Spanish Popular Music through Latin American eyes

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López Cano, Rubén. 2013."Spa

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Popular Music through Latin American Ey

Rubén L

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Rubén López Cano 2013

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How to

Spanish Popular Music through Latin American eyes

e in Spain. London and New York: Routledge. Pp. 187

n Eyes

én López Cano (ESMuC)

[email protected]

www.lopezcano.net

Commons.

ense.

w to cite this article:

yes". En Silvia Martinez

187-195.

Spanish Popular Music through Latin A

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The relationship that Spain has

the relationship that the Unite

Spain is not a military ally of an

perceived by the common citiz

and corporations is seen suspic

make it such that immigrants fr

workers while Spaniards travel

advantages.

The countries of Hispano

independence that spread thro

staunch local defenders of the

confronted peninsular power. I

(conquerors) who destroyed na

creation of a common enemy f

heterogeneous backgrounds. T

today and is reenacted periodi

commemoration ceremonies fo

The links between these

between Spaniards and Americ

to Ibero-America in the twentie

academic elites as well as on ev

transformed intellectual life in

patterns of consumption and h

atin American eyes


has with its former colonies in Latin America is a com

nited States has with Australia and the United Kingdo

f any of the big Latin American countries. Commerci

citizen as an affair of economic elites and the presen

spiciously as a neocolonial activity. Asymmetrical ec

ts from Latin American countries to Spain are mostly

avelling to the Americas do so in search of exoticism

pano-America emerged as nation-states out of the vi

throughout the continent during the nineteenth cen

the nation, seen as heroes nowadays (Bolivar, Martí,

er. In local historical literature, Spain is presented as

d native cultures and profited irresponsibly from nat

my facilitated the creation of a common identity in co

ds. The resentment surfacing from these historical na

iodically in the rituals celebrating independence, nat

ies for national heroes.1

ese two regions did not stop with the wars of indepe

ericans has been continuous. The economical and p

entieth century have left a cultural trace on the intell

n everyday life. Great Spanish republican thinkers an

e in Latin America while small traders and entrepren

nd habits in many regions. The descendants of those

Rubén López Cano

a complex one. Unlike

ngdom, for instance,

ercial exchanges are

sence of Spanish banks

l economic relations

ostly unqualified

ism or commercial

e violent wars of

century. In these wars,

artí, San Martín)

d as the invader

natural resources. The

in countries with

al narratives is still felt

, national day, and

dependence. Contact

nd political immigrants

ntellectual and

rs and artists

reneurs influenced

ose immigrants assert


proudly their origins and assoc

grandchildren and great-grand

many areas. The Internet has fo

a great number of Latin Americ

universities–sometimes in subj

from their countries or from Sp

postgraduate programs in their

learned in Spain establishing cl

Atlantic.

Independent of the abov

facilitated the consumption of

series on both sides without re

and the entertainment or satis

Between Spain and Latin

between the recognition of a c

in this unstable scenario that th

music takes place. Perhaps for

Ibero-America. Nevertheless so

individuals. They have been an

subjectivities of successive gen

private life of many individuals

In this chapter I shall exa

above all, the processes and ty

which music acts as an agent o

atin American eyes


ssociate with Asturian, Galician, or Catalonian societi

andchildren of those early immigrants. Links have be

as fostered meetings and relationships that lead to m

erican students have done postgraduate studies in S

subjects not available in their own countries–helped

m Spain. Back in their countries they often start instit

their areas of specialization and so diffuse ideas and

g close links between research communities on both

above considerations, the fact of sharing a common l

n of cultural products such as literature, music, cinem

ut regard to their provenance. Only the characteristic

atisfaction value they offer counts.

Latin America, a web of complex and paradoxical rela

f a common culture and the need for asserting histor

at the diffusion, reception and consumption of Span

for this reason many songs produced in Spain have n

ss some of them have been vital cultural landmarks f

n an integral mechanism of the construction of the id

generations in sundry social groups. They are an inte

uals and of the history of Latin American music.

l examine some facets of this complex relationship. I

d types of transnationalism of Spanish music in Latin

nt of the reproduction of stereotypes of Spanish cult

Rubén López Cano

cieties peopled by the

e been maintained in

to mixed marriages and

s in Spanish

lped by scholarships

institutions or

and methodologies

both sides of the

on language has

inema, and television

ristics of the product

l relationships oscillates

istorical differences. It is

panish urban popular

ave not resonated in

rks for thousands of

he identities and

integral part of the

ip. I will emphasize

Latin America in cases in

culture, or, conversely,


cases in which the music transc

worlds of signification, through

style.

