbide, Alex Lora and other people involved with the festival. Produced by Televisa. Mexico, 2017.
Maravillas y Curiosidades de la Filmoteca de la UNAM: Avandaro. Special program hosted by Rafael Avina where he conducts an in-depth interview with filmmaker Alfredo Gurrola about his legendary Super 8mm shortfilm 'Avandaro'. Produced by TV UNAM. Mexico, 2017.
The festival in documentaries about Mexican rock[edit]
Nunca digas que no: Tres decadas de rock mexicano. Documentary produced by MTV, USA 1996.
Yo no era rebelde, Rock mexicano 1957-1971. Documentary from ClioTV, produced by Enrique Krauze. Mexico 1999.[86]
BACK. Documentary about the history of rock music in Guadalajara and the involvement of some of its bands in the Avandaro Festival. Produced by the Universidad Autonoma de Guadalajara, Mexico 2006.
Rock n Roll made in Mexico: From evolution to revolution. Documentary directed by Lance Miccio and produced by Canned Heat drummer Fito de la Parra.[87] USA, 2007.
Documental 1968-1971: Los Jefes del Rock. Documentary directed by Guillermo Piñón. Set as a fictional story, several persons involved with the festival are interviewed. Produced by Canal 22/CONACULTA. Mexico, 2008.[88]
Gimme the Power. Documentary by Olallo Rubio about the band Molotov and how Mexican rock music has always had, since the late 1950s and passing through the Avandaro Festival until modern times, an ambiguous relationship with the Mexican government and society. Contains interviews with people involved in the festival like Luis de Llano, Sergio Arau, Alex Lora and Armando Molina. IMCINE-CONACULTA Mexico, 2012.[89]
Documentaries in production[edit]
Avandaro. In 2012, Mexican filmmaker Javier "Panda" Padilla[90] of the movie Suave patria stated that he was making a documentary about Avandaro but with no due date on sight.[91] In late 2013 he stated that the project, made in cooperation with Enrique Krauze's Editorial CLIO, is stalled due to copyright issues and that it might take years to come into fruition.[92]
The festival in movies and TV shows[edit]
La verdadera vocación de Magdalena.[93] Contains a segment with a fictional appearance of La Revolucion de Emiliano Zapata and Angelica Maria at the festival. It uses some real footage of the festival interspersed with a fictional recreation of it. Directed by Jaime Humberto Hermosillo. Mexico, 1971.
Los Polivoces. A comedy TV show of the early 1970s. The frequently seen fictional character Armandaro Valle de Bravo, was supposed to be a jipiteca and was named after the event and Armando Molina.[94] In his debut episode, he is supposed to be interviewed as he and his parents were returning from the festival. Mexico, 1971-1973.
Güeros. Ariel awarded road movie directed by Alonso Ruizpalacios.[95] It tells the fictional story of four characters who, in the middle of the 1999 UNAM strike, decide to find the legendary Epigmenio Cruz, an artist who once "made Bob Dylan cry" and was scheduled to perform at the festival. México, 2014.[96]
The Telenovelas (soap operas)[edit]
Así en el Barrio como en el Cielo (English: So in the neighborhood as in heaven). A TV Azteca soap opera, produced by Fides Velasco and written by Guillermo Ríos and Leticia López Margalli. The plot uses the Avándaro festival as its starting point and main base.[97][98] Mexico, 2015.
In May 2009 and then in May 2014, Luis de Llano, of Televisa, formally announced that he was preparing a soap opera with the Avándaro festival as its background.[99][100]
The Play[edit]
Avandaro: A comedy written by Carlos Alfonso Nava and directed by Cristian Magaloni. Three women from very different walks of life check in at a hotel close to the festival. As they are getting ready to show up to the concert, things will not go as planned. The play received laudatory reviews by critics and the blessing of Alex Lora. Mexico, 2018.[101][102]
Literature exclusively about Avandaro[edit]
Avándaro: Aliviane o movida? Book written by Vicente Anaya, Eligio Calderon, Carla Zenzes and José Luis Fernandez. Published by Editorial Extemporaneous, Mexico, 1971.
Avándaro. Book written by Luis Carrión Beltrán with pictures by Graciela Iturbide, published by Editorial Diogenes. Mexico, 1971.
Avándaro ¡Yeah, Yeah, Yeah!. A collection of essays from different authors collected by Antonio Elizondo. Published by Editorial Paralelo 32, S.A. Mexico, 1971.
