Thursday, November 7, 2013

Julian del Casal Ciento cincuenta años de su nacimiento

Julian del Casal

Nov 7 1863 - Nov 7 2013


Los Funerales de Una Cortesana
by Julian del Casal


Tras la cortina de terciopelo carmesi , guardecida de flecos de oro

que ornaba el marco de un balcon de la regia estancia, se hallaban

juntos, en fria tarde invernal , arrullados por las rafagas heladas del

viento y por las gotas de lluvia que golpeaba los cristales de la ven-

tanas , un monarca de eterna recordacion y la ultima de sus favoritas.


El se llamaba Luis XV y ella la condesa Dubarry. La favorita , envuelta

en lujoso abrigo de pieles , apoyaba el brazo en mullido cojin de seda

azul , bordado de flores plateadas ; el principe vestido de gala se ha-

bia tendido sobre ancho divan de damasco, prodigando a la bella pe-

cadora todas las ternuras y todos los anhelos de su alma enamorada.

Al cabo de algun tiempo, se incorporo el monarca ,- arreglandose la

empolvada cabellera , cuyos rizos habian deshecho los dedos eburneos

de la Dubarry se detuvo en el umbral del balcon.


Un espectaculo triste se prensento ante sus ojos.

A lo lejos , entre los arboles del camino , desnudos de hojas y vestidos de

escarcha , se veia pasar el reflejo moribundo de la tarde, cuatro humildes

capuchinos que llevaban pobre ataud de madera, cubierto de paño negro y

tachonado de estrellas.

Dentro del ataud iba el cadaver de Madame de Pompadour

Ella , habia sabido elevarse desde el hogar de humilde carnicero hasta las

gradas del tronco; que era la diosa del bosque de Senart, donde se presen-

taba con un halcon en la mano, semejante a las antiguas castellanas ; que para

cambiar el orden de las cosas no tenia mas que pronunciar una sola frase

de amor;que habia sido la Madona de los grandes hombres de su epoca,como

Maria lo es de los cristianos; que sabia ejercer las funciones de la diploma-

cia tan bien como las de la galanteria; que merece el nombre de Hada de la

Frivolidad por haber creado un mundo de preciosidades artisticas , bajo al

sepulcro , en el mas bello periodo de su existencia , revestida del burdo traje

de la tercera orden de San Francisco , con el grueso rosario a la cintura

y la cruz de madera entre las manos , siendo enterrada, por orden suya,

en pobre fosa del convento de capuchinos de la plaza de Vendome.

Cuentan que el rey , al retirarse del balcon , exclamo friamente, besando

las mejillas coloreadas de la Dubarry que se habia inclinado en sus hombros !

- !Pobre Ponpadour ! ! Que frio va a sentir esta noche en su sepulcro !

Tuesday, June 25, 2013

A la memoria Alberto Rabagliati y los Lecuonan Cuban Boys


Alberto Rabafliati nacio en Milan . En los veinte viajo a Los Angeles , California. En aquellos tiempos era facil poder entrar de extra en los estudios. Su primer papel fue en la pelicula del director  Frank Borzage " Street Angel" en el elenco estelar actuaba la joven Janet Gaynor y el reconocido actor Charles Farrell .El papel que que intrepretaba es el de un agente de la policia.  A principio de los treinta y gracias a su bellisima voz logra acaparar la atencion del compositor cubano Ernesto Lecuona y del pianista Armando Orefiche, juntos comienzan varias giras todas ellas plagadas de grandes exitos. 



In 1927 he moved to Hollywood as the winner of a Rudolph Valentino look-alike contest. He later recalled: "For someone like me, who had seen no more than Lake Como or Monza cathedral so far, finding myself on board a luxury steamer with three cases full of clothes, a few rolls of dollars, gran-duchesses and countesses flirting with me was something extraordinary".[citation needed]
He remained four years in America, but his career as an actor never took off. During his stay he had however the opportunity to get to know new musical genres such as jazzswing,scat singing.
Back in Europe he became a singer. After a brief experience with Pippo Barzizza's orchestra, he joined the Lecuona Cuban Boys, a Cuban band. He performed with his face painted black and made a hit with the song "Maria la O".
While with the Lecuona Cuban Boys he met Giovanni D'Anzi who proposed him an audition with Italian state radio station EIAR. Rabagliati soon became a radio star, and in 1941 had his own radio show. Every Monday night EIAR aired Canta Rabagliati ("Rabagliati sings"), with the singer presenting his most famous songs such as "Ma l'amore no", "Mattinata fiorentina", "Ba-Ba-Baciami Piccina", "Silenzioso slow", "Bambina innamorata".
He was so popular that his name was sung in the lyrics of La famiglia canterinaQuando canta RabagliatiQuando la radio. At a time when anything foreign was banned, the idol Rabagliati was allowed to maintain his American-influenced style. Indeed, the Fascist  government decided to make use of his popularity by choosing his song "Sposi (c'è una casetta piccina)" ("Wed (there's a little home)") as their demographic campaign anthem.

