del diario pop - Museo Interactivo de la Música



del diario pop - Museo Interactivo de la Música
A concert in honour of Canito, former drummer
of the band Tos, is usually considered the
“official” birthdate of “La Movida”. The musician
passed away in a car accident in New Year’s Eve
of 1979 and the concert was held the following
9th of February in the Faculty of Engineering at
Madrid Polytechnic University. Most likely, as I
have already mentioned in other occasions, this
improvised concert would have never had such
an impact if it had not been broadcasted by
Popgrama of TVE (Spanish National Television
show) and the radio stations “Onda 2” and
“Radio 3”. The latter became an important element in the spread of a phenomenon
that was starting to build up.
This social phenomenon was a creative explosion that came to life and acquired
its true dimension in the streets. It is here where, along with the activity of music
bands, the work of painters, photographers, designers, illustrators, stylists and
moviemakers, came together. Almodóvar, Ouka Leele, Alberto García-Alix, Borja
Casani, Javier Mariscal, El Hortelano or Ceesepe were among the artists in this
extensive list, in which places like Rockola, Vía Láctea, Morasol or Penta, the real
La Movida
music temples of the time, should be included, as well as magazines such as La
Luna, Madrid me mata, El Paseante and El Europeo, or the mythical TV programme La
Edad de Oro by Paloma Chamorro.
After thirty years and from the perspective of the recent history, the movement
keeps provoking a growing interest in different fields of study. It does not leave
anyone indifferent: there are those who fervorously defend it and those who say it
was nothing but a socialist invention backed by the then Mayor of Madrid Tierno
Galván. In any case, the attention focusing on the phenomenon and its creative,
sociological and political effects keep increasing both in Spain and internationally.
Sabas Martín
Pop Revolution
This pop music that changed the overall
picture of Spanish music 25 years ago,
originates mainly in punk music and was
characterised by a break with the recent
past. None of the members of Kaka de
Luxe knew how to play an instrument,
but this drawback did not hold them
back from getting up on stage to express
themselves through songs that were
coming to life, bit by bit, as they were
learning how to sing and play their
POP REVOLUTION. Punk music put an
end to the common belief (according to
Spanish philosopher Ortega y Gasset:
an established idea which is universally
accepted) that only experimented
vocalists and instrument players should
be part of a musical band. Kaka de
Luxe was the best example of a band
that challenged this and other common
When Mexican Olvido Gara, who would
later adopt Alaska as her pseudonym,
honouring a Lou Reed song, arrived in
Spain in 1973, she was already trying to
find someone interested in Glam Rock.
It was not until 1977 that she found
some like-minded people: “It was then
when we started to make music and
zines. We, the rejected ones from every
generation got together. People of all
ages and backgrounds. I was fourteen
by then, Bernado Bonezzi was thirteen,
while others were twenty-five or thirty. I
think we were the ones who did not fit in
our generations”.
But pop is not only music. Alaska
believes that zines were, in many cases,
the seeds for groups like Kaka de Luxe:
“La Liviandad del Imperdible was very
important for me because this is how
I got to know Fernando Márquez “El
Zurdo” and other people who were part
of a fantastic scene. I was fourteen by
then and setting up zines, bands and
concerts was all I wanted to do. In
addition, it was an opportunity to realise
that this was what we wanted to do. And
from there on, we had to get in touch with
the appropriate people: Nacho Canut,
Carlos Berlanga and, later on, Enrique
Pop Revolution
Kaka de Luxe, founded in Madrid, was deliberately mimicking the Ramones. However,
as Fernando Márquez wrote in Música Moderna: “Alaska was doing so to an even greater
extent”. In her last trip to London, she brought back a peculiar potpourri of beaming
leftovers of hard rock music, such as ACDC or UFO, surf minimal - Ramones -, pure or
semi-pure punk -The Clash, The Sex Pistols, Damned –. In any case, it was a not too
innovative girl band with a cover version of Kim Fowley that captivated Alaska and first
caught our attention. The band was The Runaways and the song “Born to be bad”, which
deals with a girl who ran away from home and troubled her parents because she was
“born to be bad”.
Out of Kaka de Luxe’s ashes arose the first star: Alaska, after featuring a photographic
documentary by Alberto García-Alix, a member of the Cascorro Factory along with
Ceesepe y El Hortelano.
From the very beginning, photographers like Alberto García-Alix, Ouka Leele, Pablo Pérez
Mínguez, Maribí Ibarrola, Vicente LLuna, Miguel Trillo, María Luisa Cuadrado Tonkín or
Dj Floro; illustrators and painters like Pejo, Ceesepe, Herminio Molero, El Hortelano,
Javier de Juan or Sigfrido Martín Vegé; poets, writers, journalists, designers, tailors,
and an endless number of the most diverse mixture of artists were part of a movement
that was going to be known as La Movida. Some of them are nowadays considered
prestigious figures of the “official” culture, such as Javier Mariscal, Pedro Almodóvar,
Oscar Mariné, Las Costus, el Gran Wyoming, Moncho Alpuente o Borja Casani, etc.
