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 jazz, swing,scat singing.
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 canterina, Quando canta Rabagliati, Quando 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.
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.
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 collaborationbetween 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 myown 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:
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 Sanchez, Chalino 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
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.
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 .
El Día de las Madres en Cuba, era un día muy especial. Un mes antes, en la
escuela, la maestra diseñaba algún trabajo manual. Casi siempre teníamos que
hacer una cartera, un tapete, un lugar donde nuestras madres pudieran guardar sus
medias de nylon. A mi la costura no me gustaba, la sobrellevaba porque siempre teníamos
que hacer algún 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 lo fácil y porque ocupaba el espacio rápidamente.
Recuerdo todas las labores manuales que las monjas diseñaron para nuestras
madres. En aquel tiempo para mi las labores manuales eran actividades de
personas mayores. Hoy al ver la poca creatividad en los colegios valoro el
esfuerzo de mis maestras.
Naturalmente, yo prefería ir con mi padre a escoger
el regalo pero como estaba interna me era imposible hacerlo. Mi único consuelo
era el regalo que Papá escogía. A Papá no le gustaba comprar a ciegas,
el prefería comprar al gusto de mi madre, por lo tanto en aquellos tiempos
nunca pude hacerle un regalo sorpresa. Cuando intervinieron mi escuela, y me
enviaron las monjas para la casa, fue así que pude escoger mi primer regalo. No
fue fácil elegir, y no tenia muchas opciones. ¿Que compraría?
¿Una cartera, un perfume, una sortija? El único lugar que podía ir a
buscar el tan añorado regalo eran en los negocios que habían en mi barrio.
Estaba la peletería Norma, esta quedaba en Luyanó 665, aunque los dueños eran amigos de Papá, mi madre usualmente compraba sus zapatos en la peletería Lido. Esta
quedaba muy lejos, así que fui a la tienda de Isaac el Polaco, y a otras tres
que habían en Calzada de Concha y Luyanó. Mientras caminaba me topé con una quincalla que había
en cerca de la calle Teresa Blanco. Me fascinó la variedad de cosas que tenían.
En la quincalla habían discos,
perfumes, cajas de talco, pañuelos bordados, medias, crema Pons, polvos Max
Factor corriente, tazas de café, bellísimos juegos de vasos, creyones de labios,
coloretes, vanités paralos polvos sueltos, blusas, toallas, y hasta
varias sayas de rock (and roll). Compré un juego de tazas de café, uno de vasos, una crema
Pons diurna, una caja de jabones Myrurgia, y una saya de rock roja cuyo diseño era una chica con cola de caballo y un chico
al lado de un tocadiscos. Nunca he olvidado aquella quincalla, tiempo después intervenida por el régimen y que tan
poquito pude disfrutar. Mientras caminaba, rumbo al barrio de la Asunción a
visitar a dos amigas, fui a la farmacia de los padres de Tony Hurtado para
comprarme un shampoo Breck y un shampoo
de Helen Curtis para mi madre. Cual fue mi sorpresa al ver que vendían
Chanel numero 5.
Después de visitar a Merceditas, a Flora la modista,
antiguas vecinas mías y a mis tíos Fortunato y Palmira regresé a casa. Antes de
llegar saqué los regalos para el Día de Las Madres y se los deje a Antonio el
carnicero pidiéndole me los guardara. Los shampoo
los llevaba conmigo. Llegué silenciosamente, mi madre no notó nada, creo que ese día me hice adulta. A la mañana siguiente fui a
comprar un cake helado con Papá, mientras Mamá dormía. A nuestro regreso le di un fuerte abrazo, le di el cake que ella recibió con mucha alegría,
imagino que pensando que ese era mi regalo. Corrí a buscar mis regalos que Papá había recogido de la carnicería y había escondido
en un lugar seguro de la casa. Cuando mi madre vio los regalos mientras los veía
exclamaba que bello, por cada regalo me daba un beso de premio. El Chanel 5 fue
un éxito, y como toque final Papá le regalo un juego de sortijas de coral con brillanticos. Al medio día,
le pedí a Papá me diera
dinero para comprarle a mis cuatro vecinas del barrio cuatro Chanels 5 que en
aquella época solo costaba cinco pesos.
Feliz Días de las Madres a todas las madres cubanas
en especial a todas las que se han ido como Mamá, pero que aun viven en mi memoria.