La Trampa (The Trap). A three-part essay about the Mexican youth. Its third chapter, entitled El gran desafío : volver a pensar (The great challenge : to think again), deals with the festival. Written by Luis Garibay Gutiérrez, published by the Autonomous University of Guadalajara. Mexico, 1972.
Nosotros. Comprehensive photo-book about the festival, written by Tinta Blanca's manager Humberto Rubalcaba, with collaborations from Karen Lee de Rubalcaba, Alfredo Gonzalez and Mario Ongay. Pictures by Jorge Bano, José Pedro Camus, Francisco Drohojowski and Joel Turok. Contains an often cited Prologue by world-renowned journalist Jacobo Zabludovsky. Editorial NOSOTROS. Mexico, 1972.
Avandaro: Una leyenda (Avandaro: A legend). Book written by Juan Jiménez Izquierdo, a Festival attendee. Eridu Producciones. Mexico, 2011.
Informe Avándaro 1971. Published in 2014 but originally written in 1971 by intellectual Francisco Javier Estrada and politician Héctor Marín, then recently graduated from Normal school. According to their testimony, they were both appointed by the then General Direction of Public Education (the actual SEP) to make a report about the events of the festival.[103][104] Published by Casa del Poeta Laura Méndez de Cuenca, Mexico 2014.
Yo estuve en Avándaro. Written by Federico Rublí K. With photographs by Graciela Iturbide and a prologue by Luis de Llano. Trilce Ediciones. Mexico, 2016.
Avándaro : la historia jamás contada. Graphic Novel written by Luis Fernando Enríquez Rocha. Editorial Resistencia, Secretaría de Cultura de la CDMX. Mexico, 2018.[105]
Avandaro: Lo que se dijo y lo que no se habia dicho. A yet-to-be-published book by Armando Molina Solis.[106]
Comics[edit]
Aliviane a la Madre Tierra. A series of comics produced by Carlos Baca about the adventures of "Avandarito" (Little Avandaro) and his friends. Published by Revista Pop, Mexico 1971-1973.[107]
Magazines[edit]
Among many others, the most notorious ones were:
SIEMPRE!: "Avandaro". Reputable political magazine. While it did not approve some of the excesses committed by the jipitecas, it defended the position taken by then governor Hank and severely criticized the exaggerations of the media about the event. Mexico, 1971.
Casos de Alarma: Avandaro, el infierno. Exploitation magazine. Fictional story, purported to be real, about a troubled couple; a hippie woman (La encuerada de Avandaro) and a man with an opposing point of view of the Festival and the counterculture. Published by Alarma, Mexico 1971.[108]
Piedra Rodante: "La verdad sobre Avándaro". La Onda magazine. In-depth reportages about the festival including the renown "Dios quiere que llueva para unirnos" by liberal priest Enrique Marroquin. Published by Editoriales Tribales S.A., México, 1971.
Por Que?: "Avándaro: Miseria del régimen". Left-leaning magazine. In-depth reportage criticizing La Onda hippies and the festival, according to the magazine's political point of view. Published by Mario Menéndez. México 1971.
Cancionero internacional de oro En Onda: "Festival 11 de septiembre de 1971". Music magazine. In-depth reportage about the festival and the band Peace & Love. México, 1971.
Alerta: "Musica, droga y sexo: El frenesi de Avándaro". Exploitation magazine.. México, 1971.
Figuras de la cancion: "La noche de Avándaro". Music magazine. In-depth reportage about the festival and the band Three Souls in my Mind. The magazine was an instant hit, selling 100,000 units in its release.[109] México, 1971.
POP: "Avándaro". Music magazine, which included the famous comic "Aliviane a la Madre Tierra" by Carlos Baca. México, 1971.
Soundtracks[edit]
Live soundtrack[edit]
Avandaro: Por fin...32 años después. Released by Luis de Llano's own company Bakita-Ludell Records and produced by Javier Tena. Initially to include only 12 live tracks, the final product includes 17 live tracks as recorded in the festival. The CD was presented at the Hard Rock Café in Mexico City. Comprehensive description by Armando Molina. Mexico, 2003.[110]
Other soundtracks[edit]
La Fachada de Piedra en Avandaro Valle de Bravo. An EP with four studio tracks produced by Discos Orfeon, Mexico 1971.
Love Army en Avandaro. An EP with four studio tracks produced by Discos Orfeon, Mexico 1971.