Almodóvar’s movies – especially his first motion pictures “Pepi, Luci, Bom y otras
chicas del montón” and “Laberinto de Pasiones” – wouldn’t exist without Alaska y
Los Pegamoides, Derribos Arias, Los Zombies, Radio Futura, Las Costus, Pablo Pérez
Mínguez and all the members of “La Movida”.
Jesús Ordovás
The Exhibition
Jesús Ordovás was one of the first-hand
witnesses of the birth of “La Movida” and
the new Spanish wave. It is therefore not
suprising that the exhibition is an extract
of his own personal collection, made up of
the material that he has been receiving in
more than 30 years on air in programmes
like Diario Pop, Esto no es Hawaii or Ipop. The
exhibition includes a significant collection
of photographies, posters, flyers, zines,
discs, books and multimedia material on
three decades of “La Movida”.
The exhibition features posters of
performances of the early 80s in Rockola
(Almodóvar y McNamara, Alaska…), demos
of bands that were starting then (Radio
Futura, Kaka de Luxe…) in all the formats
that existed at that time (reel to reel tapes,
audio tapes, mini discs…) and also discs
covers. All of them were selected according
to the importance of the band, Ilegales,
Los Zombies, Gabinete Caligari, etc., and
those who made them, photographers and
designers such as Ouka Leele, Alberto
García-Alix, El Hortelano or Ceesepe.
Another extraordinary interesting section
of the exhibition is dedicated to the
audiovisual material of the time, including
music videos and a great number of TV
shows from the Spanish National Television
of the 80s, like La Bola de Cristal, as
well as concerts and interviews of major
figures back then. The book collection also
constitutes a relevant asset, made up of an
important number of books on pop music
available for public consultation.
The exhibition invites the audience to take a
closer approach to the musical and cultural
heritage of La Movida, highlighting relevant
aspects of the evolution of pop. These
traits of La Movida have been transferred
from generation to generation and they are
part of contemporary music, maintaining
its own distinctive identity. The display
deals with the phenomenon of music and
is also works as a mirror of society.
Due to the nature of the exhibition and the diversity of exhibition spaces, the set up is
entirely modular, so each module can be exhibited independently.
The exhibition comprises more than 40 panels that reflect this cultural movement
through its music, illustrations, design, photography, literature and aesthetics.
In addition to the panels, depending on the exhibition space and the possibilities of each
site, the exhibition can be complemented with additional material, such as: memorabilia
to be displayed in showcases, a book and zine collection, digital audiovisual material,
etc., as well as a karaoke kit equipped with music of the 80s, which gives visitors the
opportunity to participate actively.
Demos and
First Recordings Singles
and LPs
Audio Tapes, CDs and DVDs Zines,
Magazines and Books
Posters Tickets, flyers and
promotional items
Nowadays, the success of an exhibition depends on the additional activities that are
organised along with it.
This exhibition deals mainly with music, but also with photography, design, painting,
aesthetics, fashion, literature, cinema. In short, it deals with an endless number of
creative and artistic disciplines which were initiated in this moment. This plurality
offers a wide range of possibilities regarding the organisation of additional activities
along with the exhibition: from talks and round tables with the protagonists of the
Additional Activities
time, to film series and movie screenings, seminars, DJ sessions, concerts, creative
workshops. Including a pop party, ready to take us back in time with the 80s music and
Jesús Ordovás, fundamental figure and witness of that time, attends the opening of the
exhibition as the curator. His presence represents a perfect opportunity to organize a
talk or a DJ session.
A unique and individual catalogue can also be
published for the occasion.
The catalogue is a highly visual book that, according
to Jesús Ordovás, brings together the images that
best depict this movement.
Format: 23 x 25 cm.
80 pages
Colour Illustrations
Published by Everest Directo
Some of its content…
• Posters of the concerts that took place in University
Residence Halls, discos and other venues.
• Flyers and concert tickets.
• Covers of the first independent singles and LPs
recorded by all kinds of record labels.
• Samples of reel to reel tapes and songs that
bands used to send to the radio stations (Onda 2
and Radio 3).
• Independently recorded Audio tapes.
• Books about La Movida, writen by Fernando
Márquez and other musicians and journalists.
• Zines
• Magazines such as Madrid Me mata, La Luna de
Madrid, etc.
The communications and marketing strategy of La Movida exhibition is based on an
integrated set of activities that aim to increase the appeal of the exhibition. It is intended
to achieve an adequate level of popularity and a positive image in order to stimulate
cultural interest in its underlying concept.
