Exhibición / Pachanga / Noche de Canto

EXHIBICION / PACHANGA / NOCHE de CANCIÓN. Our final Thursday will be April 30 (last regular night of classes). we'll use the time for a get together--invite all your friends, with refreshments, a potluck, projects on all the walls (a semester review of your work--we'll discuss) and a chance to spend another evening together cantando... Dicen ahorita a sus compañeros para que sepan que están invitados!

S&P Show and Song night
Potluck y canciones
Thursday April 30
plan to pin-up at 5pm sharp-- we'll open the show and have a toast at 6pm!
invite friends and relations!

Here's the link to announcement posted on CED website: VS 185x
http://ced.berkeley.edu/events-media/events/spring-14-visual-studies-final-review-and-reception-vs185x

EXHIBICIÓN:
* I want this to LOOK GOOD--it's a public event and there will be lot's of guests, including your friends!
* PIN UP YOUR WORK BETWEEN 5 - 6pm. Room will be available and I'll have cart with and materials.
*  Tenemos un brindis a las 6
* If you can't be there 5-6 (Luna, Vero,  two others) ARRANGE WITH A FRIEND TO PIN UP
* Everyone gets about one panel each. Choose a selection of your best pieces--and consider the arrangement ahead of time so that you come in with a plan in mind--how the work will fit together on your panel.
* Please be at 170 right at at 5pm so that we get a good start on this.

COMIDA/REFRESCOS. I know that Angele is sending around a sign-up list for the POT-LUCK. I'll bring wine, cups, paper plates, some plastic forks and spoons. Keep me posted.

CANCIONES. Bring your cancioneros--and carpeta with new songs. I'll have some extras printed for guests.  The songs are a big part of the evening, so do invite friends que les gustan cantar!!!

Cuadernos: Student Online Notebooks

En donde estamos. I realize that we haven't emphasized looking at the cuadernos as regularly as I'd hoped. There were many inadvertencies this semester, and some got behind in keeping the cuadernos up to date. Likewise with my own comments, which I usually offer more regularly. So, for those of you who have kept this part of the course going--bravo!--I make due note and will give you credit. But for those who let it slip, and are now behind--what do we do?

My hope with this part of the course was to give each of you a place to post your work, week by week, and to reflect (that is, write about) your projects in relation to what we've read and listened to. This makes most sense when it's actually done as a regular entry, week by week, over time, but if you got behind, I still want you to post each of your projects and see where your reflections take you now, at this stage in the game.

I've been looking at the cuadernos to see where each of you are--I have a relatively good idea, but rather than rag on those who are late, let me instead encourage you. The cuadernos need to be finished by noon on Sunday, May 10.  Note that I'm giving you an extra couple of days. If you finish earlier, please send me an email so that I can review yours when done.

Get started on this now so that this doesn't hit you all at once! And in any case, it will prove a good way to reflect on the course.

Final post. I'd like each of you to be sure to write a concluding post (which will read at the top of your blog) with your own ideas about where the course has taken you, what you've learned, and any other thoughts that you find important. I read these carefully, and consider what you've said when I put together the next year's version!

_________

LINKS to individual student blogs: Cuadernos Electronicos. Students are expected to keep these notebooks with week-by-week posts on their projects, along with written commentary (analytic and personal) about course readings and material discussed in class:

Luna Izpisúa-Rodríguez     http://mexicolunaizp.blogspot.com
Reem Makkawi                  lasestrellasviejas.wordpress.com
Lidia Gómez                        http://lagomez07.blogspot.com/
Seamus Rucci Land            http://songsandseamus.blogspot.com/

Fernanda Sánchez               elreflejodelamirada.blogspot.com

Felipe Javier Díaz                http://felipexavierdiaz.blogspot.com/
Adrián Mata Rendón           http://rendonvisualstudies185x.blogspot.com/?m=1
Diana Carolina González     http://dudasinfin.blogspot.com
Verónica Jiménez                 http://verojg.blogspot.com/
Joakina Moreno                   http://joakinamoreno.blogspot.com/
Jennifer Vargas                     http://jenni-fair.blogspot.com/
Kitty Jones                            http://composty.blogspot.com/
Dulce  López                        http://candydexocolate.blogspot.com/
Aby Nieves                           http://abysnow.blogspot.com
Miguel Naranjo                     http://estrellaspalmas.blogspot.com/
Angele Hodali  Carrión        http://dealpacayolivo.blogspot.com/
Jorge Villanueva                   http://jvillanuevagon.blogspot.com/

Suplemento: José Alfredo Jiménez

Although his songs are among Mexico's best--and best loved--Ella, Que te vaya bonito, El último trago, Si nos dejan, El rey--somehow we never devoted a full week to José Alfredo. Probably because so many are represented in the Chavela Vargas/Antonio Bribiesca collection with which we began the semester. (And Chavela was his master interpreter.) But let me pass along a download of José Alfredo cantando sus propias canciones--along with two insightful articles you may have a chance to read at some point. These are not required for a course project, but I wanted to share them with you as a kind of celebration of what's been an excellent semester!

Reading: Dos ensayos, uno de Carlos Monsiváis, crítico mexicano bien conocido, y el otro por Manuel Arroyo Stephens, de España: 

https://berkeley.box.com/s/o7psl78re0jgk1c9gaiq

I have them from a book of the collected lyrics--la letra de José Alfredo. Read carefully--ya verán que al mismo tiempo tienen que ver  con Chavela (a quien lo dedica su prólogo Monsiváis).

Música. A download with songs by José Alfredo, several of which you'll recognize from Chavela's recordings. Here they're sung by José Alfredo mismo. All posted on Box. When you download, include the xml file in your iTunes for all track and title date. Note: these songs (and many many more) are available on YouTube, of course--but the sound quality in the download should be better--and this is a consistently chosen set:

https://berkeley.box.com/s/ellpzyhvr6wykenyak6e

Our project and discussion would have followed these lines:  Quiero que van pensando, dando consideración a la relación entre Chavela Vargas y José Alfredo Jiménez. ¿Que representaba José Alfredo para Chavela--y porque. Pues bien, entonces eligir una canción particular--hacétela foco de tu proyecto.
Hablamos (en clase) en particular de la letra de Tu recuerdo y yo. Las relaciones entre los papeles (presente y no presente), puntos de vista--y como se cambian--y de porque se llama a José Alfredo, El Hijo del Pueblo... Y la diferencia entre los interpretes de José Alfredo--porque las mujeres tienen tanto éxito con sus canciones (Lola Beltran, Amalia Mendoza, Lucha Reyes, y por supuesto, Chavela Vargas)
 

Week 12b: Trío Los Panchos / Sin Tí

Trío Los Panchos (conjunto original, 1940s)

Trío Los Panchos  / Sin Tí


DOWNLOAD: No  separate Trío Los Panchos download. Listen to the YouTube versions instead, links below.