Los Free Minds en Avandaro Valle de Bravo. An EP of four studio tracks produced by Discos Orfeon, Mexico 1971.
Los Soul Masters en Avandaro Valle de Bravo. An EP of four studio tracks produced by Discos Orfeon, Mexico 1971.[111]
Super Onda Chicana Vol. II: Vibraciones del 11 de Septiembre de 1971. Compilation by Fontana Records, which BILLBOARD magazine incorrectly labelled as a Live Recording of the event, Mexico 1971.[112]
Rosario: Avandaro: Hit single by the band Rosario, issued by Philips. Mexico, 1972.
Rock en Avandaro. A compilation of twelve studio tracks produced by Discos Orfeon, re-issued in CD in 2005. Mexico 1972.[113]
Tinta Blanca: Avandaro. Hit single from Tinta Blanca, issued by Philips. Mexico, 1971.
Tinta Blanca: Ecos de Avandaro. A re-issue of the band's 1971 hit single "Everything's gonna change" originally released by Philips. Re-issued by Cisne RAFF, Mexico 1973.
Coleccion Avandaro. LP, CD and Cassette re-issues by Discos y Cintas Denver of Peace & Love and El Ritual's debut albums as well as Three Souls in my Mind's first two albums. Mexico, 1985-1987-1992-1999.[114]
Vibraciones de Avandaro. A compilation of studio tracks produced by PolyGram Records in 1994 and re-issued in 1996 to celebrate the festival's 25th anniversary. Mexico, 1994-1996.
Festival de Rock y Ruedas en Avandaro Valle de Bravo. A compilation of studio tracks of different bands produced by Universal Music, Mexico 2002.
Ecos de Avandaro. A double CD compilation with studio works of different bands. Produced by Sony BMG Music Entertainment, Mexico 2007.[115]
Curiosities[edit]
La encuerada de Avandaro[edit]
In spite the spirit of the age and that many people were completely naked swimming in the lake, walking in the middle of the crowd or even on stage without a problem as can be seen in the film, one woman, as the band La Division del Norte was playing, performed a striptease and caught the attention of the cameras. Her strip-tease was captured in the Gurrola film and shots of her appeared in many other media. When the footage and pictures were shown, the public baptized the woman as La encuerada(the naked woman).[116] The woman was interviewed on-site by Elena Poniatowska;[117] however, another interview, thought to have been real for decades, was published in the rock magazine Piedra Rodante in late 1971.[118] In 2001, a bitter dispute between the owner of the magazine Manuel Aceves and then collaborator and music critic Oscar Sarquiz about the veracity of the interview took place in La Jornada newspaper.[119] Finally, it was confirmed by Federico Rubli and further explained in the TV Azteca documentary that the interview was completely bogus.[120] A few years after the festival the band Three Souls in my Mind composed a song called La encuerada de Avandaro which would become a hit in the underground movement.[116]
The lost Telesistema Mexicano videotapes[edit]
Shot by Telesistema Mexicano cameramen under direction of Carlos Alazraki, those tapes were destined to become part of the planned TV special but were confiscated by their own company as soon as Luis de Llano showed up for work. Some footage of these tapes has been released since 1971 in movies and documentaries. In a 2001 interview, Luis de Llano recalled this situation and stated that may he find the tapes he will produce a movie with them though it is widely believed that they were sent to a storage in Tijuana, and that years later the whole place burnt out. He also made clear that, contrary to popular belief, the Secretariat of the Interior did not confiscate the tapes.[121] An independent investigation, as shown in the Las glorias de Avandaro documentary, made as a request through the Federal Institute of access to information (IFAI) produced the official document proving that, indeed, the government did not confiscate the tapes.
Booked acts who failed to show up[edit]
Love Army - As stated by the former band singer Pajaro Alberto in the Glorias de Avandaro documentary, the band suffered a minor car accident while on the road from Mexico City to Avandaro.
La Tribu - As stated by Armando Molina in the live soundtrack, La Tribu cancelled at the very last minute but their record company, Polydor, sent La Division del Norte in their place.
Acts who declined to participate[edit]