Spanish Stereotypes: Spanish M

Cinema, in particular Argentini

of musical diffusion in all Spani

kind of musical performance, a

their appearances in those film

have been present in Latin Ame

waves of Spanish immigrants to

Spain for economical or politica

happens, most of the Spanish c

roles, were based on stereotyp

a permanent fixture. If he is ma

always good-hearted. He may b

appear as a musician or advent

and not very refined but partic

Frequently Spanish roles

Argentinian actress Niní Marsh

Galician, is legendary; she appe

1930s and 1950s.2 The Mexican

1940’s the character of Don Ve

atin American eyes


anscends national culture to forge a shared imaginar

ugh transnational musical genres lacking any kind of

ish Music and Latin American Cinema in the Mid-20

tinian and Mexican productions of the 1940s and 19

panish-speaking countries. There was practically no m

ce, and a number of musicians gained international r

films. Moreover, Spanish film-makers, actors, musici

American cinema from its inception. This presence g

ts to Latin America at the beginning of the twentieth

litical reasons after the Civil War (1936-1939) (Vega A

ish characters in Latin American films, be they in prin

otypes. The poor Spaniard going to Latin America in s

s male he will be uncultivated, naïve and somewhat

ay be represented as working hard in his own groce

venturer. Female roles are sometimes portrayed as s

articularly beautiful; they are often singers of Spanish

oles were interpreted by Latin American actors. The

arshall (1903-1996) personifying Cándida, a likeable w

appeared in many Argentinian, Mexican and Cuban f

xican comedian Joaquín Pardavé (1900-1955) made p

n Venancio, a prosperous businessman struggling bet

Rubén López Cano

inary and shared

d of national traces of

20th Century

d 1950s, was a vehicle

no movie without some

nal reknown thanks to

usicians, and characters

ce grew thanks to

tieth century who left

ega Alfaro 2001). As it

principal or secondary

a in search of fortune is

hat confused but

rocery shop or he could

as slightly ingenuous

anish popular music.

The performance of

ble working class

an films between the

de popular during the

g between his stern


Asturian individuality and the e

(1913-1985) also took the role

These films are usually a

the characters were Latin Ame

between Latin American count

impossibility of filming in Spain

recreated in the studio. In th

boleros, tangos, rumbas, ranche

such as traditional lullabies, rom

One of the first performa

Andalucian tonada singer Paqu

starred in several Mexican film

Yet the movement attained its

artists such as Lola Flores (1923

of the beautiful gypsy that falls

unexpected turns, comic scene

the production and direction o

It was not by chance tha

by two or more Mexican suitor

Galician producer Cesáreo Gon

as a baker in the city of Puebla

Miguel Morayta (1907) a

directed a number of films, and

(1893-1972) (Rodríguez 2002).

atin American eyes


the easy going “Mexicanity” of his children. The Colo

role of an Andulucian singer of tonadas.

lly about Spanish immigrants to Latin American, how

mericans who travelled to Spain. Due to the tense

untries and Francisco Franco’s (1892-1975) regime a

pain, precise locations in the Andalucia, Galicia, or A

n these films we can hear the fashionable genres of t

ancheras, mambos, or Mexican corridos alternating w

s, romantic songs, pasodobles, and traditional region

ormances of Spanish musicians in Latin American cin

aquita de la Ronda (?-2009) who from the beginning

films through which she popularized tonadas and ot

its peak in the 1950s with the participation in Mexic

1923-1995) and Carmen Sevilla (1930). They overwo

falls in love with a Mexican or an Argentinian in the m

cenes, and many songs. Spanish immigrants themselv

on of these films.3

that all these movies where the beautiful Spanish im

itors were produced by Suevia Films, the company o

González, who, according to his own story, had made

ebla (Vega Alfaro 2005, 67).