READING: "La vida es un sueño," by Ry Cooder (from his book, Los Angeles Stories), available as pdf in box. Be sure to read early in the week so that the story can percolate in your imagination!

The setting is Los Angeles, the year 1950. A beautiful rendition of "place" at a specific moment in  time--vis a vis a song... Ry Cooder is best known as a musician, but here he's made himself into a (very good!) short story writer, in the the LA noir tradition. I'll be curious what you think...!  As you'll see, the main character is a "trío man"--and the song that weaves through is--of course--Sin tí...

Read carefully (there's lots of good detail) and make the leap (in your project) from Ry Cooder's story to the world of Trío Los Panchos...

MÚSICA:
Trío Los Panchos ON FILM:  (cantan Sin tí y  Perdida). These two filmed versions will tell you a lot about Trío Los panchos, and their music:
TRIO LOS PANCHOS Sin ti - YouTube
TRIO LOS PANCHOS Perdida - YouTube

Los Panchos / otras selecciones (some on film as well):
Trio los Panchos - Solamente un vez - YouTube
TRIO LOS PANCHOS rayito de luna - YouTube
los panchos..ADIOS MARIQUITA LINDA - YouTube
Trio Los Panchos - Sabor a Mi - YouTube
PIEL CANELA Eydie Gorme Y Trio Los Panchos - 'Piel Canela' - YouTube
TRÍO LOS PANCHOS - CIELITO LINDO - YouTube  (!!!)

And to close, the song from which Ry Cooder took his title. First, the original (and priceless) version by Aresenio Rodriguéz (de Cuba), and  a beautiful versión de México... Lupe y Raul.

▶ Arsenio Rodriguez-La vida es un sueño - YouTube

LUPE Y RAUL - LA VIDA ES UN SUEÑO - YouTube

-Fernando Fernandez-Los Panchitos-Trio Martino- -La Vida es un Sueño- - YouTube


_________

Not part of this week's project, but good to know about: For Ry Cooder's music, follow up with his own recordings, and of course his production of Buena Vista Social Club (in Havana).  There's also his more recent album centered on the story of LA's Chavez Ravine--portrayed in music. Many more of his songs/versions are on YouTube... Here are just a few:
Ry Cooder - Goodnight Irene - YouTube
Ry Cooder with John Lee Hooker - YouTube
Ry Cooder and David Lindley - Jesus On The Mainline - YouTube
Ry Cooder Cancion Mixteca - YouTube, a version I quite recommend!

And just so you have it, here is an interview with Ry Cooder fro m 2014 (during which he tells many stories about his life in music). An hour's listrening--and worth every minute, when you have time...
▶ Ry Cooder Interview 2014 - YouTube 

Week 12: Notes

Because the end of the semester is so quickly approaching (how did this happen?!) and we have just one more regular class meeting on Thursday April 23, I've included two posts for material I'd like to have covered in more depth--but which I want you to have in any case.

Week 12a. Agustín Lara. Includes a cd download with a good selection of Lara's songs, and suggestions as to how you can look into his life--including the excellent chapter in Yolanda Moreno Rivas. There are also some key Agustín Lara links from YouTube. Our song will be Farolito.

Week 12b. This is where I'd like you to concentrate. The READING (a story, set in  Los Angeles in about 1950, is important--and memorable. So make it your primary reading for the week. The song is Sin Tí  (and, when you reach the end of the story, the Arsenio Rodríguez bolero, La Vida es un Sueño.
Both great songs)--both figure in the story and will give you lots to think about.

In a sense, reading Ry Cooder's story will return us to the starting point of the semester (Don Tosti's Pachuco Boogie, and that first chapter from Octavio Paz, Pachucos y otros extremos). Let's see if it appears to us differently now... 

______________

EXHIBICION, PACHANGA Y NOCHE de CANCIÓN. Our final Thursday will be April 30 (last regular night of classes). we'll use the time for a get together--invite all your friends, with refreshments, a potluck, projects on all the walls (a semester review of your work--we'll discuss) and a chance to spend another evening together cantando... Dicen ahorita a sus compañeros para que sepan que están invitados!

Thursday, 30 April
Visual Studies 185X: Songs & Places: México
Exhibición, Pachanga, y Noche de Canto
6-10 pm, Room 170
Todos bienvenidos!

Week 12a: Agustín Lara / Farolito

Agustín Lara

FAROLITO / CALLE / PUERTA

Agustin Lara is a phenomenon--certainly one of Mexico's greatest song writers and performers--and the stories about him are legion. Some of them are even true! Lara (originally from Vera Cruz, according to one version), led a mysterious and adventurous life--in all senses--reflected year-by-year in his songs. Farolito might be the best known, but listen as well to Mujer, and María Bonita (written for María Félix) and Imposible (his very first)... They're all good--and all completely different from the ranchera tradition we've been following. This is another side--otra cara--de México! I'll give you a good selection (from a double cd) which you can edit down into your favorites as a playlist. Contrast with José Alfredo. And what would Don Octavio have to say?

PROJECT: Look into Agustin Lara's life--all the stories--and build your project around them--and la canción romántica in your own life...  Let FAROLITO be your guide...

DOWNLOAD: https://berkeley.box.com/s/xvj6rftnvsydgkvmy0gq

READING: For those who can handle the Spanish, I'll include Yolanda Moreno Rivas' chapter (attached as pdf). READ CAREFULLY. It has good photos, too. Please come to class ready to share the stories with your non-Spanish reading classmates. For our English readers--you can find a lot on line.

VIDEOS: The first two are audio--his original versions. The second two are from films:
AGUSTIN LARA - FAROLITO (PRIMERA VERSION) - YouTube
AGUSTIN LARA - IMPOSIBLE - YouTube
AGUSTÍN LARA - María Bonita - YouTube  FILM. Agustin Lara at the piano--filmed live. There are a few other videos like this, on YouTube if you search carefully.