His fame as a singer helped his acting career restart. From 1940 to 1965 he starred in some twenty movies, including The Barefoot ContessaMontecarlo and Il vedovo. In 1966, he starred in The Christmas That Almost Wasn't.
Rabagliati was active also on the stage until the mid-1950s. He performed in musical revues and comedies by Garinei and Giovannini.
His last public appearance was in 1974 as a guest in the TV show Milleluci hosted by Mina and Raffaella Carrà. Soon afterward he died of cerebral thrombosis.
    1966The Birds, the Bees and the Italians
    Commend. Galeazzo Casellato
    1964Biblioteca di Studio Uno: Al Grand Hotel (TV movie)
    Secondo affarista
    1962Jessica
    Pietro Masudino
    1959La cento chilometri
    The Plump Friend of Corsetti
    1957Susanna tutta panna
    Il commendatore Botta
    1956Monte Carlo
    Albert, the Portiere
    1955Quando tramonta il sole
    L'impresario milanese
    1954Scuola elementare
    Adalberto Bonfanti
    1954The Barefoot Contessa
    Proprietor
    1954Crossed Swords
    Gennarelli
    1953The Story of William Tell (short)
    Gabrelle the Glove Maker
    1947Natale al campo 119
    Alberto, il milanese
    1946Partenza ore 7
    Giorgio
    1944In cerca di felicità
    Massimo
    1943La vita è bella
    Il conte Alberto Morandi
    1943Lascia cantare il cuore
    Antonio Gaspari
    1941La scuola dei timidi
    Alberto Morandi
    1941Una famiglia impossibile
    Il cantante della radio
    1930Sei tu l'amore
    Mario
    1928Street Angel
    Policeman

    Thursday, June 13, 2013

    Patria by Ventura Ruiz Aguilera


      I. Patria       Ventura Ruiz Aguilera 
    Queriendo yo un dia
    Saber qué es la Pátria,
    Me dijo un anciano
    Que mucho la amaba:

    «La Patria se siente;
    No tienen palabras
    Que claro la expliquen
    Las lenguas humanas.

    »Allí, donde todas
    Las cosas nos hablan
    Con voz que hasta el fondo
    Penetra del alma;

    »Allí, donde empieza
    La breve jornada
    Que al hombre en el mundo
    Los cielos señalan;

    »Allí, donde el canto
    Materno arrullaba
    La cuna que el Ángel
    Veló de la guarda;

    »Allí, donde en tierra
    Bendita y sagrada
    De abuelos y padres
    Los restos descansan;

    »Allí, donde eleva
    Su techo la casa
    De nuestros mayores...
    Allí está la Pátria.


    II.

    »El valle profundo,
    La ruda montaña
    Que vieron alegre
    Correr nuestra infancia;

    »Las viejas ruïnas
    De tumbas y de aras
    Que mantos hoy visten
    De hiedra y de zarza;

    »El árbol que frutos
    Y sombra nos daba
    Al són armonioso
    Del ave y del aura;

    »Recuerdos, amores,
    Tristeza, esperanzas,
    Que fuentes han sido
    De gozos y lágrimas;

    »La imágen del templo,
    La roca y la playa
    Que ni años ni ausencias
    Del ánimo arrancan;

    »La voz conocida,
    La jóven que pasa,
    La flor que has regado,
    Y el campo que labras;

    »Ya en dulce concierto,
    Ya en notas aisladas,
    Oirás que te dicen:
    Aquí está la Pátria.

    III.


    »El suelo que pisas
    Y ostenta las galas
    Del arte y la industria
    De toda tu raza,

    »No es obra de un dia
    Que el viento quebranta;
    Labor es de siglos
    De penas y hazañas.

    »En él tuvo orígen
    La fe que te inflama;
    En él tus afectos
    Más nobles se arraigan:

    »En él han escrito
    Arados y espadas,
    Pinceles y plumas,
    Buriles y hazañas,

    »Anales sombríos,
    Historias que encantan
    Y en rasgos eternos
    Tu pueblo retratan.

    »Y tanto á su vida
    La tuya se enlaza,
    Cual se une en un árbol
    Al tronco la rama.

    »Por eso presente
    O en zonas lejanas,
    Doquiera contigo
    Va siempre la Pátria.

    IV.


    »No importa que al hombre,
    Su tierra sea ingrata,
    Que el hambre la aflija,
    Que pestes la invadan;

    »Que viles verdugos
    La postren esclava,
    Rompiendo las leyes
    Más justas y santas;

    »Que noches eternas
    Las brumas le traigan,
    Y nunca los astros
    Su luz deseada;

    »Pregunta al proscrito,
    Pregunta al que vaga
    Por ella sin techo,
    Sin paz y sin calma;

    »Pregunta si pueden
    Jamas olvidarla,

    Si en sueño y vigilia
    Por ella no claman!