07) a former fighter in the Republican Army who was

, and some of them had decors by another exile Man

02). In one of them La guerrillera de Villa (The Partisan

Rubén López Cano

olombian Sofía Álvarez

however, sometimes

ense relationships

me and thus the

or Asturias were

s of the time like

ing with Spanish songs

gional melodies.

cinema was that of the

ning of the 1940’s

d other Spanish genres.

exican productions of

rworked the archetype

the midst of

selves participated in

sh immigrant is pursued

ny of the famous

ade part of his fortune

was an exile in Mexico

Manuel Fontanals

rtisan from Villa,


1967), the actress Carmen Sevi

tonadas and coplas in a mythic

genres throughout the region a

rural, backward, naïve, and kee

The Invention of Spanish Musi

In sharing his memories about

“the Hotel del Prado brought fr

In the ‘Salon de Versalles’ one

(Morales 2010, 61). Los Churum

groups of Spanish music in Lati

substantial differences betwee

part of the Hotel del Prado tea

Churumbeles were formed in C

Nobody in Spain knew o

America as the true ambassado

are fondly remembered in man

Chavales, who are known and r

The founder of the Chur

in a concentration camp in Fran

exile himself to Cuba (Neira 20

a sensation in Havana. Fernánd

mid 1940’s called Los Maestros

model of the Chavales. Thusly,

atin American eyes


Sevilla joins the army of Pancho Villa filling the soun

thical account of the Mexical revolution. All these fil

ion and this contributed to the reinforcement of the

keen-on-bullfighting Spain.

usic in the Americas: Los Churumbeles and the Cha

out tourist life in Mexico in the 1950s, Francisco Mor

ht from Europe professional staff for its excellent bar

one could enjoy the performances of the Churumbele

urumbeles together with the Chavales de España we

Latin America during the 1950s and 1960s. However

ween these two groups. The Churumbeles did not co

team or as the Chavales (a group formed in Barcelon

in Cuba by Spanish anti-Franco refugee musicians.

w or knows now of the Churumbeles but they were

sadors of the most typical and topical Spanish music

many countries even by members of the younger ge

nd remembered in Spain, are only a faint memory in

hurumbeles was Pepe Fernández (ca. 1914-2001) a r

Franco’s Spain from which he was released in 1949 o

a 2004). Just a year before Fernández’s release, the C

nández, together with some members of a band they

stros Cantores, saw the possibility of making money a

sly, they founded the Churumbeles. Although they e

Rubén López Cano

ound track with Spanish

se films spread Spanish

the stereotype of a

Chavales de España

Morales noted that

t bars and restaurants.

beles de España”

were the most popular

ever there were some

t come from Spain as

elona in the 1940). The

ere acclaimed in Latin

usic. Even today they

r generation while the

ry in Cuba.

) a republican detained

49 on the order that he

he Chavales had caused

they had founded in the

ney and followed the

ey emulated the


Chavales they did not possess t

refinement. However they skill

American middle classes had o

Mexico where they appeared in

The splendid voice of their teno

bullfighting, cognac, and cigars

Bells”), “La leyenda del beso” (

Guy”), and other classics of Spa

translation, they adapted the ly

the region.

In this way Spanish musi

Spanish into a sort of imagined

loved, close yet faraway land a

Co-productions

During the 1960s musical and c

from both groups became a su

bands like the Teen Tops (active

beginning of the 1960’s), adapt

Their Spanish translations adju

cultural remodeling of the eme

transgression of American sing

rockers preferred the model of

atin American eyes


ess their virtuosity, taste in the choice of repertory, o

skillfully knew how exploit in their interpretations th

ad of Spain. In the 1950’s they established themselve

ed in many films, radio programs and toured widely

tenor Juan Legido (1922-1989) was celebrated by a p

gars. Among their great successes were “Doce cascab

o” (“The Legend of the Kiss”), “El Gitano señorón” (“

f Spanish music in Latin America. In the 1950s, in an

he lyrics of many songs to the characteristic customs

usic was somehow reinvented in Latin America sett

ined community (Anderson 1993) using the music of

nd as a means of expressing their own feelings.

nd cinematographic co-productions with the particip

a successful formula. During the first years of rock, M

ctive from 1959 to 1967) or the Locos del Ritmo (suc

dapted themes sung by Jerry Lee Lewis, Little Richard

adjusted the English lyrics to local situations and in a

emerging rock movement, they softened the rebellio

singers. In the midst of a conservative and easily sho

el of ballad singers like Frankie Avalon (1939) to the a

Rubén López Cano

ry, or musical

s the image that Latin

elves definitively in

ely in Latin America.