FILM Bandoneon Tango y el Bolero "Pecadora" Libertad Lamarque - YouTube  Watch Agustin Lara presenting Libertad Lamarque here in the first minute of the video; he then accompanies her as she sings. (Libertad Lamarque was originally from Argentina, but she became very popular in Mexico (where she lived in exile) especially in film. 1930s and '40s. Look for Pedro Infante and Libertad Lamarque together in the film, Ansiedad-- it has a wonderful version of Farolito.)

Suplemento: Guty Cárdenas II

Two additions to our Guty Cárdenas collection:

Guty Cárdenas versión de Canción mixteca, de 1930:
▶ GUTY CÁRDENAS, CANCIÓN MIXTECA - YouTube

 Artículo interesante sobre su vida, con canciones diferentes:
“GUTY CARDENAS: EL RUISEÑOR YUCATECO-LEYENDA O REALIDAD” | EL BLOG DEL BOLERO

Week 11: Trova Yucateca

Guty Cárdenas

 Hola a todos--here's new material for the new week--I hope you enjoy the Guty Cárdenas download--sus canciones quedan muy lindas... Be sure to download with xml as part of your library (see link below).


VS 185X S&P México: Week 9: TROVADOR / FUENTE / CENOTE

Bueno, llegó la parte final del semestre--y pasamos ahora a algo totalmente distinto. So far, many of the songs we've done have related to the central México--Chavela, José Alfredo, las ranchéras y las canciones clásicas (Manuel Ponce) y esas del Bajío (La borrachita, Adíos mi chaparrita)--along with an opening to the legend of la Llorona. Y los corridos! Now we go to a very different tradition, la canción romántica. Our first stop will be in Yucatán--la Trova Yucateca--the Toubadour songs of Yucatán. No surprise (the word trova)--since the medieval troubadours of southern France (Provencal) were already distinguished for their lyric poems on themes of love, a tradition they basically invented. "Courtly love," at the time--the patrons of these poems were the court nobility, with their distinct social ethos. Nevertheless, a popular dimension also emerged in the image of "el trovador y su juglar" --the troubadour and his minstrel--which remains to this day a longstanding and mysterious delight (see contemporary re-enactments on YouTube).

In México, the re-flowering of this image, quite fittingly, found a place in Yucatan. Why? In part climate, in part ethos, and also proximity to Cuba and hence to Spain (Cuban musical tradition combines both Spanish and the African sources). La Trova Yucateca's golden age centered in Mérida, and among the best known of the tovadores was Guty Cárdenas. A beautiful, engaging, and ultimately sad story- Guty Cárdenas had a tragic end at barely 26--just as the golden age of la trova yucateca itself lasted only through the 1920s. You can read about this in a chapter from Yolanda Moreno Rivas (pdf, in Spanish, attached). It's from her masterful book, La historia de la música popular mexicana.

For those whose Spanish is good, read this chapter carefully--it's a very good example of the strengths of this kind of writing at its best. (For those who don't, make do as you can with online sources in English--the tradition is worth  exploring.)  And CONTINUE reading Batalla, México Profundo. Consider how the Trova Yucateca both reflects--and where it fails to reflect--the older traditional worlds. (This being one of the centers of the Maya.)

Names & términos:
trova / trovador
la serenata
Ricardo Palmerín, Guty Cárdenas, Pepe Domingiuez y otros músicos en Mérida
Felipe Carrillo Puerto: "La única y más pequeña utopía en el mundo real y imaginario..." (Felipe Carrillo Puerto, gobernador de Yucatan, hasta 1924)
Alma Reed (American journalist who lived there, and who was courted by Don Felipe)
Peregrina  (canción de Ricardo Palemerín), letra de un poema de Luís Rosada Vega on the theme of their romance. (see YMR)
Poetas / trovadores / y músicos juntos-- Poets and the musicians working together... lo essencial de la Trova yucateca
Ritmos: Bambuco (colombiano), Bolero (cubano), y Clave. Yolanda Morena Rivas writes clearly about all this. You can follow her guide with your own YouTube searches. See what you can find, using her book (published in 1979) as a start.

CANCIONES (las dos en el cancionario--we'll sing them!)

Ojos Tristes (Guty Cárdenas)  Guty Cárdenas es un verdadero tesoro.
Nunca (Guty Cárdenas)

READING:
From Yolanda Moreno Rivas, La historia de la música popular mexicana,  "La inmortal trova yucateca"  (pps. 76-90). En español.   https://berkeley.box.com/s/8wyr5432n3937449lkuw

Continue with Batalla, México Profundo.

Trovador / Serenata, Yucatán, 1930s (deYMR)

DOWNLOADS:
Guty Cárdenas:   https://berkeley.box.com/s/8b2fdlbykgxg9bo52m4r

Trova Yucateca:   https://berkeley.box.com/s/98sr6pj41rwd250dapr3
The trova cd will give you wider background of the music from that period, so I include it, too. But if this number of songs proves too much, concentrate on the first download, above--Guty Cárdenas, and the songs mentioned. This second Trova Yucateca download is optional--your library.

YouTube (just two this week):

Trova Yucateca - Peregrina (un amor para la historia) Alma Reed.- Los Juglares - YouTube  (This one evokes the atmosphere of Mérida and the trova quite beautifully), although the following is my favorite recording (Los Montejo, de Mérida, 1958?):  ▶ TRIO LOS MONTEJO--Peregrina - YouTube. It was originally posted on YouTube with the following image of Mérida. Listen to the recording while looking at this image--

 

Nunca Guty Cárdenas, Letra de Ricardo López Méndez - YouTube  (a live contemporary performance by El Dueto Peninsular)

PROJECT: Let the words Trovador / Fuente / Cenote be your starting points. Trovador (troubador) whence all the medieval Provencal poetry connections. Fuente (fountain) as source, and Cenote as repository--a water-collecting pool very typical of the geography in parts of the Yucatan peninsula. As if the Spanish contribution (music and poetry) found its own very Mexican place of repose...

This is the heart of "México hispanizado." And in that, of course, represents Batalla's México imaginario. A good topic for discussion would be where the trova yucateca stands in this regard. And what of the indigineous music of Yucatan? f you pay close attention to the second download, you'll see how elements were accomodated....and how much left out. Nonetheless, Guty Cárdenas remains a beautiful and important artist. His life ended very early--pero miren cuantas canciones bellas nos dejó...!