La Revolucion de Emiliano Zapata: As stated by member Javier Martin del Campo in the fair use trailer for Bajo el sol y frente a Dios documentary, the band was already booked for September 11 to appear in Monterrey. As the band was heading north, they saw thousands of fans going south for the festival.[122]
Javier Batiz: As stated on the fair use TV Azteca documentary La historia detras del mito: Avandaro, he considered Molina's payment offer too low. Later, he regretted his decision and tried, together with his sister singer Baby Batiz some members of Los Locos and his girlfriend, to get to the festival but were stranded in the traffic jam and his girlfriend at the time got ill while on the road.
Legacy and Official Recognition in 2019[edit]
The festival remains a controversial issue in Mexican society.[123] After the festival, Mexican rock music was almost banned and was segregated to the so-called Hoyos Funkies, illegal gatherings in abandoned warehouses and supported mostly by the proletariat. A few years after the festival the hippie movement around the world collapsed and Mexico's La Onda was no exception, giving way to the ascension of other music genres of the mid-1970s such as Disco, Urban rock, Punk, Romantic Ballads, Heavy Metal, Progressive rock and, exclusively in the Mexican scene, the Rupestre movement championed by Rockdrigo Gonzalez.[124][125]
The world-class quality of the bands that participated is generally praised by critics and public alike and the festival was little by little being acknowledged by official publications from respected institutions such as INEGI and COLMEX [126][127] and in November 2019, right after the death of Armando Molina, Senator Marti Batres via Twitter gave his sympathies to Molina's family members and made the announcent about the official recognition that the Senate would do to the Festival. On November 25, 2019 the Mexican Senate gave a formal recognition to different musicians who took part on the festival as well as a tribute to Molina, effectively putting an end to 48 years of Government censorship to Avandaro.[128] [129]
The festival is often regarded as a milestone in the history of rock music, the hippie movement and post-WWII Mexican society in general.[130][131]
Picture gallery[edit]
Photographer Pedro Meyer, himself an Avandaro attendee, produced a collection named Avandaro 1971, available online.[132]
In 2016, the Museo Universitario del Chopo in Mexico City, exhibited a collection of Avandaro photographs taken by Graciela Iturbide.[133]
Rock music portal
List of historic rock festivals
List of historic music festivals
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^ Villarreal, Rogelio. "La larga noche de Avándaro". Clarimonda. Retrieved 29 June 2014.
^ Canales, Miriam. "ROCK MEXICANO: DEL HOYO FUNKIE A LA LUZ". SIN EMBARGO. Retrieved 24 February 2015.
^ Historia minima de México ilustrada (PDF) (1st ed.). COLMEX: COLMEX-Secretaria de edicacion del gobierno del DF. 2008. p. 513. Archived from the original (PDF) on 9 August 2015. Retrieved 11 March 2015.
^ 125 años de la DGE (1st ed.). INEGI: INEGI. 2009. p. 141. ISBN 978-970-13-5159-8. Archived from the original on 28 May 2012. Retrieved 3 March 2015.
^ Ponce, Roberto (23 November 2019). "Muere Armando Molina, creador del Festival de Avándaro; Batres prepara tributo". PROCESO. Retrieved 9 December 2019.
^ Cayetano, Pilar (25 November 2019). "Senado homenajea a Armando Molina, promotor del Festival de Avándaro". POLITICO. Retrieved 9 December 2019.
^ de Llano Macedo, Luis (13 September 2010). "Avándaro: mitos, hechos, dichos y actualidad". ESMAS. Retrieved 27 June 2014.
^ Cisneros, Ernesto (2011-11-16). "Avándaro: ¿cuarenta años de qué?". Sonnigetage. Retrieved 28 June 2014.
^ Meyer, Pedro. "Avandaro 71". Pedro Meyer. Retrieved 26 June 2014.
^ "Avandaro, bajo la mirada de Iturbide". El Universal. 13 September 2016. Retrieved 22 December 2016.
Agustin, José (2013). Tragicomedia Mexicana Vol. 2. Debolsillo. ASIN B00DUGYL4M.
de Llano Macedo, Luis (2016). Expedientes Pop. Planeta. ISBN 978-607-07-3582-0.
Cruz, Octavio Hernandez (Oct–Nov 1996). A 25 Años del Festival de Rock y Ruedas en Avandaro. La Banda Elástica. p. 4.
Rodríguez O., Jaime; Kathryn Vincent (1997). Common Border, Uncommon Paths: Race, Culture, and National Identity in U.S.-Mexican Relations. Rowman & Littlefield. ISBN 0-8420-2673-8.
