By José Gandue @spinning zone
We're back. Because someone has to talk about this.
We return to the digital stage, sometimes wearily, sometimes with diminished enthusiasm, We make our comments about what will be the festival that, in a not too distant time, represented us. To which we still dedicate, at least once a year, an article where we update our opinion. Yes, more than one will say: “"There you go again, complaining about an event that, despite its 30-year history, is still going strong and entertains the city in some way.". Others—who don't have many arguments to sustain an intelligent discussion—will compare me to nefarious characters who file lawsuits against the Mayor's Office and they uphold, in a fascist-like manner, an absurd version of the meaning of rock.
But let's be serious.
Let's do it, because these conversations go beyond the poster: we're talking about public cultural policies, state budgets, the promotion—or not—of a local music scene and, yes, also about dissemination, design and the future.
Oh, and of course… we'll talk about music.
Thinking about Clint Eastwood's legendary filmography, we will structure this article in three parts: The good, the bad, and the ugly.
The good
This is for those who, understandably, are not interested in debating the organization, ideology, or public utility of the festival. They just want to know what the lineup is like and if it's worth going. And let's say that, unlike the previous edition—full of outdated legends and poorly disguised pirates in bad taste—, There's a good guest list.
Let's start by celebrating some great news: Finally, the best rock band in Latin America will be on stage. (and, without exaggeration, one of my favorites in the world): He killed a motorcycle police officer.
Throughout their history, this Argentinian band has known how to interpret the times they live in, with the precise sensitivity to express what they—and their audience—perceive about their lives. I admire He killed… because it has given back to new generations a sincere tenderness, accompanied by the caustic nature of its instrumentation. They create perfect tunes to accompany us in the soundtrack of our lives, without playing at being the "macho" types that are usually imposed by the bad rock music they sell us.
Other worthwhile recommendations:
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Carmen Sea, from France, brings interesting noise.
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Vinylversus, From Venezuela, he has grown musically and is part of a generation of contemporary musicians who deserve more attention.
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Homeless exotic animals He makes good shoegaze (and that, as our friends well know, we celebrate without hesitation).
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From Spain, he returns Bullet, a solid duo that we already saw a few years ago on the same stage and that, surely, will show their good passage of time.
For those who are still hesitant about going to Rock al Parque 2025, we say:
The programming is interesting, and they avoided several clichés from last year. It seems that the criticism from some media outlets served some purpose.
Bad
Ugh… here are a few things that might not matter to someone who just wants to go to the concerts. That's fine: we're not going to involve them. We're not going to ruin their day with our rant.
However, since it is a festival organized by the District State and financed with public funds, Yes, we must observe, point out, and discuss.
For a start: It is ridiculous that an event of this nature only selects 20 local groups in its public call.
Compared to previous years, the number continues to decline. There have been more foreign bands than local ones for some time now.
Furthermore, the call for proposals is unsuccessful, both in methodology and results. It's set up like a contest with absurd rules. The auditions are held at the La Media Torta Open-Air Auditorium—but they are not open to the public. The jury sits on the stage (remember: a stage for 8,000 people, completely empty), and in a reality show format, the participants are asked to perform selected songs from their repertoire. at the moment by the curators.
Who on earth came up with the idea to do it like that?
To someone who clearly doesn't understand the scene. To someone more interested in badly copying a typical diagram. American Idol.
What happened to the old-fashioned "Tortazos" (a type of Spanish comedy show)? Those events with massive attendance, where the pre-selected contestants put on their show as it should be, the public cheered (or not) what they saw, and the jury decided from the stands.
All they've managed to do now is that The Bogota scene feels that this is not its space, and that proposals with little originality, without much to offer, end up being classified, that They do not reflect what it really sounds and feels like in this city.
And another thing: look at the sign.
How many groups have female participation?
The figure is minimal. Almost offensive.
Rock al Parque remains not very inclusive in that respect.
He suffers from that toxic masculinity that has always contaminated bad rock: the kind that gives chauvinistic speeches and believes that rebellion is being loud and discriminatory, like the bear on the official poster.
What are they afraid of? That female participation will tarnish their masculinity? That it will reduce the symbolic size of their "private treasures"?
For upholding that imbecility, the festival It loses value, attractiveness, and institutional strength.
The ugly
This last chapter is dedicated to a topic that we don't understand how to, After thirty years, it remains just as poorly resolved:
Promoting the festival.
Rock al Parque is still under-promoted, without any real intention of generating enthusiasm or civic engagement. All of that was lost a long time ago: the work of the press and publicity is vague, full of clichés, useless speeches, and disconnected from its natural audience.
A personal example:
From Zonagirante.com We've covered the festival since its beginnings—more than 25 years ago—and for several years now we've We have not received any official information about the event..
Everything is a mystery.
They bought into the idea that all it takes is a few social media posts and a couple of purchased ads.
Yes, surely the same thousands will attend as they do every year for the three days of the event. But that It doesn't mean the festival is growing..
It has lost its meaning for the city.
As we usually say (and yes, we repeat the phrase):
There's a bit of a commotion, the final photo is taken in Plaza Simón Bolívar, the confetti is collected... and that's that.
The organizers, it seems, They are not interested in building a cultural or social narrative around Rock al Parque.
They put on a concert, complete three days of events, take the official selfie, and that's it. But without a clear communication strategy, which Involve the real actors from this scene —those who make music from Bogotá—, this event It doesn't work. I insist: It doesn't work.
Yes, Gandour again with the same thing.
But I, like so many others, We've been involved in this movement for decades.. We have worked to promote the musical identity of this city.
And this festival, which should unite us and represent us all, is merely a costly spasm that lasts 72 hours and He disappears as if nothing had happened.
And to conclude: the bear.
What a clumsy way to represent anger, rebellion, and the desire to celebrate our sounds.
“Let’s put an animal in a leather jacket with studs on its shoulder, so it can teach us what rock is.”.
That's not rebellion. That's mental laziness.
That is not to make an effort by designing an image that expresses pride using our own resources.
It's about not infecting the city with an emotion that was once real.
A city that once boasted of being home to a symbol of democracy, celebration and peace…and now he's barely aware that the festival exists.
In the end.