Suplemento: Corridos

Samuel M.Lozano, El Trovador de la Revolución

Aquí tienen un documentario bien hecho con la tradición de los corridos, tiempo de la Revolución:

▶ Corridos de la Revolución Mexicana - YouTube 

Y vale la pena leer algo de Samuel M. Lozano, "El Padre del Corrido Méxicano," autor de muchos corridos bien conocidos (por exemplo, La Rielera)--con una vida interesante--y ultimamente trágica:

▶ LUCHA MORENO, LA RIELERA - YouTube

▶ Samuel M. Lozano Breve Reseña Biografica.wmv - YouTube

▶ La Rielera Samuel M. Lozano - YouTube

Suplemento: Carabina 30-30 / Himno Zapatista

Versión de Miguel Aceves Mejía:
https://www.youtube.com/watch?v=ot8MMedAA9I   


Carabina 30-30

Carabina 30-30
Que los rebeldes portaban
Y decían los federales
Que con ella no mataban

Con mi 30-30
Me voy a marchar
A engrosar las filas de la rebelión
Si mi sangre piden, mi sangre les doy
Por los habitantes de nuestra nación

Gritaba Francisco Villa
Donde te hallas, Argumedo?
Ven parate aquí adelante
Tu que nunca tienes miedo

Ya nos vamos pa' chihuahua
Ya se va tu negro santo
Si me quiebra alguna bala
Ve a llorarme al campo santo

______

Himno Zapatista

 

(de Fer): Los Zapatistas convirtieron esta cancion en su propio himno, aqui el video:

https://www.youtube.com/watch?v=UjdMUADkoV0

Y aqui un video en vivo de un canto al himno zapatista (mueve mi corazón)

https://www.youtube.com/watch?v=vBvIUnLKUDo

Himno Zapatista

Ya se mira el horizonte
Combatiente zapatista
El camino marcará
A los que vienen atrás

Vamos, vamos, vamos, vamos adelante
Para que salgamos en la lucha avante
Porque nuestra Patria grita y necesita
De todo el esfuerzo de los zapatistas

Hombres, niños y mujeres
El esfuerzo siempre haremos
Campesinos, los obreros
Todos juntos con el pueblo

Vamos, vamos, vamos, vamos adelante
Para que salgamos en la lucha avante
Porque nuestra Patria grita y necesita
De todo el esfuerzo de los zapatistas

Nuestro pueblo dice ya
Acabar la explotación
Nuestra historia exige ya
Lucha de liberación

Vamos, vamos, vamos, vamos adelante
Para que salgamos en la lucha avante
Porque nuestra Patria grita y necesita
De todo el esfuerzo de los zapatistas

Ejemplares hay que ser
Para hacer nuestra consigna
Que vivamos por la patria
O morir por la libertad

Vamos, vamos, vamos, vamos adelante
Para que salgamos en la lucha avante
Porque nuestra Patria grita y necesita
De todo el esfuerzo de los zapatistas

Week 10: Corridos Mexicanos

Hoja Volante -- Printed Broadside (ejemplo de corrido sobre Emiliano Zapata)

In the aftermath of that remakable--and sometimes difficult--evening we just spent with los padres de los estudiantes normales de Ayotzinapa, I think it's a good idea we turn to the corridos. Una manera central--y muy mexicana--de compartir--y sentir--la historia. En forma de canción.  Los eventos del pasado--y necesariamente, de hoy mismo.

Corridos are story songs. That is, they tell of real events. In the time before media-ization of pretty much everything. These songs were a a kind of social memory. Vivid in their imagery, enjoyable to sing--and thereby a good way to hand down the stories. The tradition began in the 19th century (and probably before) reaching it's height during the years of the Revolución Mexicana (roughly 1910-20). (La Rielera, La Valentina, Carabina 30-30, La Adelita y muchos otros.) The tradition continues with more contemporary events and stories--like those of the Zapatistas (see Fer's links below), and the corridos by Los Tigres del Norte (see examples from from Adrián, below).  And the "narcocorridos" by Chalino Sánchez and others.

Note that the download itself  includes historical corridos--and several examples of more local (and thereby less well knownsongs )--telling of real events from a close-up point of view for a close-up audience (exemplo: Corrido de Inez Chávez García). The letra were often distributed in the form of inexpensive printed broadsides (hojas volantes)--an interesting historical tradition in itself (remember the prints of José Guadalupe Posada!)

Also in the download--several (beautifully sung) corridos por Cuco Sanchez. All traditional from the time of the Revolución.

And I've included one older century corrido, based on the life of Heraclio Bernal (18955-1888) a vivid historical figure from Sonora, depicted as a bandit--and at the same time a challenge to the authorities (including Porfirio Díaz).

Here's the DOWNLOAD:

https://berkeley.box.com/s/m6hd1kgz4vhr647ze4vghqf3hkkyz99y

Emiliano Zapata

Emiliano Zapata, of course, was the legendary revolutionary leader (1910ff).  There are dozens of corridos based on his life. For example, in the download, General Emiliano Zapata. Here's another, from online:   http://www.bibliotecas.tv/zapata/corridos/corr10.html   More recently, the Zapatistas (in Chiapas, starting in 1994) organized in his name--demanding local, indigenous government. Their struggle reflects the essential issues in Bonfil Batalla's México Profundo. Una lucha que sigue.

READING: Of course, continue Bonfil Batalla, México Profundo. We'll dsicuss next time. I want you to be able to recapitulate both his central ideas--and some of the examples of the way he supports these ideas from his work in the field. (Bonfil Batalla was a prominent anthropologist.)

PROJECT. For this week, work from one of the corridos (your choice). I also mentioned starting on your some corridos of your own (!)--working in pairs. Think about last night, and events from your own experience.If you base your new song on one of the old ones, Adrián and I can probably accompany you musically. Or you yourselves! We'll build in these corridos nuevos as they happen. I'm the thinking for the following week. (We'll discuss more next week.) And I do want a visual project from everyone. But you may get inspired--so I'll leave this a little open!
________


LET'S CONCENTRATE ON THESE for singing together:
La Carcel de Cananea  (El Corrido de Cananea)   (I gave you letra sheet in class.)
Juan Charrasqueado (Chavela's version, cancionero)
Himno Zapatista (Fer nos va a enseñar)
Carabina 30-30  (you'll need to find la letra)
El Desterrado  (cancionero)
La Adelita (cancionero)


_________

Tres Veces Mojado (Los Tigres del Norte)

Here, from Adrián, unos corridos populares de Los Tigres del Norte, with his comments:

Tres Veces Mojado:

https://m.youtube.com/watch?v=EW5mfx_x-4g

La Camioneta Gris:

https://m.youtube.com/watch?v=6iW4YAr34qY

El Circo:

https://m.youtube.com/watch?v=3Zj3OfpvvqU
Dice Adrián: There's a lot of sociopolitical commentary in the song about Carlos Salinas de Gortari and a lot to look at there too.