Zolov, Eric (1999). Refried Elvis: The Rise of the Mexican Counterculture. University of California Press. ISBN 0-520-21514-1.
Monsivais, Carlos (1970). Dias de Guardar. Editorial Era. ISBN 9684111886.
Garcia, Parmenides (1972). La ruta de la onda. Editorial Diogenes.
Pacini Hernandez, Deborah (2004). Rockin Las Americas: The Global Politics Of Rock In Latin/o America. University of Pittsburgh Press. ISBN 978-0822958413.
Rubli, Federico (2007). Estremécete y Rueda: Loco por el Rock & Roll. Casa Veerkamp. ISBN 978-9685546027.
Arana, Federico (1985). Guaraches de ante azul. Editorial Posada. ISBN 978-9684331419.
Marroquin, Enrique (1975). La contracultura como protesta. Editorial Mortiz.
Official Recognition by the Mexican Senate. From the official YT channel of the Mexican Senate.
SIEMPRE!: Festival de Avándaro. Fair-use ISSUU powered document of the magazine's Avandaro special.
Avandaro: The Play. Fair-use trailer of the play with the same name. From Alegoria TV channel.
Tinta Blanca en Avandaro. Humberto Rubalcaba's short film, available for fair-use. No sound and with watermark.
Maravillas y Curiosidades de la Filmoteca de la UNAM: Avandaro. Fair use TV special, from TV UNAM's official YT channel.
Observatorio Cotidiano: 45 años de Avándaro. Fair use TV special, from TV UNAM's official YT channel.
Pantalla de Cristal: Enrique Quintero Marmol. Fair use CONACULTA video interview from Quintero Marmol's own YouTube channel.
In Memoriam: Avandaro. Documentary from Canal Once IPN. Available for fair use from the Producer's channel.
Documental 1968-1971: Los Jefes del Rock. Fair use documentary from the official Canal 22-CONACULTA YouTube channel.
Así en el Barrio como en el Cielo. Free streaming TV Azteca's Telenovela based on the Avandaro festival. Free streaming authorized by and from the official TV Azteca YouTube channel.
Memoria Viva de Ciertos Días - Festival de Avándaro. Fair use documentary produced by CONACULTA.
Avándaro, Imágenes Inéditas. Fair-use posthumous documentary by Sergio Garcia, available from Cultura Independiente channel.
Refried Elvis: The rise of the Mexican counterculture. Available as e-book for fair use from the University of California Press website.
Rafael Catana: Armando Molina en Pueblo de Patinetas. In-depth video/radio interview with festival co-organizer Armando Molina.
Avandaro 1971. Collection of art photos by Pedro Meyer.
BACK. Fair use documentary about rock music in Guadalajara and the bands that were involved in the Avandaro festival. Contains interviews with musicians from La Fachada de Piedra, Spiders, 39.4, La Revolucion de Emiliano Zapata and more. From the official channel of 39.4 singer Larry Sanchez as professor of the UAG, its producer.
Historias Engarzadas: Alex Lora. Fair use documentary about El TRI's frontman Alex Lora, his involvement in the Avandaro festival and career in general. Contains interviews with Three Souls in my Mind drummer Charlie Hauptvogel, La Onda writer José Agustin, impresario Armando Molina and more. TV Azteca-approved YT channel.
SuSana Adiccion: La represion de Avandaro. Fair use spots of the TV special available in the Univision website. Interviews with filmmaker Alfredo Gurrola, producer Luis de Llano and more.
Nosotros. 1972 book by Humberto Rubalcaba, available for fair use in Scribd.
Avandaro, Fair use super 8 shortfilm produced by Luis Gutierrez y Prieto and directed/edited by Alfredo Gurrola, 1971.
Las glorias de Avandaro. Fair use and independently produced documentary by Arturo Lara Lozano, Carlos Cruz, Manuel Martinez, Angel Velazquez and Arnulfo Martinez y Torres, Mexico 2005.
La historia detras del mito: Avandaro A fair use documentary produced by TV Azteca, 2013.
Programa especial "El observador": 40 años de Avándaro, Parte 1. First part of a fair use special program produced by Television Metropolitana S.A. de C.V.-Canal 22. Consejo Nacional para la Cultura y las Artes, 2013.
Programa especial "El observador": 40 años de Avándaro, Parte 2. Second part of a fair use special program produced by Television Metropolitana S.A. de C.V.-Canal 22. Consejo Nacional para la Cultura y las Artes, 2013.
The Day that Rock Music in Mexico was Forced Underground. From the Appalachian Getaway Magazine, 2005.
Aliviane a la Madre Tierra. Carlos Baca's official website. Avandaro Comics and pictures available for fair use.
