{"id":11151,"date":"2022-05-18T00:00:30","date_gmt":"2022-05-18T04:00:30","guid":{"rendered":"https:\/\/magazineampm.com\/?p=11151"},"modified":"2022-05-18T13:26:32","modified_gmt":"2022-05-18T17:26:32","slug":"tiraderas-la-musica-popular-bailable-en-los-90","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/tiraderas-la-musica-popular-bailable-en-los-90\/","title":{"rendered":"Tiraderas: popular dance music in the 90s"},"content":{"rendered":"

With its timba boom, the 90s of the 20th century witnessed a strong bid for popular favor through various confrontations between orchestras, and even on a personal level, between some musicians, with the singers being the most frequent protagonists of these episodes. .<\/span><\/p>\n

At the beginning of that decade Los Van Van was the number one group, indisputably recognized by the public. But, as on occasions before and after that period, he would have to dispute his reign on the field with other emerging orchestras that, at times, surpassed Juan Formell's troupe in popularity.<\/span><\/p>\n

If in the 1970s La Ritmo Oriental tightened the screws on the \u201ctrain\u201d, and at the end of the 1980s La Rev\u00e9 and NG La Banda threatened to steal the show, in the 1990s it emerged <\/span>\u2014<\/span>with unusual strength and a great package of compositions<\/span>\u2014<\/span> The Dan Den of Juan Carlos Alfonso. The three-year period 1990-1992 witnessed an uninterrupted chain of <\/span>hits<\/span><\/i> which would be reflected, shortly after this group was founded, in a close and controversial struggle for the 1990 Girasol de Opina Award between Los Van Van and El Dan Den.\u00a0\u00a0<\/span><\/p>\n

It is difficult for a composer or conductor to openly admit that a specific theme is intended to criticize, minimize or <\/span>dump <\/span><\/i>to another group. Nevertheless, <\/span>This is good<\/span><\/i>, vanvanera composition of Cesar <\/span>puppy<\/span><\/i> Pedroso, at the time was considered by part of the public as a song aimed at the Dan Den boys; "...it's not bad, that's good \/ but it's not new, nor original",<\/span> Said a fragment of the lyrics sung by Pedrito Calvo, as if to establish the difference between popularity and originality, marked by the authority of whoever came first. And, as if that were not enough, adding the morbidity of other arguments: \u201csweetheart, you have a lot to learn \/ in this way it can't be \/ for so long and you didn't learn \/ you repeated yourself, what a situation \/ if you want I'll teach you \/ Well, I'm still the one who taught you."<\/span>\u00a0<\/span><\/i><\/p>\n

The montuno of this theme would come to point out the Formellian philosophy and strategy in its long distance race, reminding us that the matter is not to arrive but to stay. "That's fine, that's good, but now how do you support yourself?"<\/span>\u00a0<\/span><\/i><\/p>\n

In line with the responses that became fashionable in previous times, the 90s also witnessed compositions that, on some occasions, would be interpreted as a riposte, although they resorted, as much as the first ones, to the figure of the woman as the supposed recipient of a message that the experienced perceived addressed to other subjects. At least that's how it was understood by some. <\/span>Don't get angry<\/span><\/i>, by Juan Carlos Alfonso, as a sort of response to <\/span>This is good<\/span><\/i>.\u00a0<\/span><\/p>\n