    »No existe, á sus ojos,
    Más bella morada,
    Ni en campo ni en cielo
    Ninguna le iguala.

    »Quizá unidos todos
    Se digan mañana:
    «Mi Dios es el tuyo,
    Mi Pátria tu Pátria.»
    A mi amigo Jorge Clark 

    Saturday, June 8, 2013

    Happy Birthday Sonia Braga !!


    SUNDAY, NOVEMBER 2, 2008

    Manuel Puig and his Kiss of the Spider Woman

    By Alejandra Espasande Bouza


    Hector Babenco's The Kiss of the Spider Woman was recently released in Blue-ray and DVD for all to enjoy, hopefully this release will shed light upon the life of Manuel Puig (1932-1990) author of the novel that inspired the film.

    The film The Kiss of the Spider Woman, based on the novel published by Manuel Puig in 1976, and adapted to the screen in 1985, revolves around the relationship of two prison inmates who share a cell in the sinister humidity of an undisclosed Latin-American country.
    Valentin Arregui Paz, interpreted by the late Puerto Rican actor Raul Julia (1940-1994), is a leftist revolutionary obsessed with justice and the woman he loves. Luis Alberto Molina, played by American actor William Hurt, is a fragile homosexual who has been imprisoned for pederasty, and whose only desire is to reunite with his sick mother.
    In spite of their striking differences, Molina has no problem in asserting his "feminine role" with confidence by considering himself a "normal woman," only capable of loving men. In contrast, Valentin struggles with an ideology that keeps him from accepting his devotion for an upper class woman. With time, Valentin opens up to Molina by allowing him to care for his wounds, and admitting his fear of revolutionary martyrdom by expressing his desire to have a “normal life.”
    During the night, when the lights are turned-off, Molina makes use of his repertoire to recount old film plots. His visual memory, and his attention to detail make his narratives ever more palpable for a sick and bitter Valentin. From a thriller set in a Nazi occupied Germany, to the terror of a Zombie island, or the heat of a tropical night, Molina succeeds in drawing Valentin into his fantasy world. Every film tale, every anecdote, every word, slowly penetrates the remoteness of Valentin, who eventually succumbs to the workings of Molina, the "spider woman."
    In one of the most defining moments, Molina sings a Mario Clavell bolero, titled My Letter, that summons what is going to became the core of the inmates relationship:

    "Querido, vuelvo otra vez a conversar contigo. La noche trae un silencio que me invita a hablarte. Y pienso, si tu también estarás recordando, cariño...los sueños tristes de este amor extraño." Mi carta, Mario Clavel

    "Dear, I come back, yet once again. The night brings an inviting silence for conversation. And I wonder... if you also remember the sad dreams of this strange love."

    Unlike the collaboration of filmmaker Barbet Schroeder and author Fernando Vallejo in the literary adaptation of Our Lady of the Assassins, or the more recent collaboration of director Eloy de la Iglesia and author Eduardo Medicutti in The Bulgarian Lovers, there never existed a collaboration between The Kiss of the Spider Woman's director Hector Babenco and Manuel Puig.
    Though the end result caused major distress upon the author, who never agreed with the changes of screenwriter Leonard Schrader, the film managed to gain an Oscar nomination for best adaptation. Another criticism of Puig fell upon the casting of William Hurt. The author did not agree with the choice, and never approved of the performance, which he considered shallow, but a performance that gained the actor an Oscar. In spite of Puig's disagreement, Hurt delivered a heart-wrenching final scene not to be forgotten in the history of contemporary cinema.

    Excerpt of interview with Manuel Puig.
    Could it be that there was too much of Puig in the character of Molina to let just anyone take a hold of it? Regarding the closeness of an author to a special character, French novelist Andre Guide, pioneer of "homosexual" literature, once expressed "How many buds we bear in us that will never blossom save in our books!" If Manuel Puig's passion for nostalgic boleros and classic cinema was the bud that sprang through Molina's persona, his political stand against dictatorial governments, cause of his exile, was also reflected in the persona of Valentin.
    In an interview with Jorgelina Corbatta, following the 1979 Congress of Hispanic-American Writers in Medellin (Colombia), Puig was asked about the role the reader played in his literary work. His response was "Whenever I write, I'm always thinking of the reader. I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer. That's why I don't request any special efforts in the act of reading."