y a public fond of

scabeles” (“Twelve

n” (“The Big Gipsy

an exercise of cultural

oms and conventions of

setting Spain and things

ic of that detested yet

rticipation of artists

k, Mexican singers and

(successful at the

hard, and Elvis Presley.

in an exercise of

elliousness and the

shocked society, Latin

the aggressive image of


an Elvis Presley or a James Dea

and they are recognized as the

The Latin American dom

and manner of performance w

Spain. Franco’s Spain favored th

American coproductions. Amon

Americans we find the twins Pi

the Argentinian Yaco Monti in

Mexican Enrique Guzmán in Co

Princesa y vagabunda (The Prin

in Dos gemelas estupendas (Am

Excited, 1968) (García Riera 198

Argentine singer Luis Aguilé, kn

The strategy of co-produ

Latin American films continues

by the Mexican filmaker Alejan

Goya Toledo (1969) and the so

the main characters of the film

Co-production is also com

famous CD Lagrimas Negras (

pianist Bebo Valdéz interpretin

postmodern copla singer Marti

Chambao, La Mari. Collaboratio

common. The objective of this

atin American eyes


Dean. Their adaptations made an impact in the Span

the pioneers of the developing rock movement.

domestication of rock rebelliousness in the kind of ly

e was similar to what happened to the music of Fran

ed the reissue of the tested musical cinema formula

mong the singers of that generation who often colla

ns Pili and Mili (Aurora y Pilar Bayona Sarriá, 1947). T

i in Escándalo en la Familia (Scandal in the Family, 19

Como dos gotas de agua (Like Two Drops of Water

Princess and the Tramp, 1969); and with the Mexica

Amazing Twins, 1968) and in Vestidas y alborotadas

a 1988, 197). They also made several television show

é, known for singing Spanish repertoire in his country

roduction and the inclusion of Spanish artists, musici

ues to this day. A recent example is the successful fil

ejandro González Iñárritu (2000). In the cast appears

e soundtrack contains a song—which symbolizes the

film—by the Spanish group Nacha Pop.5

o common in the world of record productions. A rece

(Black Tears, 2003) with flamenco singer Diego El C

eting a repertory of boleros. The Mexican Lila Downs

artirio, rocker Enrique Bunbury, and the singer of me

ration between rockers and singer-songwriters (canta

this strategy is to appeal to audiences on both sides

Rubén López Cano

Spanish-speaking world

of lyrics, stage presence,

Franco’s moralistic

ula with Hispano-Latin

ollaborated with Latin

7). They appeared with

, 1967); with the

ater, 1963), and in

xican Alberto Vázquez

tadas (Dressed and

hows in Spain with the

ntry.4]

usicians, and music in

ul film Amores Perros

ears the Spanish actress

the physical struggle of

recent example is the

El Cigala and Cuban

wns has duets with

mestizo music band

cantautores) is

des of the Atlantic and


introduce lesser known artists

medium and longer term, to bu

country could be sold all over t

The Construction of Transnatio

At different moments, the mus

music in order to promote con

Sometimes they have failed an

transnationalism has attained a

widespread and well-articulate

transnationalism of Spanish mu

Asymmetric Transnationa

During the second half o

started a campaign to promote

intended to gain a place in a m

variety of rock groups, especial

of songs, groups, and concerts

the genre. Several Spanish grou

them were Radio Futura, Migu

Toreros Muertos, Nacha Pop, D

Nevertheless the movem

one hand, not all groups had th

discourse of their lyrics was qu

atin American eyes


ists to new scenes. These moves of the music indust

to build a transnational cultural market where a prod

ver the Spanish speaking world.

national Scenes

music industry has tried to spearhead the transnatio

consumption of the same product across the linguist

d and sometimes they have had one-off successes bu

ed a real homogenization of tastes and imagery and

lated musical scenes. As examples, I will briefly exam

h music in Latin America.

