{"id":7493,"date":"2021-01-27T00:00:32","date_gmt":"2021-01-27T05:00:32","guid":{"rendered":"https:\/\/magazineampm.com\/?p=7493"},"modified":"2022-03-28T19:20:44","modified_gmt":"2022-03-28T23:20:44","slug":"el-disco-rayado-mujeres","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/el-disco-rayado-mujeres\/","title":{"rendered":"Women"},"content":{"rendered":"<p>I think there are very few who know exactly the coordinates of the moment in their lives when they heard Silvio for the first time. I&#039;m not talking about the Silvio-person \u2014the one who was born in San Antonio de los Ba\u00f1os in November\u2014, his current voice, his records. I say the Silvio-air \u2014to which the Silvio-person also belongs\u2014, the one that is the same in a <em>spot <\/em>CDR pinguero, that in the piece of paper you left under the table of the girl you liked in high school, that in the voice of Chocolate MC. It is more difficult to say when and where we met him: find the point that cuts the meridian of time with the parallel of space.<\/p>\n<p>In my case it must have been very early, possibly before the brain began to shelve memories. The old man had some vinyl that he kept playing on his Russian record player. I know there were several, but only two made it to my prefrontal cortex: <em>Causes and chances<\/em> (Fonomusic\/Egrem, 1986) and <em>Unicornio <\/em>(Areito, 1982), whose cover I loved because of the colors and images.<\/p>\n<p>When I approached Silvio seriously, I already knew a large part of his songs by heart, and had sung many of them in those political-pioneer acts that we will have, for sure, for a long time to come. <em>Mace<\/em>, <em>by whom<\/em> <em>deserve love<\/em>, <em>The happy day that is coming<\/em>; I remember very well singing them as a child. Some teachers called me \u201cSilvito\u201d. One of them took offense when I commented, while we were rehearsing <em>pioneers<\/em> with the school choir, that in the part of the song where he said: &quot;It was like returning to a place \/ where I keep roots and stars&quot; the same melody was heard as in the first two verses of the second stanza of the national anthem; that my dad had told me, Silvio had asked I don&#039;t know who for permission to do it. He was not amused by my apostille and questioned my father&#039;s sources of information. What relaxation was that with the national symbols?<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/k359Hyzjx40\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>It was a half-strange, half-beautiful process, peeling off these already larger songs, without the morning paper and the scarf, when words ceased to be just graphic symbols and sounds, and became language; when \u201ca past server in a new cup\u201d was \u201ca past server in a new cup\u201d and not \u201cblah blah-blah-blah blah-blah-blah blah-blah blah-blah\u201d.<\/p>\n<p>Those of the <em>Women<\/em> (Areito, 1978) did not have them so burned, except <em>And nothing more<\/em>, which accompanied the credits of the telenovela <em>Nonetheless<\/em> \u2014possibly the most watched in the history of Cuban television, because we all wanted to certify whether in the end the statue of the Knight of Paris walked or not, remember?\u2014 and <em>What do I do now?<\/em>, for the version that Moneda Dura had done on his album <em>hopefully<\/em> (Egrem, 2002). It was the one I liked the most among several albums with which I rediscovered Silvio around the year 2004, and which made him my adolescent idol. My relationship with him was the same that more than a nineties puberty from Seattle must have had with Kurt Cobain, or with Charly from Sui Generis, the skinny hairy guys from Buenos Aires. It is probably the most important aesthetic expression in my personal history. That&#039;s why I always forgive capitalized chealdades like <em>a certain love story<\/em>, the seventh track on the record, which he had to like enough in 1978 to place it as opening the B-side of the original LP edition.<\/p>\n<p>Listening to this plate, not to overthink it, I found poetry. Before &quot;I no longer wait for you \/ I already broke down, yesterday, my doors&quot;, or &quot;a panther bite in the most mine&quot; in my vocabulary the word <em>poetry<\/em> wasn&#039;t too far from the word <em>poem<\/em>. It differentiated them, of course. If someone, for example, had announced: \u201cNow, to continue, Patricia, from 6th B, will recite a poem\u201d, I would have felt that something was not right. But before <em>Women<\/em>, before Silvio, the indistinct use of the term did not bother me inside. It was the one from San Antonio de los Ba\u00f1os who revealed to me that language is a triangle, or the curved outline of the capital letter D; that if the shortest distance between two points is a line, then poetry is all the amount of space outside of it, all the longest ways to get to point B from point A. And that is the most momentous finding , after finding oneself. Imagine what comes after that. So when drunk they leave me all of Silvio&#039;s songs, I sing them.<\/p>","protected":false},"excerpt":{"rendered":"<p>Listening to this plaque I found poetry. It was the one from San Antonio de los Ba\u00f1os who revealed to me that language is a triangle, or the curved outline of the capital letter D; that if the shortest distance between two points is a line, then poetry is all the space outside of it, all the longest ways to get to point B from point A.<\/p>","protected":false},"author":1481,"featured_media":7494,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[8085,7204],"tags":[7417,8116,111,290],"coauthors":[7255],"class_list":["post-7493","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-columnas","category-el-disco-rayado","tag-el-disco-rayado","tag-mujeres","tag-silvio-rodriguez","tag-trova"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2021\/01\/Mujeres-portada-web.jpg?fit=1520%2C690&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/7493","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/users\/1481"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=7493"}],"version-history":[{"count":2,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/7493\/revisions"}],"predecessor-version":[{"id":10592,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/7493\/revisions\/10592"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/7494"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=7493"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=7493"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=7493"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=7493"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}