The words fanatic, profane and profane have the same origin, Latin fanum: temple. The first – which, after passing through English, ended up giving a fan – entered Spanish through French, like so many things. Without going any further, as the term "Spanish" and the cult of Santiago. This was promoted by the Clunians to – as José Álvarez Junco recalls in Useful gods– "to reduce the papal ínfulas" and strengthen the war against Islam in the Peninsula. It was also to that saint who, according to tradition, appeared the Pilarica, which, paradoxically, does not want to be French. The festival of that Virgin coincides every year with the national holiday of Spain and that was the date chosen by Elche boy Y The planets – close to the anarchist tradition – to release their first album together: New force He had not looked like détournement —That situationist mixture of hacking and appropriation— since Cayetana Álvarez de Toledo showed up in the electoral debate of TV3 with a yellow jersey.
Pop and populachero. New force It is an album of hymns, a genre that is no stranger to pop in general or to Los Planetas in particular: in addition to signing a handful of hits perfect for singing in a group and in full lungs, on their second album, from 1996, they included an explicit Generational anthem number 83. For its part, the Elche version of Elche del Face to sun in the code of a bolero: he removed the famous first stanza and looked like another song. However, and given that both the indie as flamenco are full of more or less fundamentalist clerics, New force has had a charge of giving genealogical and conceptual consistency to the lyrics of the album, which float in a sound magma in which the cantiñas and tangos are cooked in the same pot as the psychedelia and the after punk. That manager is Pedro G. Romero, creative director of the shows of Israel Galván, Rocío Márquez or Niño de Elche himself, more than a plastic artist and much more than the man who put the Provencal novel that served as theoretical scaffolding to Rosalía The bad want.
Popular and populist. Pedrogé has been responsible for returning the anthem of Andalusia —transformed here in Holy God– To what it was before Blas Infante, father of Andalusia, decided to turn it into a patriotic song: a “church song” with which the reapers of the Sevillian town of Cantillana —Infante exercised there as a notary — thanked the good harvests. Already in the seventies, an illustrious son of Cantillana, the performer Ocaña, hummed the Holy God while walking dressed as a woman on the Ramblas of Barcelona. It was, he said, his Els segadors, hymn that in New force It transforms in Song for the workers of the Seat, adopting the letter that Guy Debord – author of the essay The society of show– He wrote to free him from the “retrograde weight of Catalanism”. It is not strange that the version has already aroused restormores in Catalonia. The strange thing is that he has done it among the members of a theoretically anti-bourgeois organization like the CUP.
Magic Crusade During the presentation of the disc in the Madrid room El Sol, Jota, singer of Los Planetas, analyzed the anthem of the Legion as a perfect pop composition with “stanza, bridge and chorus”. They have treated her as such by adding a wink – in the lyrics Luis Aragonés sneaks in – to the version that Glutamato-Ye-Yé played live and in which the boyfriend of death He became a partner of Atleti. Beside him, Romero took care to remember the origins of the song as “erotic tonadilla” before certain “Islamist connotations” were added and that José Millán-Astray heard it in a Melilla theater in 1921 and decided to adopt it to the military body he had just founded. He also recalled the version of singer-songwriter Javier Álvarez, who made it a "tragic son for the times of AIDS."
Machado feat. Prince New force is completed with Mariana (worthy of the Triana group), Santo Domingo (for stadiums and cathedrals, for Live Aid and Domund), the hymn of the gypsies (Gelem Gelem translated into Spanish), The campanilleros (in class struggle) and The cross, A mixture between The Cross, Prince, the bolt of Miles Davis and Antonio Machado. Inspired by a sign compiled by the poet's father and popularized by Joan Manuel Serrat, what was born, says Pedro G. Romero, as a poem against Holy Week has become his unofficial hymn. From the title itself, New force It is a machine to reveal paradoxes. Neither fetishists nor iconoclasts, their authors know that fans have two ways to perpetuate the power of symbols: impose or prohibit them. They prefer to show what pasta they are made from.
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