La Jaula de Oro talks about being undocumented in the US and Somos Mas Americanos talks about the history of California and states before the Mexican-American war, and the legacies of the Mexican-American War. Topics of immigration are also talked about in both songs.

La Jaula de Oro

https://m.youtube.com/watch?v=LGlK7URpqj8

Somos Mas Americanos

https://m.youtube.com/watch?v=OljZou-Z1Ps

Note from Tony: A good book on these new corridos is Martha Chew Sánchez, Corridos and Migrant Memory. See course bibliography. Her personal story--and its connection to the songs--is compelling as well. On the narcocorridos, there's  Elijah Wald's Narcocorrido: A Journey into the Music of Drugs, Guns and Guerrillas, (2002). And a very good general source remains Steve Loza, Barrio Rhythyms: Mexican American Music in Los Angeles (1993).

_________

Los Zapatistas

And from Fer--this selection of Corridos Zapatistas. El Himno Zapatista is based on an older corrido, Carabina 30-30 (here in downtown version version by Los Lobos. Let's learn to sing both the older version--and the Zapatista Himno. Con su comentario.

El Himno Zapatista esta inspirado en una cancion revolucionara, Carabina 30-30, aqui hay una cancion de los lobos:

https://www.youtube.com/watch?v=gI4v_8gjW04

Los Zapatistas convirtieron esta cancion en su propio himno, aqui el video:

https://www.youtube.com/watch?v=UjdMUADkoV0

Y aqui un video en vivo de un canto al himno zapatista (mueve mi corazón)

https://www.youtube.com/watch?v=vBvIUnLKUDo

Los Zapatistas

Otras canciones muy buenas que conozco estan en un disco llamado EZLN: El Fuego y La Palabra, Dignidad, el cual esta entero en este video de Youtube:

https://www.youtube.com/watch?v=wNniK7bmcvs

También de Fer:

https://berkeley.box.com/s/miq9waccmo4ni34j6hty63u1u9y3abhm

Week 9: Arrieros Somos / Cama de Piedra

 

José Clemente Orozco, La Malinche y Cortés, mural detail, Escuela Nacional Preparatoria, DF, 1923-26 

Reading. Over the break I'd like for everyone to be reading Guillermo Bonfil Batalla, México Profundo: Una Civilización Negada. Start with his introduction and Parte Primera. That's more pages than we've been doing, but there's an extra week here, and Batalla's writing is more straightforward in exposition than don Octavio's line-by-line poetry (and wide-ranging allusions). In any case, México Profundo will be what we talk about over the next three weeks.

If you haven't purchased the book (Spanish or English translation) see my Download Links post in January for online pdf version.

A Thought. The image above (a detail from Orozco's mural en la Escuela Nacional Prepratoria) was painted in the early 1920s. It's Orozco's way of giving visual form to some of the questions we've been considering. From a point of view that Batalla would agree with--or is this part of México imaginario? A good question. In other words, is this part of the problem or part of the solution? (Either way, it's a powerful image--and an important voicing of México's past. Not just in the way Orozco characterizes La Malinche and Cortés--but also in how the form he chooses recapitulates the meaning. Consider this as you rea México Profundo--and as we continue to listen to--y cantar--las canciones del México imaginario...)

Música:  Along with José Alfredo, the songs of Cuco Sánchez remain classic. (It was great to relive José Alfredo's story, vis a vis his songs, in class last week.) Here's a good selection of Cuco Sanchez to download:

Download:   https://berkeley.box.com/s/ue4249g9smoakbsd54dy

Concentrate on:
Cama de Piedra
Arrieros Somos   (the ideas in the letra are profound--lots to consider)
Fallaste Corazón
Anillo de Compromiso 

Cama de Piedra--una canción del tiempo de la Revolución--one that came to be associated with Cuco Sánchez (whose arrangement--and interpretation--has proved definitive.)
But many of his own songs have become classic as well  ( Fallaste Corazón and Arrieros Somos, both in our cancionero...  and Anillo de compromiso). As with José Alfredo, many have become central to the ranchera tradition. Here's his original version:

Cuco Sanchez "La Cama de Piedra" - YouTube 

Cuco Sánchez presents a different point of view than José Alfredo--his lyrics tend to be reflexive--his self-image becoming the locus for his "oyentes." Philosophical, in his own way--as if there were sometimes a mirror rather than a window. And very different from José Alfredo, whose voice (though often reflexive) always seems to reach out to the listener... Chavela sings both their songs quite beautifully, as you know from listening to her Sentimiento de México albums.

There are many other good interpretations--this one from Lola Beltrán, from 1956--and a more recent version by Lila Downs, whose Cama de Piedra has a touch of Johnny Cash in the accompaniment--but these are the times we live in):   Lila Downs - La Cama de Piedra - YouTube 

Here's another,  based on the original Cuco Sánchez version, with good period photos:   YouTube - La Cama de Piedra * Revolución Mexicana, 1910.   And finally, Cuco Sánchez in a live performance, later in his career, after the song had become one of his icons:

CUCO SÁNCHEZ - LA CAMA DE PIEDRA - YouTube

So, work with Cama de Piedra--or choose another of the Cuco Sánchez songs in our Cancionero (Arrieros Somos, Fallaste Corazón)...and we'll see where everyone takes it!
______

Suplemento: Aquí está la biografía de Cuco Sánchez de la SACM: 
http://www.sacm.org.mx/biografias/biografias-interior.asp?txtSocio=08050
También dice cosas intersantes de él Yolanda Moreno Rivas. Vean el "search." Por ejemplo:

_______

Note: In coming week's we'll broaden the focus and consider some of the other regional traditions del cancionero mexicano... As well as Guty Cardenas, Agustín Lara y la Canción Romantica (Trío los Panchos). Along with (or in juxtaposition to) Batalla's ideas in México Profundo (for which I'll be posting YouTubes). This combination of la música popular (like Chavela and Cuco Sánchez and José Alfredo) will contrast with videos and recordings of regional musicians who are continuing to play in the older "música del pueblo" traditions. Like this son jarocho "callejero" de Vera Cruz--la Guacamaya, which starts with a "décima" by one of the musicians. Watch how the music seems to flow continuously (I'm tempted to say "forever") in the background.México Profundo:

▶ Décima y Guacamaya - YouTube

Weeks 7-8: Update

La China Poblada

Good class el jueves pasado--many of the pieces were excellent. You can all see how that animates the evenings. And I liked the way we were able to weave don Octavio into the discussion. I hope you'll consider what was said. Another point: there's so much to cover (or so much we might cover) that references come up in passing (like the way Joakina told us about Chris Strachwitz Arhoolie Records archive--which led me to tell you about la tejana (tex-mex) classica, Lydia Mendoza. That's the kind of thing you need to make note of (write down the names) and follow up on later. I'll include the following as a follow-up. Notes on where we're going (this coming week) are below.

