Latin Americanism in the Music of Rubén Blades
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Sociology and Anthropology 4(4): 241-248, 2016 http://www.hrpub.org DOI: 10.13189/sa.2016.040406 Latin Americanism in the Music of Rubén Blades Juan Pimentel-Otero Department of History and Latin American Studies, University of North Carolina at Charlotte, United States Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract According to ethnomusicologist Marisol Roberto Cedeño formed a salsa band called Los Salvajes de Berríos Miranda, salsa serves as an escape valve for people Ritmo. It was during this time where he was given his first who live under neocolonial conditions to express their big-break and recorded his first solo album, From Panama to discontents. This paper will discuss the role of nationalism New York, in 1969. and supranationalism and its manifestation through four of In 1974, Blades moved to Miami to reunite with his family contemporary Panamanian salsa artist, Rubén Blades’ songs. after Blades Sr. had an alleged problem with the Panamanian His ability to understand social and political conditions police, which he worked for. The dire economic conditions throughout the region, allows for him to deploy Latin at the time compelled him to go to New York City (NYC), Americanism-the political philosophy developed by Simón where he was able to land a job as Fania Records’ mail clerk. Bolívar-as an anti-imperialist call urging Latinos to counter Around that same time, Blades joined Ray Barretto’s band as United States’ intervention in Latin America during the Cold additional singer, gaining notoriety for somewhat abstract War. and complicated lyrics considered by some unorthodox to the type of salsa that was being produced. During this same Keywords Salsa, Latin Americanism, Anti-imperialism, time, the Fania All-Stars (the agglomeration of all the bands Caribbean under the Fania label) spearheaded the “salsa revolution” that took this Afro Caribbean sound around the world. By 1977, Blades convinced Fania owner Jerry Masucci, to allow him to record with another legendary Fania All-Star 1. His Life member and producer, the Nuyorican (New Yorker of Puerto Rican roots) Willie Colón. In 1978 he and Colón released the Rubén Blades was born into an urban working class salsa classic, Siembra that catapulted Blades as one of salsa’s family in 1948. His family’s diverse cultural and brightest and most sophisticated singers. By the early to mid geographical origins are a microcosm of the cultural 1980s, the incredibly successful Blades-Colón duo had come crossroads that represents the Caribbean. His maternal to an impasse as a result of personal differences between the grandmother was originally from Spain who married a man two. Around this time, Blades did a Master’s degree at from New Orleans that participated as one of Roosevelt’s Harvard and recorded another classic album, Buscando Rough Rider’s and settled in Cuba, where his mother was América. By the early early 1990s and after Manuel born. On the paternal side, his grandfather was an Noriega’s arrest by the US, war and Panama’s return of Englishman from St. Lucia-hence the surname Blades-who democracy, Blades formed a political party and retuned to moved to Panama in the early decades of the twentieth Panama where he ran for president. After losing those century as part of the Canal effort. His father, Rubén Sr., was elections, he returned to the US where he continues to star in born in Santa Marta, Colombia, and then later settled in movies and recording other successful albums as well. In the Panama City where he met and married Anoland Bellido de early 2000s, Blades served as Panama’s tourism minister. He Luna, Blades’ mother. has currently retired from active touring and plans to run for Growing up, the Blades were a lot like any other urban president again in the upcoming years. working class family in Panama City. However, music was always a central part of the Blades’ household. Among his 1.1. Towards a Theory about His Music childhood musical influences are the big-time Afro Cuban musicians and orchestras, especially Beny Moré. Some have described Rubén Blades’ music as the Throughout the 1950s and early 1960s, Blades performed “thinking man’s salsa,” while others have condemned his locally in a band inspired by the popularity of American Left-leaning views in a field where political positions are not Rock n’ Roll. During the late 1960, by the time Blades was in common (and presumably, should not be). Although still High School and in college, he and his childhood friend, active in music, television, movies and other projects, 242 Latin Americanism in the Music of Rubén Blades Blades’ most politically salient music reflects his convince me. I can sign you a song about a social topic with a understanding of Latin America’s relation to the