    For those interested in discovering the genius of this author here is a list of his novels:

    Thursday, May 16, 2013

    The Corrido of Chalino Sanchez: by Alejandra Espasande Bouza


    Today marks 23 years since the murder of Chalino Sanchez, a Mexican immigrant, turned L.A. icon, who composed and sang "corridos," a musical genre dominant in the rural areas that was looked down upon by Angelinos in a time when mariachi music was the preference. I was lucky to meet his widow Marisela last year. The tragedies this woman has surmounted make her one of the strongest persons I've ever met, and the opportunity to visit her house a great honor. Here is an article I wrote about why I consider Chalino's story, and that of his son Adan, important to Los Angeles history.http://latinola.com/story.php?story=10728
     — with Chalino Sanchez (1960 - 1992)Chalino SanchezChalino Sanchez el REY del Corrido,Chalino Sánchez Es El Rey and Adan Chalino Sanchez.


    The Corrido of Chalino Sánchez:

    Twenty years in the making, a concert in homage of the legendary singer and songwriter, May 18

    By Alejandra Espasande Bouza
    Published on LatinoLA: May 16, 2012
    The <i>Corrido</i> of Chalino Sánchez:
    The night of Tuesday, April 30, 2004, Angelenos were paralyzed in front of their TV sets with breaking news; aerial shots presented images of thousands of young men and women of Hispanic descent quickly assembling into the streets of Norwalk.

    Due to the geographical location, and the racial profile of the crowd, the English-language TV Channels concluded that the event had to be some gang-related riot. In contrast, the Spanish-language channels reported something very different; the tumult was but the spontaneous expression of pain from part of the young Hispanic community toward the passing of a nineteen year old Mexican-American singer namedAdán Sánchez, whose body was being honored inside the "San Juan De Dios Church."

    Eventually the English media took hold of the story as Joel Connable, reporter for KCAL-TV Ch. 9, explained that the presence of thousands was due to their desire to pay their last respects to a teen-idol. Connable went on to state that the deceased was the son of singerChalino Sánchez, who had been murdered in Sinaloa, a placed he described as known for the growth of marijuana and its drug cartels.

    In previous months, the passing in California of President Ronald Reagan and actor Bob Hope had not caused such a stir. And thus the question: Who was this nineteen year old kid to cause this commotion? To understand what happened that night, it is imperative to understand the story of his father.

    CHALINO SÁNCHEZ (1960-1992)

    Rosalino Sánchez Félix was born in the state of Sinaloa on August 30 of 1960 from the union of Senorina Félix and Santos Sánchez; his first years were spent in the tranquility of the ranch Los Vasitos, in Culiacán, where he grew up in the company of seven brothers.

    In 1965, Santos passed away leaving Senorina the sole head of the family. Four years later, Juanita, her only daughter, was allegedly raped by a neighbor from the area. The dishonor weighed on the family for some time, until 1975, when it is believed that Rosalino, the youngest brother, restored his sister's honor by killing her rapist. It is considered that this event was the reason that brought Rosalino to Los Angeles.

    In the US Rosalino, who eventually went on to be called Chalino, began working in a series of jobs that ranged from the harvest of vegetables, the sale of cars, and the smuggling of illegal immigrants, a business he established with his brother Armando, who was later murdered in the "Hotel Rita" of Tijuana in 1984.

    This tragedy inspires one of his earlier, if not the earliest, composition:

    "En la ciudad de Tijuana, señores esto pasó,
    murió un hombre de valor, un cobarde lo mató.
    Sin darle tiempo de nada, siete balazos le dio.
    Armando Sánchez tu nombre, pa siempre queda presente.
    Tus amigos recordamos, que fuiste un hombre valiente."[/i]

    Another corrido goes into more detail about the possible execution of a vengeance:

    [i]"Al poco tiempo del crimen aquel cobarde cayó,
    siendo una .45 la cual venganza cobró."

    Also in 1984, Chalino married Marisela Vallejo, and had a son named Adán. During the following years his career as composer prospered with the patronage of a series of clients who wanted to be immortalized, or who wanted to immortalize those they loved, in the lyric of a corrido.

    In his book "La Revolucion Mexicana a traves de los corridos populares," Armando de Maria y Campos stated that the corrido. composers of the revolutionary period were poets whose lyrics exalted "the agrarian, the miner, the worker, the sinarquist, the cristero or the communist." In contrast, in the Los Angeles of the 1980's, the corrido of Chalino reflected a more contemporary reality by narrating the triumphs and tragedies of the heroes and villains of the narco lifestyle.

    In 1987, Chalino began to perform in front of audiences. Early videotape of his presentations show a charismatic performer that commanded the stage not through arrogance but a humble demeanor that contrasted with the heavy lyric of his songs. His ragged voice had a marked Sinaloan accent, and his on stage presence made him a true showman. He combined the typical macho-man Sinaloan hat and boots with the elegance of an opulent gold watches and rings.

    The Spanish-language radio stations and record labels of the time looked down upon promoting the corrido genre which was considered lacking of commercial value; this circumstance brought about the establishment of independent record labels that included Chalino's "RR - Rosalino Records," Pedro Rivera's "Cintas Acuario," and Abel Orozco "Discos Linda."

    In spite of the tumult of a life busy with recording sessions and performances at private parties and night clubs, Chalino had managed to solidify a stable life with Marisela and their now two children, Adán and Cynthia.