• Opening. Attendance of Jesús Ordovás, institutional representatives
• Distribution of press releases through the press office of Interexpo
• PR activities with institutional representatives and other target groups
• Graphic design of all materials
• Catalogue of the exhibition (optional)
• Online marketing
La Movida... del Diario Pop
Jesús Ordovás
Museo Interactivo de la Música (Málaga, Spain)
Technical information
Interexpo, Exposiciones Internacionales, Culturales e Interactivas, S.L.
Jesús Ordovás
Published by Everest Directo
Format: 23 x 25 cm Pages: 80
Museo Interactivo de la Música (Málaga, Spain)
Interexpo, Exposiciones Internacionales, Culturales e Interactivas, S.L.
Target group
All groups
Room size
100 m2 (min) – 300 m2
Useful surface area
50 m min
Ceiling height
2,50 m.
50 – 80 panels
The number of panels depends on
exhibition available space.
Showcases required
Demos and First Recordings
Singles and LPs
Audio Tapes, CDs and DVDs Zines,
Magazines and Books
Posters Tickets, flyers and
promotional items
Audiovisual material
Sound projector required.
Showcase with a key and library
staff required
Museo Interactivo de la Música (Málaga, Spain)
1st December 2005 – 8th January 2006
Museo de Bellas Artes de Castellón (Castellón, Spain)
7th – 28th June 2007
Museo López Villaseñor (Ciudad Real, Spain)
18th October – 15th November 2007
Museo de Jaén (Jaén, Spain)
28th March – 4th May 2008
Exhibition Sites
Museo de Almería (Almería, Spain)
25th November 2009 – 14th February 2010
Universidad Politécnica (Cartagena, Spain)
14th – 28th February 2006
Universidad de Cantabria (Laredo, Spain)
17th July – 27th August 2006
Universidad de Castilla la Mancha (Cuenca, Spain)
20th October – 20th November 2006
Universidad de Salamanca (Salamanca, Spain)
26th January – 25th February 2007
Universidade da Coruña (La Coruña, Spain)
24th January – 24th February 2008
Universidad de Granada (Granada, Spain)
8th May – 6th June 2008
Universidad de Sevilla (Sevilla, Spain)
10th June 2010 – 5th September 2010
Instituto Cervantes (Manchester, United Kingdom)
9th March – 7th April 2006
Centro Cultural San Clemente (Toledo, Spain)
1st – 14th September 2006
Complejo Cultural San Francisco (Cáceres, Spain)
19th September – 16th October 2006
Teatro Principal (A Estrada, Spain)
1st – 26th March 2007
Exhibition Sites
Teatro Campoamor (Oviedo, Spain)
2nd – 29th April 2007
Edificio Botines - Gaudí (León, Spain)
2nd – 31st May 2007
Centro Cultural Joaquín Roncal (Zaragoza, Spain)
14th December – 12th January 2008
Ateneo Ferrolán (Ferrol, Spain)
28th February – 23rd March 2008
Casa de la Juventud (Jerez de la Frontera, Spain)
3rd July – 1st August 2008
Centro Cultural Miguel de Cervantes (Madrid, Spain)
23rd April – 23rd May 2009
Centro Cultural La Misericordia (Palma de Mallorca, Spain)
6th – 26th May 2010
Centro Cultural Provincial (Palencia, Spain)
9th July – 4th September 2011
Fanzines VERTION
Biblioteca Regional de Murcia (Murcia, Spain)
6th March - 26th April 2008
Universidad de Málaga (Málaga, Spain)
9th May - 12th June 2008
Biblioteca central de Córdoba (Córdoba, Spain)
16th July - 31rd Agost 2008
Biblioteca de Aragón (Zaragoza, Spain)
Exhibition Sites
4th December 2008 - 7th January 2009
Virtual Pop VERTION
Eólica Festival (Granadilla, Tenerife, Spain)
18th - 19th July 2006
Fira del Disc (Palma de Mallorca, Spain)
9th - 10th September 2006
Easy Pop Weekend (Andorra, Teruel, Spain)
25th - 27th October 2007
Tremendo Pop (Monzón, Huesca, Spain)
19th - 20th April 2008
Universidad de Navarra (Pamplona, Navarra, Spain)
24th - 26th Febrary 2009
What they say ...
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What they say ...
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What they say ...
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Gloria Patón Fernández-Pacheco
[email protected]
T. +34 952 225 979
+34 657 856 620
Interexpo, E.I.C.I., S.L.
Calle Compañía, 34. 4ª planta
29008 Málaga / Spain
Museo Interactivo de la Música - Málaga
P/ Marina s/n
29015 Málaga / Spain

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