tionalism

alf of the 1980’s, one of the major record companies

ote rock sung in Spanish using the slogan “rock in yo

a market dominated by Anglophone music. The resu

ecially from Spain, Mexico, and Argentina followed b

erts and a surge of radio programs and even radio sta

groups started to have an important presence in Lati

iguel Ríos (1944), Veni Vidi Vici, La Trinca, La Unión,

p, Duncan Dhu, and Alaska y Dinarama.6

vement far from constituted an integrated transnati

ad the same quality or style and meaning in their per

s quite varied, so not all groups connected with the t

Rubén López Cano

dustry aim, in the

product created in a

ationalism of Spanish

guistic and cultural area.

s but occasionally

and has constructed

examine three cases of

nies, BMG Ariola

in your language,” that

result was a wide

ed by a large circulation

io stations dedicated to

Latin America: among

ión, Hombres G, Los

national scene. On the

performances and the

the tastes of Latin


American audiences. The appro

much more incisive and they su

interpretation of rock music wa

with the sound and the lyrics o

Enanitos Verdes, or Charly Garc

On the other hand distri

but not the other way around.

performance of Mexican group

1992 went practically unnotice

his career in Spain, had any imp

sometimes reached landmark d

bullfighting ring of México City

achieved a suspension of the b

student uprising of 1968.8

Among Mexican groups

Patio, Fobia, and Kenny y Los E

Although their music was class

accept this homologation. As it

quite reach a wider audience. A

is the unusual instance of the g

always a success in the indepen

Transnationalism with cu

atin American eyes


ppropriation that Argentinian musicians made of An

ey succeeded in assimilating rock, protest song, and

ic was more meaningful to Latin American youth who

ics of groups and artists such as Soda Stereo, Miguel

García (1951).

istribution was not consistent. Spanish groups did we

nd. The rhetoric of Argentinian groups was hardly ap

roups like Maldita Vecindad in the International Exhib

ticed.7 Only artists such as Andrés Calamaro (1961) w

y impact at all. The presence of Spanish groups in Lat

ark dimensions. For instance, the concert of Miguel R

City was justly considered a watershed in Spanish ro

he ban on rock concerts in Mexico that had been effe

ups there was El TRI, Caifanes, Maldita Vecindad y Lo

os Eléctricos. Curiously, many of these bands played

lassified and consumed as rock in Mexico, other cou

As it was, the Hispanic rock scene was very fragment

ce. Among recent cases of sucess of Spanish groups

he group Mago de Oz which has several fan clubs an

ependent distribution circuit.

th cultural marks of origin

Rubén López Cano

f Anglo-Saxon rock was

and art song. This

who quickly identified

uel Mateos (1954),

id well in Latin America,

ly appreciated and the

Exhibition of Sevilla in

61) who spent part of

Latin America

uel Ríos in 1987 in the

h rock and even

effective since the

y Los Hijos del Quinto

yed mostly ska.

countries did not

ented and did not

ups especially in Mexico

s and their concerts are


A much more organic an

singer-songwriters. Artists such

and Luis Eduardo Auté enjoy gr

similar to that of Cubans Silvio

Mercedes Sosa, or Chileans Vio

left-leaning intellectuals and pe

rather than mere entertainmen

success and their music has be

At the end of the 1960’s

placed within the Nova Cançó

to become well known in Latin

and a year later he appeared in

socialist government of Salvado

because of his political activism

grew throughout the Americas

Latin America they were publis

Mexico before he was banned

of democracy, his reappearanc

milestone of recovered freedom

doctorates in various Latin Ame

composers of the region such a

Yupanqui, and Enrique Santos D

Pablo Neruda.

atin American eyes


ic and coherent transnational scene is that of the cant

such as Joan Manuel Serrat, Ana Belén, Víctor Manu

oy great prestige in Latin America and occupy an esta

ilvio Rodríguez and Pablo Milanés, Argentinians Facu

s Violeta Parra and Víctor Jara. Although this genre is

d people who search in music for a response to exist

ment, often Spanish songwriters have obtained wide

s been broadcasted through mainstream radio.

