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HomeLIFESTYLE"Gypsy Power", the group showcasing Rumba Kinki

“Gypsy Power”, the group showcasing Rumba Kinki



The group “Gipsy power,” directed by drummer from Vetusta Morla, provides an overview of the massive genre of the ’70s and ’80s. The blind romance was before her and with Murat, for example, and continues to this day

In Spanish prisons, there were 13,890 convicts (13,266 men and 624 women) in 1970, according to data from correctional institutions. In 1980, after several pardons and pardons for political prisoners, there were 18,253 convicts (17,669 and 584). In 1990 there were 33,058 defendants (30454 and 2,604). In 2000 there were 45,104 convicts (41451 and 3653). The percentage of prison inmates in relation to the total population was 0.040% in 1970, 0.048% in 1980, 0.084% in 1990, and 0.11% in 2000.

The heroin epidemic I knocked on the door at the end of the seventies and caused chaos in the eighties and nineties of the last century, and that was a direct cause of the marked increase in the number of prisoners. In 1987, the newly created State Information System on Drug Addiction recorded 10,038 equine addicts in treatment, an index that peaked in 1996 with 45,029 cases. According to Department of Health estimates (which are the closest to official numbers), 1991 was the year with the highest direct fatality rate from heroin: 1,833 overdose deaths.

And AIDS added to the massacrewith a particular ferocity in prisons: In 1989, 46% of inmates had a history of injecting drug use and 32% had HIV, according to correctional institutions.

A dark episode in the modern history of Spain, it is not surprising that official social, political, and cultural discourses made an effort to bury the Quintet, and continue to do so. With the delight that the transition, the Madrid movement, the 1992 Games and the Exposition brought the country, It is best to put a cast iron cap over that hole.

As daring, because of his antics, he was celebrated Los Chunguitos performing at The Golden AgeTVE’s talk show, in 1985. When the group already had nearly a decade behind them, more records and tapes were sold than most of the participants in the space directed and presented by Paloma Chamorro, and a monument to Spanish pop music like ” I stay with you.”

“It was music cut from ‘Koros,'” says writer Montero Gleize, and thus caused disapproval of the middle class.

“It was loose music, from cities accommodating short-distance immigrants, from ‘kouros,'” says the writer. Montero GlazeFrom Madrid 1965-. As such, it has caused disapproval of the middle class. For me, who listened to “authentic” rock by Chapa Discos, Zappa, Hendrix and protest song, the first.”

This was the go-to highland-to-urban, fringe, Kinki or Kallura Rumba treat, which is known by all these and a few other nicknames. The genre based mainly in Madrid which was the real soundtrack of those years and which, like any authentic folk expression, is very tenacious. Compilation of “Gypsy Force”, directed by David “El Indio”, drummer for Vitosta Morlamay be the most powerful music rescue ever made: 24 great songs that don’t stay on the subject.

He opened the anthology “La history de Juan Castillo” (1974), from the first LP by Los Chichos, “Ni más ni menos”. It’s a great mix of rumba, rock, salsa and funk It is where the Spanish studio system of the time appears in all its splendor, with producers, arrangers, and top musicians at the service of the main artists (or at least their songs). The piece tells of a stick frustrated by a tip-off, murder, and conviction, with a few words in Kalou and an effective leap from third to first.

The story “The Story of Juan Castillo”

In the same year that Los Chichos La history de Juan Castillo (1974), months before it was published, Tony el Gitano published El failure on the label of Acropol, a song with the same melody and the same lyrics, except for a song. Few differences. The explanation might be that Tony El Gaetano and Giros, the author of Los Chicos, were related and collaborated before each took their own course, hence the two-headed topic. Three cheers however for a song whose first lines were: “It was a night of sorrow and tears / For everything led to failure / Two cousins ​​and two brothers gone / They went to cry / And they gave them away”.

false modernity

The outright criminal story links ‘The Juan Castillo Story’ with folk (‘Tom Dooley’, a traditional song recorded by The Kingstron Trio), country (‘Blues in Folsom Prison, by Johnny Cash’), and rhythm and blues (‘Stagger Lee’, a traditional song). Others, this song with several recorded versions, although Lloyd Price’s is considered a canon song) and American rock and roll (“I Fought the Law”, popularized by The Bobby Fuller Four), as well as contemporary Jamaican reggae (“I launched Fire on the Mayor,” by Bob Marley; “The Harder They Come,” by Jimmy Cliff). And that frankly criminal story seems to be a novelty in Spanish music.

But it just looks like her. He notes that “in Los Golfos (1960) by Carlos Saura, two women provide a fascinating explanation, in the manner of blind man’s romances, for Garabo’s crimes.” Pedro C. RomeroArtist and researcher in popular culture, especially flamenco. For me, there really is a Los Chichos song.”

