The 30-year Pedro Navaja:
And the gold tooth shine
By: Eloy Jáuregui Coronado
mambo_informa@yahoo.com
Those who make a holiday memory, recall that almost a third of a century Rubén Blades and Willie Colon Siembra recorded for the ISO of specialists, is the most important album in the history of salsa and the first to sell over a million copies in the U.S. The disc hit a different audience was looking for another lyrical themes and other characters. The idea was revolutionary and aspired to create a current that combined salsa the commercial and social commitment, malice and the neighborhood. So, the label has just reissued Emusica this production format collection of unreleased tracks that session. Pedro Navaja walk through the old neighborhood and will make history.
turned my steps toward a nearby cafe Insurance
find some warmth and music
walked my steps and I suddenly felt shivering
- No, I did not, the word went swiftly. Octavio Paz
Milan Kundera said that the creator of the modern age but not only was Descartes himself Miguel de Cervantes. Don Quixote is so, the novel of novels. Stories up to that then were in black and white. Cervantes put them are like Leonardo Da Vinci did the same with the great culinary renaissance in the time of the court of Ludovico Sforza consolidating the 'nouvelle cuisine', where the broth and banquet lacked salt, spices and flavor.
But who then opened contemporary music? Stravinsky or Miles Davis or Damaso Perez Prado. I do not think they were the Beatles or Tom Jobin, even Joan Manuel Serrat and tributes to Hernandez and Machado or the great Elvis Presley. Curious, that among contemporary popular music and life, a subject of verses 63 and lasts exactly 7 minutes and 21 seconds, change the DNA the joy and grant him mouth to mouth resuscitation to a genre that is penetrated by massive dangerously syndrome boring Alley ["letters or toilets?], for that matter. De Pedro Navaja, its importance and its revolutionary axis.
Yes, his name was Pedro Navaja, subject and object, and gave it life almost cloned into the sources of tastiness, Rubén Blades and Willie Colon. After 30 years, neither wanted to admit as was the delivery. Was a chronic police-style knife Crimson Corner Borges. Or perhaps, as the saga of Master Martin Scorsese. True, as once told, if Cain unwittingly impregnated chronicle red. Abel, knowing his brother was the great sacrifice for the public regozo. The Bible in his book Genesis, Chapter 4, Verse 8, detailing the crime and left for posterity the technical description of the murder, the first unhappy fratricide. The sacred red writing, as we saw in horror, then, is as old as man. Done well socially homo sapiens, born with it, homo asesinus and is reborn with the two, the homo croniquistus. So to this day. Well, in this poem metatext-soaked in the broth-violence falls Pedro Navaja, a story in the style of Mexican writer Sergio Gonzalez Rodriguez in his book Low Funds, the antrum, the bohemian coffee [Cal y Arena, Mexico 1984] where he bit into the false substrate positions tend to misrepresent the terms of a healthy tastefully installed in a megalopolis like Mexico City or New York the same .
In Blades's first album with Columbus, Putting Mano, two songs from Ruben: "Planting Inside" and "Pablo Pueblo", and dug with the scalpel of popular anthropology new languages \u200b\u200bof social context, where the sauce there was a little more than remote. But in following long duration, Siembra, which further extends the social vision of the so-called salsa. Thus Pedro Razor was the cornerstone more than a piece of the great Grail in this street-musical style, becoming one of the most representative of Latin American music, opening the doors of the 'salsa consciousness "the planet of all music. I said Sowing sold in less than two weeks over a million copies in the United States and Pedro Navaja was better known than the other bully desk, one Richard Nixon.
But the issue is in itself exceptional. His tone is sister and / or away from the old label-social-issue American writer in New York. Was not the anthropologist Oscar Lewis, the culture of poverty-author of the novel-Wall: Life [Puerto Ricans in San Juan to New York] who speaks of lumpen uprooting of Latinos in the U.S. North East and paint the mirror with rouge bloody poor survival of poor people in the metropolis of the first world. Remember Joe Cuba or Henry himself Fillol or patriarch Daniel Santos.
Pedro Navaja is a being from the suburbs, not the way to Tatán, rather in the best style of Buenos Aires Buenos Aires pimp forty [Discépolo would not have painted better]. A pimp loner, a "pachuco vivant 'in the current Mexican cinema of the fifties, that the winery that will flood the juices of Ninon Sevilla, María Antonieta Pons or Tongolele "But how beautiful and tasty Mexican dance the mambo" - Benny More, dixit --. Razor, is deliberately ambiguous history is not easy to determine where the dividing line between the paranoid imagination and the eruption of the supernatural. The thread that gives the text is probably in the imaginary neighborhood that does not refer to any particular man but what Poe called "the demon of perversity," that rogue stay on the conscience of every man. Pedro Navaja, it is a kind of philosophical thriller-tropical, it's the way gangsters in peace as in war [The first book of Cabrera Infante] and Cortázar Tracker. That is, investment of roles between the murderer and the victim, who at the time of the shootings appear to be the same person, presupposes the existence of a criminal identity interchangeably, a murderous spirit melts into one being to men and women of the same ilk.