    By 1990 his songs permeated the interest of young Mexican Americans who began paying attention to lyrics they found similar to those of rap music. Suddenly, those who once had been ashamed of the culture and music of their parents, even avoiding to speak Spanish, embraced the corrido and began wearing Sinaloan style hats and boots. This transformation was known as the "Chalinomania" and was cemented with the adoption of the quebraditadance style.

    Chalino's career kept on ascending. He combined performances at the two major night clubs, El Parral and El Farallón, with bookings that took him to other US cities, and Mexico. In January of 1992, Chalino was hired to make a presentation at a club in Coachella; during his performance Eduardo Gallegos, a member of the audience, began shooting at the performer who also defended himself. Gallegos ended up with fifteen years of prison and Chalino, who was wounded, consolidated an image of fearlessness which went in hand with the character of his corrido.

    Soon after this incident he was offered to make a presentation in his native Sinaloa for an estimated twenty thousand dollars. Though this had not been the first time he would perform in his native state, his wife asked him not to go, advice Chalino ignored.

    A videotape recorded the night of May 15th in the "Salón Las Bugambilias" of Culiacán shows Chalino dressed in a grey suit with white hat and the company of five señoritas Tecate who walk him on stage where he starts to sing the theme that would immortalize him forever in the memory of his public; a composition by Mario Molina Montes titled "Las nieves de enero / The snows of January."

    "Ha llegado el momento
    chatita del alma de hablar sin mentiras
    Espere mucho tiempo pa ver si cambiabas
    Y tú ni me miras

    Al principio dijiste que ya que vinieran
    las nieves de Enero
    Ir a ver a la virgen y luego casarnos
    Seria lo primero

    Ya se fueron las nieves de Enero y
    Llegaron las flores de Mayo
    ya lo vez me aguantado a lo macho y
    mi amargo dolor me lo cayo

    Ya se fueron las flores y llego el invierno
    Y tú ni me miras
    Es por eso te digo que llego el momento
    De hablar sin mentiras

    Al principio dijiste que ya que vinieran
    las nieves de Enero
    Ir a ver a la virgen y luego casarnos
    Seria lo primero

    No soporto ya mas tus mentiras
    Esta espera se me esta destrozando
    Al mirar que han pasado los años y
    No pienso morirme esperando

    Ya se fueron las nieves de Enero ya
    Llegaron las flores de Mayo
    ya lo vez me aguantado a lo macho y
    mi amargo dolor me lo cayo."

    As the audience sings-along, Chalino gives them a salute, and approaches some of his fans to listen to their requests; in the company of the group "Los amables del norte," under a mix of fog and lights, and the rhythm of his accordionist Nacho Hernández, Chalino exclaims:"Viva Sinaloa!"

    The two words carried the emotion and pride of the immigrant that returns to his birthplace in triumph; but in Sinaloa aside from success, Chalino had cultivated enemies and it is believed that the large amount he was offered for his presentation was the hook for the execution of a revenge.

    Following his departure from "Las Bugambilias," when on his way through the
    Culiacán-Los Mochis roadway, his vehicle was intercepted by men dressed as Federales who took him, leaving behind one of his brothers and two women who accompanied them. Hours later, during the dawn of May 16, 1992, his mutilated body was found next to an irrigation channel with two bullets in the head.

    The body of Chalino was buried next to the resting place of his father and brother in a pantheon close to Los Vasitos ranch in Culiacán. In the US, his widow Marisela Vallejo organized a requiem mass on his memory that took place on June 21 at the Iglesia Santa Martha in Huntington Park.

    In Los Angeles the news of his murder spread like dynamite, and instantly Chalino turned into a legend. But contrary to the many legends of Mexican culture, the legend of Chalino was born in Los Angeles where his recordings gained him posthumous record sales.

    Months later the torch of Chalino was passed on to his son, who at barely eight years old made his musical debut at El Farallón night club. Years later, in an interview produced by Sony Studios, Adán Sánchez stated: "I chose to follow my father's career because I don't like to leave things unfinished. I felt that my Dad left an open road; a career that was not concluded and I wanted to continue through that road."

    Adan "Chalino" Sánchez went on to establish what became a solid career with a youthful repertory of romantic themes, some of which served to honor the memory of his father. It is no surprise that he gained the following of young Mexican Americans, but also the endearment of the parents and grandparents who had been fans of his father.

    One of his most solicited songs was a composition by Antonio Aguilar titled "Que falta me hace mi padre / How much I need my father."

    "Que falta me hace mi padre a cada paso que doy,
    Ya mi Dios se lo llevo, cuan solita esta mi madre,
    Recorrimos tantas veces, caminos y más caminos.
    Éramos inseparables, casi como dos amigos,
    Que falta me hace mi padre, ya no lo tengo conmigo.
    Ay apa, como me sigues haciendo falta...
    ¡Y arriba Chalino Sanchez! oiga."