60’s the Catalan singer Joan Manuel Serrat (1943) wa

nçó movement when he started to record in Spanish,

atin America. In 1970 he won the Prix of the Festival

ed in the Festival of Viña del Mar in Chile, giving his s

lvador Allende. In Spain, the official media persistent

ivism while at the same time his records were bestse

icas. Some of his lyrics were censored and modified

ublished in their original version. In the 1970s he was

ned by some of the dictatorial South American regim

rance in countries such as Argentina or Chile was see

edom. Honored with various distinctions including ho

America countries, he recorded the music of many e

ch as José Alfredo Jiménez, Violeta Parra, Víctor Jara

tos Discépolo, and he set to music the poetry of Mar

Rubén López Cano

cantautores, or

anuel, Joaquín Sabina

established place

acundo Cabral and

re is directed mostly to

existential questions

wide commercial

) was already well

nish, which allowed him

tival of Rio de Janeiro

his support to the

tently shunned him

stsellers and his fame

fied in Spain while in

was briefly exiled to

gimes. After the return

seen as a celebratory

honoris causa

ny emblematic

Jara, Atahualpa

Mario Benedetti and


Ana Belén (1951) and Víc

performed and recorded with i

the record La paloma del vuelo

version of “La Muralla” (“The W

originally set to music by the C

American protest song. That

1970’s know it through that ve

Joaquín Sabina (1949) en

Spanish singer capable of filling

recorded themes in tango and

speaks publicly about Latin Am

supported the Kirchner admini

case is that of the younger Mad

America than people like Pedro

another Madrid-born, Javier Ál

settled in Spain such as the Uru

who have readjusted and accom

Of Luis Eduardo Aute’s (1

in the 1967 version of the Span

references to the lack of freedo

success. In 1983 Aute issued th

prestigious singers such as Pab

interpretation was, as usual, a

of Aute was an influence in the

atin American eyes


d Víctor Manuel (1947) lived in exile in Mexico for a p

ith important Latin American singer-songwriters. In 1

uelo popular (The Dove of the Soaring People) in whi

he Wall”), a poem by Cuban poet Nicolás Guillén. Th

he Chilean group Quilapayun in 1969 and had becom

hat 1976 recording acquired such renown that even

t version (López Cano forthcoming).

9) enjoys great success in Latin America. In Argentina

illing the mythical stadium of the River Plate Footbal

and ranchera style and sung with the Argentine Fito P

American internal affairs. In 1997 he met Fidel Castr

ministration in Argentina where he is considered “on

Madrilenian Ismael Serrano (1969) who has had mo

edro Guerra (1966) and Rosana (1964), both from th

er Álvarez (1969). An interesting case is that of singer

Uruguayan Jorge Drexler (1964) or the Cuban collec

ccommodated their music to the new circumstances

e’s (1943) output, only the song “Rosas en el Mar” (“

Spanish singer Massiel was known in Latin America. I

eedom of Franco’s regime the record attained consid

d the live record Entre Amigos (Among Friends) with

Pablo Milanés, Silvio Rodríguez, and Joan Manuel

l, a discrete one, and in the record Pablo Milanés cla

the movement of the Nueva Trova Cubana. Then an

Rubén López Cano

r a period in 1974. They

. In 1976 they issued

which they included a

. The poem had been

come a classic of Latin

ven Cubans born in the

tina he is the only

tball Club. He has

ito Paez. He often

astro and recently has

“one of ours.” A similar

more success in Latin

the Canary Islands, or

nger-songwriters

ollective Habana Abierta

nces of their milieu.

r” (“Roses on the Sea”)

ica. In spite of the

nsiderable commercial

with the participation of

uel Serrat. His

s claims that the work

n an important part of


the educated left in Latin Amer

song.9 From that moment on, A

going back to its own origins, b

(López Cano forthcoming).

The scene of the singer

Nevertheless every artist bring

Spanish, Sabina sings to all of u

the songs never lost their mark

Transnationalism withou

The transhispanic genre

widespread marketing, and the

romantic ballad. It is a love son

orchestra. It is a genre of mass

for a mostly adult public. The b

present in every country where

commercially successful.

