He creado Siempre Listening (Siempre Escuchando) para compartir historias que estén relacionadas con la música, una idea que tuve hace varios meses. Ya que no puedo caminar bien porque me lastimé la espalda el fin de semana pasado, tengo que quedarme en mi casa por unos cuantos días, lo que me ha dado la oportunidad de tomar mis primeros pasos como una bloggera bilingüe. ¡A ver cómo me va!
Recovering from a winter that went on for to long, the cheerful audience that visited the Warner Theater exclaimed “¡Viva México!”, as Natalia Lafourcade got on stage with her now iconic milkmaid braids and a guitar. Together with her band, the Mexican singer-songwriter brought an atmosphere full of joy to the District on a warm Sunday evening, joy that goes back decades and which performs a shared Latinidad.
I remember watching Natalia’s videos on MTV Latin America for Mi Casa and of course, the unforgettable En el 2000. However, besides these songs from the Natalia and La Forquetina era, in more recent years, Natalia performs a repertoire that reminds her fans of Latin American artists whose careers peaked many decades ago – with traditional songs such as La Llorona or their own compositions.
For instance, in 2012, Natalia released a tribute album to Agustín Lara, under the name “Mujer Divina”. Agustín Lara (1897-1970) was a Mexican singer and composer, who is recognized as one of the most popular bolero performers. He was born in Veracruz, the same city where Natalia grew up and paid tribute to in her song Mi Tierra Veracruzana.
Despite their popularity in Mexico with Agustín Lara, boleros originated in Cuba in the late 19th century. From there, they travelled to Puerto Rico and the rest of Latin America, where they became an iconic music genre shared across borders. Arguably, the Golden Age of Mexican cinema (1933-1964) played a major role in their popularity. Music was a central aspect of the films, with artists such as Toña la Negra and Los Panchos who brought this genre to broader audiences.
It’s feasible that our generation is celebrating this nostalgia through artists such as Natalia Lafourcade. Reminding us of the afternoons spent with our grandparents, in my case, listening to Radio Sinfonola in their house, or watching Pedro Infante movies with my grandma. For some of us, the bolero in itself evokes feelings of longing and love, not only through its lyrics but also through its instrumentation. It makes me wonder, what will nostalgia sound like for Latin Americans fifty years from now?
Since last week, Nicaragua has been featured on the news because of the protests that are taking place in the Central American nation over pension reforms. The resulting movement against the government of Daniel Ortega, of the Sandinista National Liberation Front, has lead to one of the most violent protests in the country.
Although the protests were called by the private business sector, an ally of Ortega during his eleven years in power, the street protests have been lead and represented by students from the country’s public universities, who had been supporters of the president in the past. Students have promised to keep with the protests until the president and his wife and vice president, Rosario Murillo, are out of power.
Students were also crucial for the Nicaraguan Revolution (1962–1990). Together with Carlos Fonseca, Silvio Mayorga, and Tomás Borge, student activists from the Universidad Nacional Autónoma de Nicaragua founded this organization, which saw the victory of the Sandinista National Liberation Front against the dictatorship of Anastasio Somoza in 1979.
I found and did a little of research on a vinyl of the Nicaraguan nueva canción band, Grupo Pancasán, which had been passed down to me last summer. Also named Pancasán, their first album was recorded in Managua, Nicaragua and produced in Costa Rica in 1977, two years before the Sandinista Revolution. It includes songs such as “Se está Forjando la Patria Pueva” (“The New Homeland is Forged”), “General de Hombres Libres” (“General of Free Men”), and “Trabajadores al Poder” (“Workers to Power”).
The first members of the group were Berta Rosa Guerra, Donald Aguirre, Marta Sandoval, Danny Montenegro, Laura Amanda Cuadra, Agustín Sequeira, Marlene Álvarez, Martín Fonseca and Francisco Cedeño. They were members of the Frente Estudiantil Revolucionario (Revolutionary Student Front), and as students, rehearsed on whichever classroom they found open at the Universidad Autónoma de Nicaragua located in Managua, the capital of the country.
The relevance and involvement of the university students from the seventies and eighties compared to nowadays seems to point to a common theme, evidenced in this album. Grupo Pancasán was part of a movement that supported the Sandinista Revolution. In a way, this movement to strive for an ideal Nicaragua, is mirrored today – almost four decades later. However, this time, they are fighting to take down the Sandinismo of Daniel Ortega, who also goes back decades ago, since he was one of the nine commanders who led the Sandinista Revolution.
I present to you Compañero Estudiante, a song that encourages solidarity among students. Here’s a loose translation of the third verse of the song: “Fellow student, who is persecuted / Who has fallen while fighting / My song is for you / Your example, may it serve to grow / Ideas and thoughts, to fulfill your ideal”.
I created Siempre Listening (Always Listening) as a way to share stories through music, an idea I had many months ago. Unable to walk properly since I hurt my back last weekend, I’m currently forced to stay home for a few days, which has given me an opportunity to finally take my first steps as a (bilingual) blogger. Let’s see how it goes!