    In 2002, Adán graduated from Paramount High School and began to fully focus on his career. In March of 2004, at only nineteen years, he became the first Mexican regional music artist to perform at the Kodak Theater in Hollywood.

    In an interview conducted by journalist and Chalino expert Sam Quiñones, Adán stated, "A lot of people, young and old, come up to me and tell me, 'I liked your dad and I like you now.' I'm just doing my own thing, trying to follow him by doing my own thing. Making sure he'd be proud of me." A month later, on Saturday April 27 of 2004, during a tour in Sinaloa the car that transported Adán had a flat tire, and toppled, causing his instant death. This is the official version given by witnesses that were present inside the car during the accident, including a representative of the singer.

    The news consternated the Mexican American community of Los Angeles; those who knew about his story and that of is father were perplexed at the tragedy of it all; those who didn't know him made a stop to understand why the city had come to a halt with the death of this young man.

    For the second time Marisela Vallejo organized a funerary mass which took place on Tuesday, April 30. While the inside of the church was full to capacity thousands of fans began pouring into the vicinity. It was then that the media outlets began sending helicopters. The doors of the church were closed and the mass had to come to an early ending by request of the police which had trouble in managing the crowd.

    Then the helicopter cameras captured the moment when a vehicle transported the body of Adán outside of the church; surrounded by thousands of fans, between cries and tears, the crowd began throwing flowers in their last goodbye.

    The general outcry of such tragedy was mainly manifested through the blasting of their music all over the city. which could be heard emanating from the inside of passing cars, or the many kitchens of L.A. restaurants. It should not be forgotten that in a matter of days theCelaya bakery - with the help of neighbors - turned an exterior wall into a mural that served as a shrine with the painted image of Chalino and Adán.

    And then the question, why did the passing of Adán cause such a convulsion?

    If the murder of Chalino had been a painful blow to his audience, the emergence of his son in the music arena had become a consolation, and a symbol of the continuation of his legacy. His accidental death was just too unbearable. A double tragedy of Greek proportions. And then, there is the dynamic of the father and son relationship which linked together multi-generational audiences that found a common interest in their music and story. It is for this reason that their music legacy is preserved in the everyday life of a city that remembers them with pride and respect.