Here's a taste Lydia Mendoza:  
Lydia Mendoza - Ojitos Verdes - YouTube
LYDIA MENDOZA - MUJER PASEADA - YouTube

Here by contrast, música norteña (de lado de México):
los alegres de teran - los ojos de pancha - YouTube

Same for la China Poblada -- mito y historia y imagenes...

____________


THIS COMING WEEK:

PROJECT. I know some of you interpreted my last week's post as "do two for last night." So, take a new theme--based on las canciones viejas (mejor dicho, canciones "clásicas"). Look into the letra, and their stories--and the artists who perform them. Will take you to some good places--but you need to dig a little... not just go for the most obvious. (They all have back-stories--La Paloma, for example.)

Main thing: I want to look carefully at La Barca de Guyamas (see last post). You can chose to work with this as a theme. (Would make interesting contrast with Cruz de olvido.) I know some of you already did projects from la Barca (bravo!)--in which case you can branch out. I'll leave this open. Others, try it for this week. Remember, there are many variant versions as far as letra--each with a slightly different meaning. What are the key images--las imagenes clave--that give the song its depth?

Pedro Infante, Linda Ronstadt (arr. Ruben Fuentes), Miguel Aceves Mejias, and many others--plus a version in Vicente T. Mendoza's book. Cantamos la version de Pedro Infante.

The Cuarteto Coculense (early Mariachi)  recordings are another possibility. I DO want you to listen carefully. You may chose this as your project theme. Remember that the general idea for these two weeks is to compare las canciones viejas ("clásicas")  y las del pueblo.

READING. Do the next chapter in don Octavio--De la independencia a la revolución). For some of you, this will make important reading, for others perhaps less. But you should all know where he takes these ideas about "positivismo" and how they represent a break with Mexico's past.  Y como otra vez se desafiáron en tiempos de la revolución... With Spring Break, we'll move on top other sources--México Profundo included--but Octavio Paz will remain a touchstone.

ATTENDANCE. Hey, I expect everyone in class. Remember what I told you on Thursday!!!
(Three of you excepted, as arranged prior. Everyone else, be there!)

Weeks 7-8: Dos Fuentes

Manuel Álvarez Bravo

El jueves pasado: Many of you also spoke so openly about things that matter to you--all good--somos compañeros en esto--and I think we began to see how don Octavio can play the role of guide in this--not in what to feel--but in how to clarify (enclarecer) those feelings. More important still, las canciones--y de donde vienen. La Llorona in a way is the most mysterious--because everyone (in different ways) senses its roots in something deep, from the past--and at the same time, we all realize that these feelings will always remain (at the same time) unexplained-- sin explicación.  "los útiles nunca son misteriosos..."

Where we're going. I posted Canciones Viejas for week 7. It's really two parts--the "consolidation" of the canciones as "México" through musical figures like Manuel Ponce. And--at the same time--the first recordings of the what Batalla might call "las canciones profundas..."--del pueblo mismo, in this case Cuarteto Coculense. I want you to follow BOTH streams--which is really two weeks work, especially if you follow up on my suggestions as to reading (now is a good time!) some Yolanda Morena Rivas. (See Download Links on my blog for her book.) For Cuarteto Coculense you can find background material on line. And (strangely?) Gloria Anzaldua writes about the meanings of  "estas raices"--for which the music offers its own parallels...  

Weeks 7-8:

MUSICA. For the canciones viejas, Cancion Mixteca is one we can sing por cierto. You'll see that some of the others are also in the cancionero (Adios mi chaparrita, La borrachita. Cielito Lindo would fit here too, because Ponce did the arrangement. For the canciones del pueblo (i.e., Cuarteto Coculense) let's see where you take it...

PROJECT. I want you to do TWO projects, over the two weeks 7 & 8:
1. Canciones Viejas, empahsizing a theme in one of the songs of your choosing
2. Canciones del Pueblo-- the early mariachi recordings being an example--where do these mysterious recordings take you. How do you identify with them? Si esta música puede abrir puertas...?

READING. Don Octavio, Conquista y Colonia. The ideas here continue his thematic journey, now in terms of these two key events/epochs from Mesican history--and how they've continued to resonate (haunt?) lo mexicano... Make your notes as I showed you in class so that our discussion can stay specific to the book!

_________

Pedro Infante, Irma Dorantes, Trío Calaveras

 SUPPLEMENT: Here's a Pedro Infante film video--a beautiful older song--letra anónima--and the visuals address our question spot on. Con Trío Calaveras:

PEDRO INFANTE - LA BARCA DE GUAYMAS - YouTube
(de la película, También de dolor se canta)

Y mientras voy esuchando la letra, me parece que esta canción habla mas que ninguna de la tristeza en sentido que usa don Octavio en su capítulo de esta semana (Conquista y Colonia)...

Week 7: Canciones Viejas: Dos Fuentes

Mariachi "anónimo" (1908-09)

Manuel Ponce

Pensando en lo que podemos saber del pasado, aquí las tienen dos fotos del mismo tiempo--una del músico y compositor bien conocido--Manuel Ponce. Y la otra--un músico "anónimo" del Cuarteto Coculense (quienes hicen las primeras grabaciones de música mariachi). Ponce nos dío versiones formales de las canciones viejas (y muchas veces del pueblo), como "Cielito lindo," "La pajarera" "La orilla de un palmar,"  "El desterrado," "La paloma," "Marchita el alma," "La valentina, " y " La cucaracha." Todas hoy bien conocidas como si fueran las versiones originales--pero de veras son versiones de Ponce mismo. El era la fuente. Interestingly, we think of them as the originals--where in fact, they've been standardized through Ponce's arrangements. Note that his musical studies included a period in the conservatory in Berlin, and that Ponce was the author of an extensive classical (European-based) repertory. There's also the great irony that his best known composition-- "Estrellita" is a song that's recognized the world over--but rarely associated with an individual composer. As if it were"anonymous."

