Skip to main content

Sing the Latin American “New Song” movement, 1960s and 1970s - programa #124


As we strap into the Wayback machine we’re hoping to discover a brave new future in a worker’s paradise (or at least a summer vacation in the Catskills) driven by our fervent calls for regime change and, perhaps, armed revolution. Those were the days, circa 1965-75, when throughout Latin America,  leftists caught a glimmer of hope that life could factually improve for the most downtrodden amongst them. These songs were born of that movement toward justice, equality and a pollo in every pot. A rediscovery and rebirth of traditional folk music was part of the inspiration as well  . . . [continues below]

Al compás del mundo - The Latin American “New Song” movement, 1960s and 1970s
First broadcast 4-18-24

01 Soledad Bravo - Punto y raya (Venezuela)

02 Isabel y Ángel Parra - Este presente festín se lo regalo a cualquiera (Chile)

03 Haciendo Punto en Otro Son - La vida campesina (Puerto Rico)

04 Amparo Ochoa - Por medio de la lectura (México)

05 Atahualpa Yupanqui - Indiecito dormido (Argentina)

06 Carlos Puebla - Hasta siempre (Cuba) [SHOWN BELOW]

07 Karaxú - Los libertadores (Chile)

08 Mercedes Sosa - Si se calla el cantor (Argentina)

09 Daniel Viglietti - Me matan si no trabajo (Uruguay)

10 Los Folkloristas - Manifiesto (México)

11 Los Guaraguao - No basta rezar (Venezuela)

12 Luis Enrique Mejía Godoy - Yo soy de un pueblo sencillo (Nicaragua)

13 Inti Illimani - Rin del angelito (Chile)

14 Violeta Parra - La pericona se ha muerto (Chile) [SHOWN ABOVE]

15 Alfredo Zitarrosa - La ley es tela de araña (Uruguay)

16 Quilapayún - La Batea (Chile)

17 Taoné - Qué bonita bandera (Puerto Rico)

18 Silvio Rodríguez - Madre (Cuba)

 . . . Great art is born of desperation and despair, say some critics, and a number of the themes in this playlist have emerged to become anthems of change familiar to millions, that still, today, are timely and cogent. Has poverty and brutal government repression been eliminated, though? Let’s take the pulse: Cuba – pretty much a basket case in many measures of the “happy life” index; Venezuela: a dictatorship run as a perpetual motion machine (working in the Chavistas favor); Nicaragua: another dictatorship run by those dictatorial forces that overthrew the previous dictator; Puerto Rico: retains its second-class status as a U.S. Commonwealth (misnomer!), still waiting for disaster recovery funds and, apparently, deserving of a paper towel toss; Argentina: 212% inflation last year – though, obviously, a ruined economy improves over a time when thousands were being “disappeared” by the military rulers. I’m not saying Villela, Somoza, Pinochet, Echevarria or Batista weren’t horrendous human beings that should have been plucked from their mothers’ wombs by vultures, or that U.S. sanctions and political chicanery haven’t stood as formidable obstacles in these countries’ development – but we’re teetering on the balance beam of relativity. Because there are those countries represented herein who have made the overthrow of entrenched self-interested leaders work in their favor. Mexico, Uruguay, and Chile are led by folk who are actually working amidst the confines of capitalistic systems to improve the lives of the have-nots within their borders. 

All this to say that the heroic and righteous lyrics of those political songs in this program emboldened the hope of millions amongst the (mostly) younger generation in its time. If their expectations have not been fulfilled, it’s not for lack of trying. 



Comments

Popular posts from this blog

Al compas del mundo, programa #92 - Japan

The Japanese historically have been a most creative people, excelling in aesthetic conventions like architecture, painting, culinary arts, theatre, music, and more. A craftsman’s care and an artist’s flair have come to define everyday household objects such as articles of clothing and kitchen ware, designed with a sensibility that imbues them with import and elevated status. After WWII in the United States however, an item inscribed “made in Japan” usually indicated a tchotchke of mediocre quality. A perfect example is the large number of Northwest Coast Native American-style bone totem poles made for the tourist shops in the Northwest. There is a distinctive difference in these “artifacts” from the real, home-made variety that illustrates someone from another culture tackling aesthetics they don’t fully comprehend. And that leads us to some of this week’s musical choices. Imitating Western pop, rock and jazz, Japanese artists have recorded many forgettable efforts – not unlike those o...

Al compás del mundo - programa #99 - Los Folkloristas

This week’s Al compás del mundo earns a pair of dedications. Primarily, to Las Folkloristas, a group of Mexican musicians who first came together in 1966 and who continue to the present day, delighting their public and educating them as to the breadth of folk music genres and instrumentation found in every corner of Latin America. The second dedication is to me and my sweetheart wife Claudia – we met at a concert of Los Folkloristas at the Sala Agora in Mexico City, in 1976. And yes, we too are still together. Get out your handkerchiefs and dry your eyes because there’s a story to be told as evidence that there’s a soulmate out there for everyone. You just have to make the effort to look, even if it takes you to a foreign land. And so it goes like this: I spent all of 1976 living in Mexico City, ostensibly to learn Spanish, but en realidad to loaf around, drink beer, practice my saxophone, and maybe, just maybe, look to meet a señorita. I lived in a pension (boardinghouse) owned by Jul...

Al compás del mundo – programa #119 –Blues Harmonica

Any program that starts and ends with Little Walter has got something going on right. And in this version of Mexican radio’s Al compas del mundo (radioactivaTX.org – in Tequisquiapan, Queretaro) I can do no wrong. Though I kind of, sort of, do a chronology of the harmonica in American blues, I had to start off this playlist with Little Walter Jacobs for reasons obvious to me and, I’m certain, many others. Followed by an all-time favorite – Rollin’ and Tumblin’, with Walter again, Muddy Waters, Baby Face Leroy Foster and an unnamed participant or two. It is a given that the blues developed in the United States brought by an enslaved population that introduced African characteristics from many different roots and regions. This lyric-less version of Rollin’ and Tumblin’ is played, moaned and wailed to create a mood that – to these ears – evokes the sound of the motherland, how distant that might be. Followed by early recordings of a novelty harmonica solo, jug bands, and country sounds. F...