    Tuesday, May 14, 2013

    Alvarez Guedes , Radiografia cubana por by Gaton Baquero




      Veo en una relacion reciente de libros mas
    vendidos en   Miami , que el " Dia que cayo
    Fidel " ,de Guillermo  Alvarez  Guedes esta
    en segundo   lugar. Yo preferiria  que  estu-
    viese en  el primero , y  para mucho tiempo;
    para  todo  el tiempo  que  sea   necesario
    hasta    que  tengan   leido y  releido  este
    libro todos los cubanos.
    Desde  que  hace  meses..
    lei  esta  perfecta  radiografia  viva,   palpi -
    tante , gracias al envio de Pedro Yanes ,
    un hombre que posee la infrecuente vir-
    tud de saber leer , me  propuse  comen-
    tarlo en estas  paginas . No  lo hice de
    inmediato porque con  la edad  me he
    vuelto cobardon, y no queria atraerme
    los rayos y las centellas de tantos auto-
    res ,amigos o desconocidos, cuyos li-
    bros no  comente en su momento. Mi
    miedo a los literatos despechados o
    heridos por lo que pueden tener por in-
    diferencia o subestimacion , crece por
    dias. Ademas , Alvarez Guedes no esta
    en " la elite intelectual",  no pertenece
    al Club de Talentos Oficiales, y se supo-
    ne que no es lectura para un hombre se-
    rio , para un highbrow.
    El agil libro de Alvarez Guedes me mara-
    villo por varios motivos. Desde los tiem -
    pos de los olvidados Felix Soloni, Eladio
    Secades. Miguel de Marcos , ya no veia
    una radiografia tan lucida , chispeante ,
    realista , y certera , de nuestra sicologia
    nacional o popular. Pueblo, recuerdese,
    somos todos. Sicologia nacional quiere
    decir aquel caracter , aquel habla, aque-
    llos sentimientos que se encuentran, mas
    o menos matizados , en todas las clases ,
    razas , niveles de educacion y de medios
    de fortuna , de una misma nacion, de un
    mismo pueblo. La diferencia entre la mar-
    quesa de Cacarajicara , y Cachita la del
    solar " del reverbero " es de forma no de
    fondo.
    Este libro es un prodigio de captacion del
    lenguage, del habla viva del cubano. Es un
    libro parlante ; no esta escrito , ni falta que
    le hace : esta hablado resonante, tumultuo-
    so de palabras, como es en realidad el ha-
    bla nuestra. Si la palabra es, como lo creo ,
    una idea que suena, por el modo de hablar
    se confiesan el ser y el sentir de una comu-
    nidad nacional. Nosotros, segun los puris-
    tas, hablamos mal. pero decimos exactamen-
    te lo que queremos decir. Nuestra prosodia,
    mestiza de andaluz y de carabali , vacilante
    entre bozalona y cervantina, revela el amor
    a la libertad y la tendencia a la indisciplina,
    al capricho individualista . Hablamos " como
    nos da la gana", porque no obedecemos ni a
    la Academia ni a la Corona , ni al rey ni al
    comisario.
    Alvares Guedes transcribe con tanta fideli-
    dad y tanto don de observacion el habla de
    nuestro pueblo, el habla libre y verdadera de
    nosotros ( no el idioma convencional ), " edu-
    cado", que intentamos utilizar ante extraños
    o en publico , que leyendole se siente viva y
    real el alma de toda una colectividad. Y como
    uno de los mejores ingredientes de este libro,
    artistica o literariamente considerado, el ping-
    pong, el ritmo alterno de los escenarios;:
    Miami - Cuba - Cuba - Miami, ocurre que la
    colectividad radiografiada no es unicamente
    "la comunidad del exilio " ,sino todo el pueblo
    cubano en sus dos riberas actuales. Aqui esta
    toda la emotividad , toda la mentalidad apasio-
    nada, delirante, disparatera y voluntarista del
    cubano en general.
    Digo voluntarista en su real acepcion de capri-
    cho llevado al extremo de confundirlo con la
    realidad . Queremos que las cosas sean, no
    como son , sino como queremos que sean.
    Nuestras ideas o suposiciones van siempre mas
    de prisa que la realidad, por evidente y palpable
    que sean la diferencia de esta con nuesto capri-
    cho. Si se nos ocurre pensar que Fidel se cae den-
    tro de un par de meses, ! ay de quien se atreva a
    llevarnos la contraria ! El que   no   piense como
    nosotros es un traidor , un canalla,   un vendido.
    De ahi a la hiperestesia y aun a la histeria no hay
    mas que un paso.
    De Guilermo Alvarez Guedes se   piensa que un
    humorista, un hombre ingenioso y lleno de ocu-
    rrencias, con gran poder comunicativo - el es un
    comunicador nato - , pero no se advierte que pre-
    cisamente en su eficacia para hacer reir radica la
    autencidad ,la profundidad   de su    mensaje. El
    puede decier con Bernard Shaw. My way of joking
    is to tell the truth. Porque los   humoristas   saben
    que en materia de comicidad no hay nada que su-
    pere a la verdad, a las verdades. Porque la verdad
    choca , molesta, irrita a la gente    que no contaba
    con ellla y creia que nadie   se la mostraria jamas.
    Lo que hace reir es casi siempre lo inesperado , la
    sorpresa que acaba por desconcertar. Y es al mismo
    tiempo un peldaño en la escala que conduse al pen-
    sar doloroso, al encuentro cara a cara con la verdad,
    con la realidad como es, no como queriamos que
    fuese.
    Los exiliados necesitamos mucho hacer de la reali-
    dad nuestra mejor compannia. Hay que desalojar del
    pecho la criapacion, la irritacion perpetua, la amargu-
    ra. Cuando dije al comenzar que preferiria ver el libro
    de Alvarez Guedes en el primer lugar de los mas ven-
    didos ( y , se supone , de los mas leidos ) aludia a su
    valor de medicina   sicologica., de   tratamiento inteli-
    gentisimo para nuestro desequilibrio emocional. Como
    quien no quere la cosa, Alvarez Guedes nos hace ver
    las dos caras de la moneda simbolo del caracter na-
    cional: por un lado la risa, la jacara, la   apariencia de
    ser, acomodaticios y despreocupados, amigos del chis-
    te y del choteo; pero por el otro lado esta muy vivo en
    su libro el hombre capaz de heroismos sin desmayos
    que hay en el cubano. Piensese en la tenacidiad de la
    resistencia lo mismo entre presos en las carceles que
    entre presos en las calles, en mujeres como en hombres,
    en jovenes como en viejos. El cubano   sabe dar la vida
    por amor a Cuba cuando llega la hora    de darla. En
    este libro hay paginas  de   risas y    paginas de dolor.

    Desde el reino de la risa

    Y todo esta dicho en vivo, hablado si se quiere , pensan-
    do acaso para la radio o para el juguete escenico que
    llamamos sainete , y que tanto sirvio en al Colonia como
    en la republica para decir las amargas verdades , denun-
    ciar los errores, y ofrecer el remedio de la enmienda. En
    apariencia ,e s este un libro de politica- ficcion, hecho
    desde el reino de la risa y del desparpajo.
    Pero como hay en el un fondo intimo que es la musica de
    Mahler venerada por un cubanazo de frivola e inculta
    apariencia , entre las paginas de este libro agil como un
    acrobata queda iluminada una de las mas serias y certeras
    radiografias del alma cubana .