US during political tone, but the political tone is the result of the social the Cold War (1945-1990). This is why the sampled songs [conditions] and not it’s purpose…I’m not going to sing you included in this article were recorded between 1969 and a song glorifying Fidel Castro, because I don’t think Fidel 1985. As a native Panamanian, he knew from early on that Castro is a being from another planet, without any defects, Panama’s inferior and neocolonial position to the US was why would I sing about Fidel’s good attributes and not the common all throughout the Great Caribbean-the region bad ones.” He also suggested that although his salsa might composed of the Spanish-speaking Antilles, Central and share the same characteristics as protest music, “but it’s not northern South America. As a result, and central to this everything” [2]. As recent as 2010, Blades has said, “I’ve paper’s argument, Blades’ forty-five plus year career and a had arguments with both the Left and the Right…I was very small, yet very significant portion of his music reflects his careful not to write from a ideological position…this is what understanding of US-Latin America relations. This is why happens and then the songs start to sound like pamphlets; only four songs will stand out in this article: “Juan González” pamphletaty songs” [3]. (1969); “Plástico” (1979) “Tiburón” (1981); and “Buscando Regardless of his constant efforts not to be cornered América” (1984). ideologically-and perhaps as a result of the reactionary Born out of the struggles of the Wars of Independence, military dictatorships that ruled most of Latin American Latin Americanism was initially unable to cement itself countries as well as deep-rooted anti-communist sentiments within the newly established states of the region. In spite of in the US where he has lived from 1974 onwards-Blades this, Latin Americanism kept showing up all throughout the always identified himself as a Panamanian and a Latin nineteenth and twentieth centuries in the writings and Americanist. Essentially for him, only the potential discourses of politicians, thinkers and poets who unification of the Latin American nations was the solution to championed unification to counter imperialism. More counter US hegemony and influence as experienced through importantly, anti-imperialism came to be filtered through Panama’s neocolonial relation to the US. Furthermore, it is Latin Americanism. In other words, from the very beginning, also important to understand the role of salsa music and how to be a Latin Americanist implied being anti-imperialist. its serves to express social and political discontents for the However, during the Cold War, it very often also implied people of the Caribbean, Latin America as well as Latino that being an anti-imperialist probably meant that you were a communities in the US. Essentially for Blades, salsa “is a communist as well. And because Blades’ most musically international folklore at the urban level that reflects the productive years take place precisely during the Cold War, feelings of Spanish America in search for its unity and his anti-imperialist views were also shared by Leftist identity” [4]. political movements. But most of all, his views resonated with the political discourse of revolutionary Cuba, the Cold War’s most ardent political manifestation in Latin America. 2. Theoretical Framework and the And this is where a clear interpretation of his music becomes Origins of Salsa murky. Although clearly an anti-imperialist, nationalist-in fact, Blades’ childhood friend, Ricardo Ledezma has What is known as “salsa” today-in Spanish salsa literally described him as “intensely Panamanian”- Latin Americanist, means “sauce” or a mixture of different condiments-stems and self-proclaimed Leftist, Blades’ music is often boxed from African and Spanish musical influences that developed into the dual paradigm of Cold War politics by his most in Cuba during the nineteenth and twentieth centuries. In the ardent critics. In spite of this, he tried to avoid being 1930s, 1940s and 1950s, Afro Cuban music was very considered a communist and having his music be considered popular in NYC’s big-band clubs, which catapulted the Latin exclusively as “canción” or “música de protesta.” That is, music fever that spread throughout the US. However, with protest music or song. the success of the Cuban Revolution in 1959, the US turned In his enlightening essay, ethnomusicologist Robin Moore its back on anything Cuban, which know meant communist. contextualizes protest music or song as a genre born out of It was during this time that recently arrived Puerto Rican the political struggles of twentieth century Latin America. immigrants, Nuyoricans, Cuban and other Latino musicians He defines it as a product of “oppositional youth music that started experimenting with old Afro Cuban sounds.