What does it mean to say that the mariachi pictured remains anonymous?  And consider the difference in focus between the two photographs--significant in itself.

Here's a set of the older songs you can listen to, each discussed by Yolando Moreno Rivas in her Historia. (She has a condensed sidebar on each of the musicians--well worth reading. To use an index--that is a find sesarch--you'll need to download the pdf. Find does not work in the online version. Go to my Download Links posted in January. By the way, you can find Gloria Anzaldua there as well.) The versions below are generally from YouTube:
  
Marchita el alma (Zuñiga, 1876?):     
Pedro Infante
Alfredo Kraus (1959) 

La paloma (arr. Ponce)
Jaun Arvizu
La Paloma (Sebastián de Iradier y Salaverri) - Olimpia Delgado Herbert, Soprano 

La orilla de un palmar (arr. Ponce)  
Antonio Bribiesca (1962) - YouTube

La borrachita (Fernández Esperón (Tata Nacho), 1916) 
Antonio Bribiesca (ya la tienen en el S&P cancionero download) /  CANCIONERO
Pedro Infante 

Canción Mixteca (Alavez)                      CANTAMOS ESTA JUNTOS!
Cuco Sánchez 
and this "downhome" version by Gilberto Tovar:
Cancion Mixteca y Paso del Norte - Gilberto Tovar

Adiós Mariquita linda (Marcos A. Jiménez)
Pedro Vargas
Los Panchos

Rayando el sol (arr. Ponce) 
Antonio Bribiesca (1961)

Adios mi chaparrita   Ignacio Fernández Esperón (Tata Nacho)
De Tata Nacho "Adiós mi Chaparrita" - YouTube   (canta Guty Cárdenas) /  CANCIONERO
Mariachi Mexico de Pepe Villa Adios Mi Chaparrita - YouTube

Ignacio Fernández Esperón (Tata Nacho)

__________

Y de la otra tradición, más bien del pueblo.  I'll include this here (for example, the early recording below--Cuarteto Coculense) because it's so important to recognize that it's these two streams together--popular culture as it's formalized in the work of (dedicated!) artistas mexicanas like Ponce--and at the same time, the way it continues to be represented in popular tradition--often anónymous, and much farther removed from music as commercial presentation. (In today's world, of course, everything is potentially commercial--so the distinction is harder to maintain. That said, it's still important to recognize the way the two streams (as I'm calling them) inter-relate. When Octavio Paz writes that he speaks to a "particular" group of Mexicanos, he invokes the distinction. And when some of you (Fernanda, Vero, Jennifer) refer to your families on ranchos or in pueblos pequeños--we get living hints of the second stream... I'd say that to understand México in all her (?) complexity, we need to follow both streams and see how they intertwine... (We'll see much more of this with Bonfil Batalla's México Profundo.)

For this week, I want you to concentrate on the songs above--we'll devote more time to the tradición publerina más adelante en el semestre. Van a ver!  Here's a sample:

Cuarteto Coculense Las Abajeñas (1908-09)

And here's the full recording--published by Arhoolie Records--a cd you should purchase from them directly for your own collection: 

https://berkeley.box.com/s/jtskinje44mmaq254ku4ct6jj5yeclok

Also--be aware of Pasajero, an excellent film made by Los Cenzontles, the Bay Area group who have focused on this older mariachi music (along with many other folk styles de México). Here's an excerpt:
Mariachi Roots
Adriãn nos puede decir mas de los sones--y de sus clases an el East Bay Center for the Performing Arts.

PROJECT. Take one or more of these older songs, above, look into it's history (via YMR or online sources) and use it as point of departure for this week's work. Consider both music and lyrics--and connections to "la historia cultural de México..."

READING. Continue with don Octavio, Conquista y Colonia, as discussed in class... There also inadvertant reference to the themes above all throughout don Octavio--which is (in part) why we're reading him so closely. Y la "soledad"--or separation--that he invokes has to do with his personal relation to this bifurcated history ("las cicunstancias históricas explican nuestro carácter en la medida que nuestro careacter las explica a ellas." (p. 79)


 

Week 6: La llorona / 2

Diego Rivera, Sueño de una tarde dominical en la Alameda Central,

 (detalle), 1946-47)

After the missed week (my  sincere apologies!) I was expecting to see more of your La Llorona projects posted on the cuadernos  so that I could get a sense of where everyone stands. You'll to do this need to do this, even though the discussion/review has been delayed... So make your post, and if you wish, supplement later as need be!

The la Llorona theme--during these two weeks,I've been returning to it again and again. (Uno de los temas grandes, sín duda.). Both the myth--and the way the myth is reflected in the MANY variations in the lyrics. I want you to get into this! There's only a limited mention in Octavio Paz (but then, that's not surprising, since his theme is Los hijos de la Malinche. The two are connected, of course.)  That's why I suggested you read additional sources--Gloria Anzaldua in particular, and look into the related terms and themes on my blog post. YOU NEED TO EXPLORE THIS INDEPENDENTLY--each one of you. Discuss on your individual posts as well as in your projects.

I also suggested you listen to alternate recorded versions.  There are many artists who've done the song. We started  with Chavela y Antonio Bribiesca--you need to be thoughtful as to why. I also gave you some other (now classic versions) like David Zaizar. And why do you think is Lila Downs' contemporary version is so different? Also-- why/how does Chavela change the lyrics in her version for Frida? These are all good questions--so listen to the recordings carefully, and be thoughtful!

My sense is  that we can use the time get into this theme more deeply.  And again, since we missed last Thursday, this would be a good way to use the current week--until we reconvene!

Note that the wikipedia entry  (La Llorona (música) - Wikipedia, la enciclopedia libre
includes a Nahuatl version. Your thoughts on this? And there are various Spanish-language posts on La llorona --MITO y LEGENDA. So, expand your treatment!

