Rubén Blades bricht die Form erneut
Die Verbindungen der lateinamerikanischen Musik charakterisierten spektakuläre Texte nach strengen Formeln von Pornotsunami, selbstmitleidiger Melanolia oder einfach nur festlichem Fest. Aber Rubén Blades kam zur Salsa in New York, zu den Fania AH Stars, direkt von der Universität von Panama. und fing an, alles zu ändern. Klingen ersetzten die alten Klischees durch Geschichten, in denen die Protagonisten Menschen waren, die aus der alltäglichen Realität stammen. Er schrieb über Straßenverbrechen, Familien, die in elenden Gegenden überleben, Themen, die vom gesellschaftspolitischen bis zum intimen Persönlichen begannen
Seine Platten mit dem Fania-Label, allein oder in Zusammenarbeit mit Willie Colon, wurden sofort bei einer ganzen Generation von Salsa-Fans beliebt, die die üblichen Themen bereits satt hatten. Blades '"new saIsa" sprach mit einer Generation, die stolz darauf ist, Latino zu sein, aber Schwierigkeiten hat, ihren Platz in einer angelsächsischen Welt zu finden.
Er schrieb sein bahnbrechendes Album "Omafick", viele Rockkritiker fanden sein erstes Salsa-Album in seiner Mail und zum ersten Mal war Rubén Blades das Thema der auf Popmusik spezialisierten anglophonen Presse. Ja, Rubén Blades bestätigt, und das lag daran, dass sie die Texte gelesen haben, weil ich sie übersetzt haben wollte, und dann sagten sie: Oh, das ist interessant; Dieser Typ sagt Dinge. " Ja, es gab viel Begeisterung, aber dann dachte ich: Warte eine Minute; Das gerät außer Kontrolle, ich gehe besser wieder zur Schule. Also ging er nach Harvard, um sein Studium des Völkerrechts abzuschließen. Etwas Ungewöhnliches für einen aufstrebenden Stern der Sechs, aber sehr passend zum Charakter von Rubén Blades.
After graduating from law in Panama, instead of resigning himself to working in a bank, he had gone to New York, ready to dedicate himself to music. Rubén Blades is not afraid of bankruptcy in his career. Upon leaving Harvard University, he again recorded albums with Elektra: "Scenes" and the introspective "Moon Water." Also it began to take part in the cinema. He wrote the script for “Crossover Dreams” with León Chaso, where he also played the role of Rudy Veloz, a New York salsa singer who makes the kind of mistakes that Blades has always tried to avoid in his life, such as giving back to your identity. He also appeared alongside Richard Pryor in a mediocre comedy. But his best papal is the one that Robert Redford gave him in "A place called a miracle", where he plays a Chicano "sheriff".
Rubén Blades has added a new dimension to his multifaceted career by recording his first album in English, “Nothing but the Truth”. Among the songs on this album are collaborations with Lou Reed, Elvis Costello and, to a lesser extent, Sting. With all these important names behind it, it could be thought that Blades had in mind going over to the other side. However, it should not be forgotten that he has been a star for a long time, and his ideas are very different. "I did not make this album thinking that it would be my way to find the gay filme kostenlos, and I never felt that to get somewhere I had to 'go to the other side.' I don't like that definition. I wanted the album to be an exploration of different forms of traditional music, rock, pop jazz, trying to create a hybrid between Latin sounds and the rest. ”
A boy in Panama
When he started playing, as a boy, in Panama, Rubén Blades was doing great hits in small local bands. Already then, North American culture exerted a tremendous influence on Latin America due to geographical proximity and political factors. “I grew up listening to a radio broadcast by a Jorge Ne grete ranchera as well as a song by Frank Sinatra, or Elvis Presley next to a Peruvian waltz. When we were young, our models as singers were much older people than us, guys with mustaches who sang boleros
"And then we saw guys like Bill Haley or Elvis Presley jumping around on his guitar. In those days, if you wanted to be a musician, you were supposed to learn to play the piano, or the congas. But the guitar ..., in every home, however poor it was, there was an old guitar that one of your uncles played at parties. You just had to take one of these porno blacked movies, get your backing vocals, and you could sing. So many of us started to play worse than the groups, at twelve or thirteen. We could sing that, and that it was in English we didn't care: we listened to the melody and phonetically played the lyrics, just as we heard them. ”
In 1964, the conflict over the Panama Canal, controlled by the United States Army, which left 21 people dead and 500 wounded, would awaken Rubén Blades' political conscience. “That love story with rock and roll had an unexpected end for many Panamanians. We had the US Army on the streets shooting at unarmed people. Those of us who had accepted everything from the United States began to raise hitherto difficult questions, and many stopped playing rock and roll and singing in English.