    Jueves 25 de octubre 1990
    El Nuevo Herald

    cortesia de Xonia Bengurria

    Sunday, May 12, 2013

    Un dia de Las Madres en Luyano Mayo 12 2013




    El Dia de Las Madres

    El Dia de Las Madres en Cuba , era un dia muy especial.
    Un mes antes , en la escuela, la maestra diseñaba algun
    trabajo manual. Casi siempre teniamos que hacer una
    cartera , un tapete, un lugar donde nuestras madres pu-
    dieran guardar sus medias de naylon. A mi la costura no
    me gustaba, la sobrevellevaba porque siempre teniamos
    que hacer algun bordado. Como me gustaba pintar y
    dibujar mi impaciencia era domada a la hora de diseñar
    el bordado. El punto que mas gustaba era el de cadeneta,
    para mi era el mejor por la facil y porque ocupaba el
    espacio rapidamente. Recuerdo todas las labores manua-
    les que las monjas diseñaron para nuestras madres. en
    aquel tiempo para mi las labores manuales eran activida-
    des de personas mayores, Hoy al ver la poca creatividad
    en los colegion valoro el esfuerzo de mis maestras. Natu-
    ralmente , yo preferia ir con mi padre a escoger el rega-
    pero como estaba interna me era imposible hacerlo. Mi
    unico consuelo era el regalo que papa escogia. Papa no
    le gustaba comprar a ciegas, el preferia comprar al gusto
    de mi madre, por lo tanto en aquellos tiempos nunca
    pude hacer un regalo Sorpresa. Cuando intervinieron mi
    escuela, y me enviaron las monjas para la casa....fue asi
    que pude escoger mi primer regalo. No fue facil elegir,
    y no tenia muchas opciones.....que compraria ....
    una cartera , un perfume, una sortija,,,El unico lugar
    que podia ir a buscar el tan añorado regalo eran en los
    negocios que habian en mi barrio. Estaba la peleteria
    Norma, esta quedaba en Luyano 665, auque los dueños
    eran amigos de papa, mi madre usualmente compraba
    sus zaparos en la peleteria Lido, esta quedaba muy
    lejos . asi que fui a la tienda de Isaac el Polaco, y a otras
    tres que habian en Calzada de Concha y Luyano....mien-
    tras caminaba me tope con una quincalla que habia en
    cerca de la calle Teresa Blanco..Me fascino la variedad
    de cosas que tenian.
    En la Quincalla habian discos, perfumes, cajas de
    talco, pañuelos bordados, medias, crema Pons, polvos
    Max Factor corriente , tazas de cafe, bellisimos juegos
    de vasos, creyones de labios, coloretes, vanites para
    los polvos sueltos, blusas, toallas, y hasta varias sayas
    de rock. Compre un juego de tazas de cafe, uno de vasos,
    una crema Pons diurna, una caja de jabones Mirurgia,
    y una saya de Rock roja cuyo diseño era una chica con
    cola de caballo y un chico al lado de un tocadisco ...
    Nunca he olvidado aquella Quincalla , tiempo despues
    intervenida por el regimen y que tan poquito pude
    disfrutar. Mientras caminaba , rumbo al barrio de la
    Asuncion a visitar a dos amigas, fui a la farmacia de
    los padres de Tony Hurtado....para comprarme un
    shampoo Breck...un shampoo de Helen Curtis para mi
    madre , cual fue mi sorpresa al ver que vendian Channel
    numero 5. Despues de visitar a Merceditas , a Flora la
    modista, antiguas vecinas mias y a mis tios Fortunato
    y Palmira....regrese a casa. Antes de llegar saque los
    regalos para el dia de Las Madres y los deje a Antonio
    el carnicero pidiendole me los guardara. Los shampoo
    los llevaba conmigo. Llegue silenciosamente,,,mi madre
    no noto nada, creo que ese dia me hize adulta .....
    A la mañana siguiente fui a comprar un cake helado
    con papa, mientras mama dormia...a nuestro regreso
    le di un fuerte abrazo...le di el cake...que ella recibio
    con mucha alegria, inmagino que pensando que ese
    era mi regalo....corri a buscar mis regalos que papa habia
    recogido de la carniceria y habia escondido en un lugar
    seguro de la casa....Cuando mi madre vio los regalos
    mientras los veia...exclamaba que bello, por cada regalo
    me daba un beso de premio....el Channel 5 fue un exito
    y como toque final papa le regalo un juego de sortijas
    de coral con brillanticos .....Al medio dia, le pedi a papa
    me diera dinero para comparle a mis cuatro vecinas del
    barrio cuatro Channel 5 que en aquella epoca solo costa-
    ba cinco pesos....
    Feliz Dias de las Madres a todas las madres cubanas en
    especial a todas las que se han ido como mama...pero
    aun viven en mi memoria....