Enrique Marroquin. Enrique Marroquin's official website. Pictures and Avandaro/La Onda-related content available for fair use.
Piedra Rodante. Complete collection of the iconic La Onda tabloid available for fair use by Stony Brook University.
Alfredo Gurrola. Gurrola's official website which includes free links to his Avandaro iconic film and more.
Historic rock and pop festivals
italics = festival ongoing
Sanremo Music Festival
Festival di Napoli
Newport Jazz Festival
Beaulieu Jazz Festival
Nationaal Songfestival
Benidorm International Song Festival
Thessaloniki Song Festival
Viña del Mar International Song Festival
Melodi Grand Prix
Sopot International Song Festival
Reading and Leeds Festivals
National Jazz and Blues Festival
Festival Omladina
National Festival of Polish Song in Opole
Festivali i Këngës
Un disco per l'estate
Parada ritma / Vatromet ritma
Gitarijada (Belgrade)
Golden Orpheus
Gitarijada (Zaječar)
Mantra-Rock Dance
Fantasy Fair and Magic Mountain Music Festival
Barbeque 67
Schaefer Music Festival
Miami Pop Festival I
Northern California Folk Rock Festival I
Quebec City Summer Festival
Newport Pop Festival
Festival de Ancón (Perú)
Sky River Rock Festival
Internationale Essener Songtage
San Francisco Pop Festival
Los Angeles Pop Festival
Miami Pop Festival II
Big Rock Pow-Wow
Northern California Folk-Rock Festival II
Newport 69 Pop Festival
Denver Pop Festival
Bath Festival of Blues
Mississippi River Festival
Atlanta International Pop Festival I
The Stones in the Park
Harlem Cultural Festival
Laurel Pop Festival
Midwest Rock Festival
Seattle Pop Festival
Atlantic City Pop Festival
Vancouver Pop Festival
New Orleans Pop Festival
Toronto Rock and Roll Revival
Altamont Free Concert
Festival of Political Songs
Hollywood Music Festival
The Kickapoo Creek Rock Festival
World Popular Song Festival
Atlanta International Pop Festival II
Super Concert '70
Aachen Open Air Pop Festival
Piedra Roja
Bath Festival of Blues and Progressive Music
Phun City
Kralingen Music Festival
Pinkpop Festival
Powder Ridge Rock Festival
Goose Lake International Music Festival
Man-Pop Festival
Vortex I
Festival de Ancon
Pesnya goda
Vilar de Mouros Festival
Myponga Pop Festival
Ilosaarirock
Tokyo Music Festival
Weeley Festival
Northern Lights Festival Boréal
Sunbury Pop Festival
Erie Canal Soda Pop Festival
Bickershaw Festival
Mar y Sol Pop Festival
Windsor Free Festival
BOOM Festival
The Great Ngaruawahia Music Festival
Aquarius Festival
Day on the Green
Summer Jam at Watkins Glen
Stonehenge Free Festival
Volunteer Jam
Ashton Court Festival
Knebworth Festival
Zaire 74
August Jam
Ozark Music Festival
California Jam
Hollywood Rock
Watchfield Free Festival
Michigan Womyn's Music Festival
Midtfyns Festival
Stemweder Open Air
Cropredy Convention
100 Club Punk Special
Paléo Festival
Nambassa
Deeply Vale Festivals
Texxas Jam
Havana Jam
Gurtenfestival
Waikino Music Festival
California Jam II
Canada Jam
Bele Chere
Tom Rounds
Mel Lawrence
Wally Hope
Ubi Dwyer
Sid Rawle
Bill Hanley
Wavy Gravy
Freddy Bannister
Barry Fey
Merry Pranksters
Alex Cooley
Graeme Dunstan
Mick Farren
Russ Gibb
Shelly Finkel
Jim Koplik
Stewart Levine
Leonard Stogel
Robert Raymond
Bruce Lundvall
Jerry Masucci
Counterculture of the 1960s
UK underground
la Onda
rock concert
audience wave
folk festival
pop festival
rock festival
free festival
List of heavy metal festivals
List of jam band music festivals
List of punk rock festivals
List of gothic festivals
List of industrial music festivals
(italics = ongoing)
Anger Management Tour
Area Festival
Big Day Out
Crüe Fest
Deconstruction Tour
Doomination
Family Values Tour
Fuji Rock Festival
Gigantour
Hard Electric Tour
H.O.R.D.E.
Lilith Fair
Magic Circle Festival
Montebello Rock
Nintendo Fusion Tour
Rock am Ring and Rock im Park
Rock in Roma
Rock Boat
Ruido Fest
Projekt Revolution
Rock Never Stops Tour
Sounds of the Underground
Summer Sanitarium Tour
The Unholy Alliance Tour
Moshpit
Pogo (dance)
Headbanging
Stage diving
Sign of the horns
Rivethead
Concert tour
Hip hop music festival
EDM festival
Trance festival
Retrieved from "https://en.wikipedia.org/w/index.php?title=Festival_Rock_y_Ruedas_de_Avándaro&oldid=936696602"
Rock festivals in Mexico
Hippie movement
Counterculture festivals
Music festivals established in 1971