Its rhetoric about love br

and it is not rare to see famous

corrido have close links with th

the singers’ place of origin and

in a way that is intimate and in

Direct descendant of the

homogenization in its music as

atin American eyes


merica discovered that that old tuneful ballad was in

on, Aute’s version of “Rosas en el mar” suffered a cur

ns, bringing Aute considerable success and enormous

ger-songwriters in Latin America is really a transnatio

rings in a clear mark of his origins. Serrat is a Catalan

of us from Madrid. Latin Americans have appropriat

arks of origin.

thout cultural marks of origin

nre that has lasted the longest, has attained stylistic

the firmest transnational scene is doubtlessly the m

song in a slow tempo sung by a soloist usually accom

ass appeal with considerable investment in producti

he ballad is one of the few musical genres, if not the

here Spanish is spoken, and no matter the country it

ve brings it close to the narrative of the television dra

ous singers appear in series of this kind. While salsa

h their place of origin, the ballad is free from them.

and beyond their regional accent, the audience appr

d intense and not geo-located (Party 2003).

f the bolero, the ballad has suffered an intense proce

ic as well as in is narrative. This has been highly bene

Rubén López Cano

as indeed a protest

a curious crossover

ous prestige in his field

ational scene.

alan who sings in

riated the genre but

istic homogeneity,

he melodic song or

ccompanied by an

uction and distribution

the only one, that is

ry it is always

drama (telenovela)

alsa, reggaeton or

m. Independent of

appropriates the songs

rocess of

eneficial for the market


since the product easily accom

of the homogenizing elements

have lyrics that avoid strong re

percussion, Argentinian bando

orchestra or band. The identity

reduced group of professionals

Notable among these compose

Alejandro (España, 1933), Juan

1935). Most of the production

in the United States to avoid th

(Party 2003).

Figure 16.1. Julio Iglesias has

languages.

The ballad is the genre th

successful singers shows how r

atin American eyes


comodates all Spanish speaking audiences. Party (20

ents that have facilitated its transnationalization. On

g regionalisms, and instrumentations that eschew lo

ndoneon, etc.) favoring instead the neutral sonoritie

ntity of the song is attached to the singer while comp

nals that work indistinctly with singers from all over

posers are Augusto Algueró Dasca (España, 1934-201

Juan Carlos Calderón (España, 1939), and Armando M

tion is done in Miami because “the multinationals pr

id the economical fluctuations that our countries suf

s has cultivated intensively the transnational ballad,

es. Cover of his record Fidèle (1981), sang in French

re that sells best across Latin America. Curiously, the

ow romantic ballad is transnational. In the first place

Rubén López Cano

(2003) points to some

On the one hand we

w localisms (Caribbean

rities of the traditional

omposers are mostly a

ver Latin America.

2011), Manuel

do Manzanero (México,

ls prefer to set up office

suffer periodically”

llad, singing in several

ench.

, the list of the most

lace we have the


Spanish Julio Iglesias (1943), th

Roberto Carlos (1941) and the

in Latin America are Raphael (1

their style of performance and

Spanish folk traces in the genre

is remembered mostly in Cuba

style. José Luis Perales (1945) c

successful in Latin America sing

this genre is quintessentially M

(1950) and more recently Aleja

Figure 16.2. Luis Miguel is one

sing

Coda

atin American eyes


), the singer that has sold most records. He is followe

the Hispano-Mexican Luis Miguel (1970). Other balla

el (1943), Rocío Jurado (1944-2006) and Isabel Panto

nd choice of repertory represent a transition betwe

enres of the 1950s and the new ballad singers. Nino

uba, Argentina and Chile. Camilo Sesto (1946) create

45) composed most of his music. Rocío Dúrcal (1944

singing Mexican rancheras a great achievement if w

ly Mexican. Important too are the group Mocedades

lejandro Sanz (1968), David Bisbal (1979) y David Bu

one of the main names of the new generation of La

singers. Cover of his record Romances (1997).

Rubén López Cano

llowed by the Brazilian

ballad singers influential

antoja (1956) who by

tween the earlier

ino Bravo (1944-1973)

eated an unforgettable

944-2006) was

if we remember that

des, Paloma San Basilio

d Bustamante (1983).

of LatinAmerican ballad


The complex and paradoxical re

Latin Americans are clearly refl

acceptance of their respective

convergence that need to be st

scenes in which musicians of a

and Latin Americans elsewhere

group Mago de Oz. Another ph

America of the zealous adminis

in, of all places, communist Cub

those found in most families.

_________________________

Notes

1. Paradoxically, some Latin American

composers. Some of them were neve

2. Enrique Santos Discépolo (1901-19

films.

3. In the Latin American mental image

stereotype.