There's also an article, with interesting reseach, by Marisela Valdés: "En la mirada, en el oído: Narraciones tradicionales de la Llorona   (Universidad del Claustro de Sor Juana, DF)     http://www.researchgate.net/publication/28124227_En_la_mirada_en_el_odo._Narraciones_tradicionales_de_la_Llorona


READING: I asked you to read don Octavio, Los hijos de la malinche.  You see why that applies for the upcoming La Llorona discussion. (You can also continue with his next chapter--I assume you're doing this without my prompting--Conquista y Colonia, which is relevant--but will be the full subject of a later week's discussion.)

So , for this week, review these chapters from don Octavio, and make specific connections with the La Llorona theme:
Todos Santos, Día de Muertos
Los hijos de la Malinche (concentrate on this chapter!)
____________

I spent some time on Sunday looking through your cuadernos, seeing where each of you are, how you're handling this part of the class...

First (as I anticipated) they're quite different. Some of you are taking it project by project. Others are using the blog space for meditations about home, and other related experiences. Both approaches are good.

* use images of your projects as a point of reference
* do make a connection with the songs
* it's also fine when the writing becomes more associative and free-form. this works for some of you. for others, the direct approach is best.
* what's most important is that the cuaderno hang together--as a whole--as something you've made--as evidence of your thinking, whether  from the reading, from projects, or from ideas that come up in class--and how you bring them together. in other words, it's a creative work in itself--one that reflects the best of who you are
* the cuadernos assume a lot of independence on your part--that is, I expect you to take this on and develop it following your own path (related to readings and assignments and projects and in-class discussion)
* very important: don't fall behind. your individual sites need attention each week. (they're not something you can "make up" later on in the semester!) so, keep your posts current! (and note that I do pay attention to your posts as well!)

I could connect names your names with all the above--but it will sound too much like labeling--so for now, take this as encouragement on my part to keep the cuaderno going each week. let the new posts add up in your own way--and we'll all see where this goes. also, following each others work (writing and visual posts) adds a lot to the endeavor.

my best to all of you,

Tony

Week 5: La Llorona

José Guadalupe Posada, Calavera Catrina, ca. 1910-13

 CANCIÓN: LA LLORONA. Chavela Vargas y Antonio Bribiesca, versión classica de los años 1960:
https://berkeley.box.com/s/5cy83mcooa9lgoxebjxgp8vs6jhxqvxf 

This is the classic version, although hard to find now that Chavela's later version, in Frida, has become so popular. Both are meaningful, of course, but the combination of Chavela and Antonio Vargas i(listen carefully!) is truly remarkable. It doen't get better than this in terms of representing the tradition. For the lyrics to this early version--which I want you to concentrate on--see below.

Otras versiones de Chavela:
Chavela, versión mas recién (1990) tiempo de la pelicula, Frida:
▶ La llorona Letra-Chavela Vargas - YouTube-
Chavela Vargas - La Llorona (Video Clip) - YouTube
▶ La llorona Letra-Chavela Vargas - YouTube-  Video con letra, versión recién

Otras versiones:
▶ Lila Downs y Chavela Vargas La Llorona. - YouTube   Lila Downs y Chavela juntas. Den attención a la introducción de Lila Downs (a Chavela)
▶ Eugenia León le canta a Chavela Vargas "La Llorona". - YouTube
▶ DAVID ZAIZAR, LA LLORONA (1958) - YouTube

Film supplemento: Hasta los huecos (gracias a Fernanda!) QUEDA IMPORTANTE VERLA! 
BE TO WATCH SO THAT WE MAKE THIS FILM PART OF NEXT WEEK'S DISCUSSION:

Hasta los huesos / Down to the bone (Short Film) (HD) - YouTube

There was also a feature film made on the theme in 1933--somewhat dated at this point, but interesting for that very reason: La Llorona (FILM, 1933) Adriana  Lamar en papel de la Malinche.

LEER: * Don Octavio, Los Hijos de la Malinche. Paz makes reference to Llorona, although the story/myth is not central to what he write (interesting because of la malinche--la chingada). However, they are c onnected.

* Gloria Anzaldúa: Borderlands / La Frontera (pdf posted under Downloads Links). The theme of la malinche/la llorona runs all through her book. See in particular pps. 35-37.

* Optional, but I want to put it on your radar: Sandra Cisneros, Woman Hollering Creek (short story, 1991), a modern reworking of la llorona legend by the deservedly recognized San Antonio writer.

In various ways, the la llorona legend runs through all these books. However, you'll need to do your own online investigation of the theme!

LEYENDA/MITO.  Here are some related connections: Calavera Catrina (Día de los muertos), Aztec Gods (origin of the myth--Mictecacihuatl, Cihuateotl), river goddess--various cultures, José Luis Posada (grabaciones del período de la revolución) et al. Will show you some of this in class. Also--la forma musical de  la llorona es una mazurca--y la mazurca tiene paralelas in el baile folklórico de méxico (de tiempos de los franceses y antes...).

QUESTIONS:
El significado de la letra (de la canción)--versión classica de Chavela
En comparación a otras versiones--la versión más recie´n de Chavela, y otras?
Es canción de amor?  (versión de Chavela!)
Si les parece que las letras tengan variaciones porque llevan variaciones distintas de la leyenda?

PROYECTO: La Llorona--tu interpretación personal--de la música, y de la layenda...
_______


LETRA de la version original de Chavela (aproximada):

Todos me dicen el negro, Llorona
Negro pero cariñoso.
Todos me dicen el negro, Llorona
Negro pero carioso.

Yo soy como el chile verde, Llorona
Picante pero sabroso.
Yo soy como el chile verde, Llorona
Picante pero sabroso.

Hay de mi llorona,
llorona tu eres mi chunca
Hay de mi llorona,
llorona tu eres mi chunca              (chunca--shunca--palabra zapoteca--querida)

Me quitaran de quererte llorona

pero de olvidarte nunca...

Salias del templo un dia Llorona
cuando al pasar yo te vi

Salias del templo un dia Llorona
cuando al pasar yo te vi

Hermoso huipil llevabas Llorona
que la virgen te crei
Hermoso huipil llevabas Llorona
que la virgen te crei

Si porque te quiero quieres, Llorona
Quieres que te quiera mas
Si porque te quiero quieres, Llorona
Quieres que te quiera mas

Si ya te he dado la vida, Llorona
Que mas quieres?
Quieres mas?

Si porque te quiero quieres, Llorona
Quieres que te quiera mas
Si porque te quiero quieres, Llorona
Quieres que te quiera mas

Si ya te he dado la vida, Llorona
Qu mas quieres?
Quieres mas?