text:
Q: TemplateUrl in Rails not linking I can't for the life of me get templateUrl from a custom directive to link to html template file in my Rails app.  I've tried using the angular-rails-templates gem as well as some other methods.  Here's what I have so far:
angular application:
window.App = angular.module('myTestApp', ['templates']);

App.directive('testingDiv', [function(){
    console.log('hey')
    return {
        templateUrl: {
            restrict: 'AE',
            templateUrl: 'test.html'
        }
    }
}]);

(I see the console logged message, so I know I'm getting in there)
test_page.html.slim
testing-div

app/assets/templates/test.html

TESTING!!!!

The order I require relevant assets in my application.js file:
//= require angular
//= require angular-rails-templates
//= require angular-ui-bootstrap-tpls
//= require angular-resource
//= require_tree ./angular

UPDATE:
I tried just
return {
  template: '
TEST
'
}

and it didn't show up either.  Think it has something to do with the slim file?

A: //= require_tree ../templates or it won't work. I just checked in our code.
Edit: I think there is a mistake in your syntax, fixed version below:
App.directive('testingDiv', [function(){
    console.log('hey')
    return {
       restrict: 'AE',
       templateUrl: 'test.html'
    }
}]);

redpajama_set_name: RedPajamaStackExchange


text:
An overdue update of stuff!
By Brad Gallaway on February 7, 2013 in Blogs
We're recording the next GameCritics Podcast this Friday (2/8) and our topic is:
"What three games are you going to dig out of your backlog and play in 2013—and why?"
If you want to play along with us, send us your three picks and we'll read 'em on the air.
Also, we're taking general questions—any and all questions. Game-related or otherwise, ask us anything and we'll answer it on our pod!
(BTW, we ran really long last time and had to cut out two segments… We still have the Qs from that session and will be getting to them this time. Sorry 'bout the delay!)
So, what have I been playing?
Believe it or not, I had never tried Cave Story before, and GameFly sent me the 3D version, which was pretty, uh, awful. I was quite confused by how poor it was after hearing it praised by so many for so long, but @Dezm0nd and @Duckols came to my rescue by telling me to ditch the 3D version and go oldschool 2D with the version on the 3DS e-Shop.
That was the best advice anyone could have given me, because this older version clicked with me immediately and I ended up thinking it was pretty fantastic. It's rare that something so celebrated turns out to live up to its reputation, but in the case of Cave Story, all of the happy talk was true. The 2D version is totally, totally recommended.
Interestingly, another game released by the same developer hit the e-Shop the day after I completed Cave Story.
I jumped right into that, and although it wasn't nearly as deep or as polished, it was still enjoyable. Ikachan takes place in one huge level, and tells the story of a squid who rescues sea urchins in a space ship because… well, I'm honestly not sure why, but it's a thing that happens in the game and it ends up being a good time. It was a quick play, somewhere in the neighborhood of two hours or so, and a thumbs up.
The rest of my plays on the 3DS haven't been as successful. I gave Vampire Blood a try since it looked like it might be a neat kind of action/item-heavy game, but it turned out to be total crap.
I also got sick of the poor controls and generally rough design in Tokyo Crash Mobs as well. I like the crazy FMV style that has, but the actual gameplay barely holds together. It's more frustrating than fun, and I don't need that in my life.
NightSky is a physics puzzler that started out well, but turned me off with the way the developers kept changing the rules and powers available to the player without any rhyme or reason. The whole experience felt very inconsistent and haphazard, and those are two qualities I don't like in my games.
Apart from the handheld stuff, I'm still cruising through my backlog and selected Dead Space 2 as my next "catch-up." I won't be doing the review for Dead Space 3, but with everyone talking about the newly-released third installment, I figured it was time that I got around to the second.
I'm still early in the game, maybe three hours or so, but it's going alright. It does basically what I expected it to and that's fine since I'm in the mood, but there haven't been any big surprises or interesting twists yet. I'm guessing this will probably be one of those that I push through and finish, and then completely forget about a day or two later.
A bunch of Monster Hunter-related things here.
First off, another plug for @Kotowari's Monster Hunter Beginner's Guide. Monster Hunter 3 Ultimate hits the 3DS and WiiU in March, and I'm hoping that a lot of you out there who haven't tried the game yet will decide to jump aboard. If you do, be aware that Monster Hunter has always been utterly terrible at welcoming newcomers. Even though it eventually became one of my favorite games of all time, I fully admit that my first few experiences with the series were nothing short of awful. Avoid all that headache by checking out this beginner guide… I've looked through it myself, and the information inside there will be absolutely invaluable to any first-time hunters. Seriously recommended.