Rubén Blades has always said when asked if music is used to change something. He says no, that in any case only serves to make us feel less alone, to survive the fears, doubts. So, I can assure that Blades would be the author of this sentence: "It tells what you see is what you live singing." A semiotic Pedro Navaja say that we are facing a language metasememe Romanzado: "Wear a hat half-brimmed La'o / and slippers if problem out vola'o, / sunglasses so they do not know what you're looking / and a gold tooth when he laughs is shining. / As three blocks that corner a woman / it moves through the entire sidewalk for the fifth time / and comes in a hallway and take a drink to forget / that the day is loose and there are no clients to work ... "
And
said Carlos Monsivais about Salsa, taste and control, the sociologist and musicologist Puerto Angel G. Quintero Rivera, son, salsa and, in general, Afro-Caribbean music are in its way, releasing factors, but no less joyful and horny. And certainly, in the early twentieth century popular culture was a nonexistent concept, something unthinkable and despicable in the event that someone would perceive. Now, at the beginning of the new century, popular, and especially music, are reviewed and acknowledged in an almost devotional. Otherwise it is understood as Blades studied at Harvard and the complexity of Caribbean music requires new Alejo Carpentier, Nicolas Guillen other, so translators and geography of popular resistance to the consumer industry. Thus, in terms of high culture and popular culture, there are no boundaries because there is no official moral and neighborhood-the sacred territory of the Community-joy, weaves Despite his brilliant speech of his fault or abuse proteins.
This grammar-tongue and lips, mustache, and pubic hair, the 'conjecture' is the most exciting ingredient erotic cadastre, Blades and Columbus know why his compositions are a poetic universe, regardless of subject matter, synthesized in one piece of the anger, tenderness, pride and hope, mediated by a peculiar sense of humor and joy below the waist of the dance. Besides the holistic approach in addressing various issues: love, nostalgia, play, party, food, sexuality, religion, violence and death, which already is sui generis, the lyrical son and the sauce is usually peppered with strange words to the logic of the English language. Eye
soneros, but it is true that the logic and salsa are not unique to the English language. She is the corpus of the corner of the street, so it is necessary to clarify some aspects of this language to better understand the strength of their expression and, in short, to enjoy and fully shake that music and its players. In hundreds of issues words like handsome salsa abound, men, cool, dame, mami, chicken, Bemba, brooch, fire, jicama, compay, vacilón ... words that sound strange to non-rockers soneros or window but those who love the philosophy of the pelvis or the metaphysics of cot [I mean salsa] represent a grammar induce rhythmic identification process immediately.
Like the tango, the letters of "Pedro Navaja", "Juan Pachanga" or "Johnny Vermin" propose a dialectic in which the musicians gather street slang expressions and other times, invented in his "inspirations" are taken by people. No subject is taboo if it is part of the experience of individuals. A good sonero includes in its stock phrases, sayings, expressions African letters well-known songs, tongue twisters, nonsense syllables, two-way set, boasting about guapería and romantic conquests, as well as statements about religion, superstition and complaints about the injustices of man with man and all that is can be identified as the meta brothel:
Read this and not otherwise, passes very slowly down the avenue, / no marks, but to 'know who is a policeman. / Pedro Navaja, his hands still in his coat , / looks and smiles and the gold tooth shines again. / While walking he looks from corner to corner, / do not see a soul, is deserted to'a Avenue / When suddenly this woman comes out of sago / y Pedro Navaja clenches his fist inside his coat. / Mira pa 'a La'o, look pa' the other and sees no one, / and the race, but without noise, cross the street. / And meanwhile on the other side is that woman / grumbling because did not make money to eat.
Pedro Navaja is a classic of our music heritage of this "other" within us. So always remember that interview in which Blades had that Carlos Fuentes once said he admired their ability to synthesize, because in a narrow time of seven minutes, he could develop a story that the Mexican writer would have taken their good years and thousand pages. And the Panamanian added: "If you analyze my work and compare it album by album, you'll see the painting of an urban reality, and that's a work in progress, but the parts that are more or less complete I have been cutting for assembly. Here you realize that "Juana Mayo" is connected to Pedro Navaja, and it has something to do with Carmelo Da Silva and Pablo Pueblo, somehow, has to do with Adam Garcia, and is connected to Cipriano Armenteros this one. It's like a job to put together. "
Finally, it is no coincidence that Ruben Blades have won a few years ago with a Grammy Award in the category World World Music and is no longer only that master of the sauce corner, do not forget that in 1987 Moon Water recorded in letters of Gabriel García Márquez. And today, it is not strange that Willie Colon is established as the great popular music that has taken advantage of different styles, genres and air of the symphonies of all street corners of the world that fundamentalism of flavor, you know that the sky is between the sidewalk and the heart. So ladies [if any] and gentlemen [if left]: "Life gives you surprises, surprises come life, Oh God! / As in a Kafka novel of the drunk turned down the alley. Happy 30 years Pedrito. There ma na ...!!! COPYRIGHT
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