4. Recently, Aguilé co-starred the Arge

Montalbano, 2003) where he plays th

of the films of this era.

5. On the system of co-productions in

6. Alaska (1963) was born in Mexico w

7. Years later, the Mexican band Mana

8. From the website of the musician:

9. Aute decided to include this song in

of criticism of the lack of freedom of

atin American eyes


cal relationships that bring together and separate fell

reflected in the patterns of consumption, tastes, rej

tive music. Besides the cases mentioned there are m

be studied in depth. For instance, the emergence of s

of apparently only local interest appeal to localized s

here. This is the case of the Mexican Paquita la del B

phenomenon that deserves closer study is the influ

inistrator of author’s rights in Spain, the SGAE and i

t Cuba. All these cases exemplify paradoxical relation

es.

_________

ican national anthems were composed using Spanish melodies

ever in Latin-America (Neustadt 2011).

1951), one of the most famous tango composers, was the dire

agery, no distinction is made between gypsy and Spanish. Both

Argentinean film Soy tu aventura (I Am Your Adventure, directe

ys the Spanish songs that made him famous in the sixties. The fi

ns in Spanish cinema, see Pardo 2007.

ico where she appeared in several television programs.

ana would become a success in Spain and throughout Latin Am

ian: http://www.miguel-rios.com.

ng in his presentation at the Concert for Peace in Havana in Sep

of Castro’s regime.

Rubén López Cano

e fellow Spaniards and

, rejection, and

re many points of

of small transnational

ed sectors of Spaniards

el Barrio or the Spanish

influence in Latin

nd its strong presence

tionships similar to

dies or were by Spanish

director of some of these

Both are part of the same

ected by Néstor

he film’s style is reminicent

n America.

September 2009 as a kind


_______________

Bibliography

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García Riera, Emilio. 1988. México v

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Morales, Francisco. 2010. “Imágenenuestra América 13/47: 60-64.

Neira, Fernando. 2004. “Pepe FernáOctober 13, 2011. http://elpais.com

Neustadt, Robert. 2011. “Reading SPolitics 5/1. Accessed November 20http://www.music.ucsb.edu/projec

Pardo, Alejandro. 2007. “CoproduccComunicación y Sociedad 20/2: 133

Party, Daniel. 2003. “TransnacionaliChileno de Musicología, Santiago dehttps://sites.google.com/site/dpart

Rodríguez, Juan. 2002. “La aportaci2011. http://clio.rediris.es/numero

Vega Alfaro, Eduardo de la. 2001. “Esombras. El cine español en los añosAcademia de las Artes y las Ciencias______. 2005. “La inmigración espahistoria del cine 22: 48-75.

______________

Discography

30 Cantautores Pegaditos. Mock & Ro

Cuba le Canta a Serrat. Discmedi, 200

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Los Churumbeles de España. Churumb

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atin American eyes


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ernández, fundador de Los Churumbeles de España.” El País, Ja.com/diario/2004/01/08/agenda/1073516409_850215.html.

ng Spanish American National Anthems: ‘Sonograms’ of Nationr 20, 2011. ojects/musicandpolitics/archive/2011-1/neustadt.html.

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party/conference-presentations/transnacionalizacion.

tación del exilio republicano español al cine mexicano.” Clío 25.ero025.htm.

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cias Cinematográficas de España / Asociación Española de Histespañola en el cine mexicano o el viaje perpetuo (1896-1978).”

& Roll, 2004.

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cción RCA 100 Años de Musica. Sony BMG / RCA, 2003.

xitos. Columbia, 1998.

rumbeles de España. Orfeon, 2000,.

Sony BMG, 2009.

ada. Sony, 1989.

Rubén López Cano

ón del nacionalismo. México:

de la versión en la música

iélago. Revista cultural de

, January 8. Accessed

tional Identity.” Music &

o expresión multicultural?”

t the Segundo Congreso

25. Accessed October 14,

).” In La herida de las Couto, 21-42. Madrid:

Historiadores del Cine. 8).” Secuencias: revista de


Rodríguez, Silvio. Cuba Classics, Vol. 1

atin American eyes


ol. 1: Canciones Urgentes. Luaka Bop, 2000.

Rubén López Cano

Spanish Popular Music through Latin American eyes

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