For even more Monster Hunter info, one of the best places on the Internet is the Teamwork Podcast. There are a whole series of videos showing the group taking on monsters of every level from every game in the series, and they engage in some great chat while they do it. I was lucky enough to be on two separate episodes, and questing with these guys is serious good times. Apart from the videos, they have a new system where people can meet up for online questing, and they're always happy to answer questions of any kind. These guys are good stuff.
While I'm on the subject, you may be interested in hearing that there are special Monster Hunter-themed cases made to fit both the 3DS and 3DS XL. These things are pretty sweet-looking, and you can check them out right here. I was doing some searching myself, and surprisingly, there really aren't that many custom pieces available for handhelds… if this sort of thing tickles your fancy, you might want to jump on it.
Finally (hey @Nightdreamer, are you sick of hearing about this yet?) my awesome, awesome wife @Ginagallaway made me a custom Tigrex coffee sleeve that I can take with me anywhere I go. Getting caffeinated while showing off my love of Monster Hunter has never been so easy or stylish!
In case you're wondering how she came up with it, I first looked at a picture of the Tigrex symbol (easily Googled) and made an analog with perler beads. I had to eyeball it myself, but I think I came pretty damn close. I had to make a few adjustments here and there, but hey. Once I had the pattern, each individual bead equated to one stitch on the coffee sleeve, so all she had to do was copy it one-for-one and it came out exactly right.
I'm over the moon about this thing, and currently thinking about having her do another one for me… I haven't decided on the next monster, though.
Some of this stuff might be old news if you follow me on Twitter, but just in case you haven't seen it yet…
Brandon Bales did a fantastic interview with @Swery65 on his upcoming Deadly Premonition Director's Cut, exclusive to PS3.
Sparky Clarkson did a neat little interactive write-upon Hotline Miami and its choices.
Nathan Fouts over at @MommysBestGames has a new video (above) up detailing the new Serious Sam DD XXL that will be hitting XBLA in two weeks or so. Nathan hasn't made a game that wasn't good, and even though I'm not a Serous Sam fan, I'm definitely looking forward to this one.
I don't cover music too often, but DuckDuckPunch reached out to me from Minnesota, wanting to spread the word about their new video (above) and their first album, and I could hardly say no to that. If you like Electronic-ish-type stuff, you might want to check 'em out.
Apropos of nothing, I wanted to mention that my wife recently made salmon jerky for the first time, and not only was it ridiculously delicious, it was a hell of a lot cheaper than buying it.
Cleaning the fish and stripping the meat was kind of a process, but so worth it. It didn't take nearly as long to cook as I expected, either… Just about one whole day, so not too bad. Homemade jerky: recommended.
Brad Gallaway
Senior Editor of GameCritics.com and co-host of the So Videogames Podcast.
Latest posts by Brad Gallaway (see all)
So Videogames Ep. 320: Spirit Of Certainty - January 21, 2023
OddBallers Accessibility Spotlight - January 20, 2023
So Videogames Ep. 319: Buddies On A Boat - January 15, 2023
Tags: 3DS Cave Story Monster Hunter PS3 Vita Xbox 360
Written by Brad Gallaway
I had really hoped that Nintendo would have momentum going into the launch of Monster Hunter 3 Ultimate, that way there would be a chance for an online community at the time of its launch. All Monster Hunters come with a learning curve and a large community of people to help newbies would go a long way toward giving this game traction in the West. As it is right now, the 3DS may have to be enough. Hopefully, the games are just as good on both platforms.


A simple, effective daily skin care routine for men with normal to oily skin.
The best daily skincare routine for men to maintain healthy skin. These two products work together to deliver a simple but powerful skincare routine that gives immediate and noticeable results. Recommended for normal, to oily & combination skin.


text:
Office of Film and Literature Classification er et regeringskontor der klassificerer biograffilm, computerspil og andre udgivelser.
Efter australsk lovgivning skal hver film, computerspil, om det er produceret indenlandsk eller udenlandsk, klassificeres før det kan udgives til offentligheden. Der er meget få begrænsninger for dette.
Man har oprettet et website hvor alskens film er blevet klassificeret af forskelligt personale og offentliggjort på en meget overskuelig måde.
Klassifikationen går på ulovlig/lovlig til udgivelse eller hvilken aldersgruppe der ikke bør se/spille. Derudover er der også angivet hvilket land udgivelsen kommer fra og sådan noget.

Eksterne henvisninger
 Hjemmeside for Office of Film and Literature Classification

Film fra Australien
Vurderingssystemer for computerspilindhold

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