Old world survival

A film of impressive documentary value, it is no accident that it shows the accelerating transformation of Madrid into a megalopolis, with shantytowns, vacant land and blocks of apartments under construction on the same plane, and a direct antecedent of Cinema Quinque along with “spontaneous(1964) from George Gray Los golfos depicts the birth of a new marginal world: the urban suburban world. Traces of the old world remain in that transformed city, such as the above performance of “The Crimes of Grabo,” an account of the four murders he committed. Jose Maria Garabo in 1958.

Folklorist and musician Joaquin Diaz He recorded “Los Crimes del Jarabo” (in the 2003 album Música en la calle), where he recorded hundreds of stories, some rescued from oral tradition and others from the so-called string literature, where stories of bloody events abound. “The ‘official’ end date for touring singers is usually tied to the birth of ONCE [1938]’, tells Diaz. But this date was, in fact, the beginning of the end. In the essay ‘Cordell’s Literature and Its Heroes’ (2004) Diaz makes it clear that Atolfo Rodriguez de Lano, The last edition of these papers in Madrid continued to be active until the 1960s, though no longer the burgeoning industry it was, with writers subscribing to various newspapers for bloody facts, specialized printers, and blind or non-series printers. . “The coplas were made by the thousands because they were sold by the thousands,” writes Diaz.

old urban music

So Los Chichos were able to see the final labor of a centuries-old tradition. The criminal side of romance It began to form in the 16th century and was well defined already at the beginning of the 17th century. Romero: “The jacquard was named in that century because it is the music of checks, that is, from the delinquent environment,” explains J. Urban music like flamenco would be from the 19th century.

Here the channel expands. “In flamenco, this theme is present in almost all styles, especially in fandango – notes J. Romero -. about bandits, but also about crimes of passion, revenge, thefts and mldr; Then there is the warden, a type of “tuna” that arises from her stay in prison; Today it is usually performed by Martinet.” The jailer leads the song “Quero ser libre” (1973), the first single by Los Chichos, as well as for “Gipsy Power”.

ocean and consumer society

But it is true that the place and the moment in which the urban rumba appears is new: ocean and consumer society, with an energy shield separating one from the other. “The symbol of this type is the car they would never own if they didn’t steal it, primarily because credit activity is forbidden to them,” Montero Gleizes says.

The marginal rumba was “a reflection of life in neighborhoods built from nothing,” as David El Indio abounds. He adds: “This coincided with the start of the demand for Roma social rightsthe current issue in Los Chorbos for example”

Gleizes, whose last novel was “Carne de Serene”, overcame prejudices about blocks and chorus when he started at “20 or 21” to start out in Flamenco, about which little is known at this point. “It is important that in the early seventies Shrimp and Paco de Lucia, who were in Madrid, went with the first red mini to watch the Las Grecas representation or to pick them up as quickly as possible, says Gleizes. What’s more, Paco was inspired by the melody of “I Love You Madly” by Las Grecas to record [a salto de mata: más o menos tuvo que improvisarla para completar el álbum ‘Fuente y caudal’] Among the waters.

Not only was the flamenco revolutionist fascinated by Rombeiro’s new, electric and “unconventional” sound. “In general, he had all the respect of flamenco -following Gleese-. I went by car with Pepe Hapichuela or Ramon de Algeciras and what was playing on the cassette was Las Grecas, soup, Aurora, Antonio & mldr; “.

All of them are present in the “Gypsy Power”, such as Tony El Gaetano, El Luis, Zingaro, Lapprento, Lolli and Manuel or Morena and Clara.

Certified translator

David ‘el Indio’ has already compiled the British label Soul Jazz’s ‘Gipsy rhumba’, a record focusing on the Catalan rumba that preceded and gave (miscegenation, study system) rumba calorra. In fact, the daughter spoiled the mother: The rude and outlaw character in Rumba MadridIn tune with her times, her lively Barcelona predecessor closed off the circle of respectable nightclubs where she lived. Infected stigma.

Quinqui cinema was very uneven. “Exploit” Jose Antonio de la Loma In the epic “Stray Dogs” it has nothing to do with the author’s realism Carlos Saura In “Hurry, Hurry Up”, none of the directors relate to the political and provocative perspective Eloy from the church In the diptych “El pico”. But this subgenre has transformed social reality and the music it produced into a full-blown pop phenomenon.

the new flamenco from Kitama, Ray Heredia, or La Barberia del Sur; Estopa, Pantanito, or El Coleta; And now Squarenot to mention a lot of trap with Live At the head, at least objectively, they trace the line of the suburban Rumba dynasty to this day.

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