“The turn of the century served to prevent saving the planet and achieving a more just society”

“The turn of the century served to prevent saving the planet and achieving a more just society”

They will have eaten, already, in Cuba or in Mexico when a sense of admiration of both countries and of the twinning between cultures, united by the same language, begins to strum the strings of their guitar, just as they began to do in front of the public long ago. thirty years old, in the tables and halls of Madrid, in his Movida. Santiago Auserón, better known, among microphones and drumsticks from the stages of countless countries, as Juan Perro closes, tonight, the cycle of concerts in the Plaza Mayor of Valladolid on the last night of the Fair and Festivities of the Virgin of San Lorenzo.

He will do it in front of a local audience arranged in chairs, so that Covid does not skip the waiting queue, which will amount to 900 people, a situation that one of the members of Radio Futura talks about in two stadiums, one initial, the one of the return to the road and the stages, “with greater coldness” and, another, the one that takes place since the return to live was normalized, with “An incredible desire, on the part of the public, to communicate, where an understanding with the public and a particular intensity is generated”.

On its beginnings as one of the magical Radio Futura, Perro reflects on “the trace of the songs that has endured and that the parents themselves, those who listened live in the ’80s, have bequeathed to their children”. He also talks about how the seal of that band that served as the seed of Spanish pop-rock, along with many others, left him and his career, in which he focuses on the profusion of new content “through the confluence between the Spanish rock, jazz and Cuban music ”. Within himself, at 67, just turned 67, the musician continues with the goal of “Turn the popular Spanish song into an object of poetic and sound search, in a path that Radio Futura opened and which Juan Perro delves into”.

Photo: La Huella Sonora

About his influences and the sources from which he has drank throughout his career, the artist shows “Juan Perro’s mask as a kind of title that connects with the vagabond musician, from the Mississippi bluesman to the Iberian minstrel of the Middle Ages, wandering figures that this mask tries to remember ”. In the memory, of the native of Zaragoza, of his earliest age as a “nomadic child” remains the wide range of musical stimuli and cultural concerns with which he lived on a daily basis. On the one hand, with his parents, at home, where His ears were delighted with the deep voices of the American cream, with references like Ella Fitzgerald or Nat King Cole. Also, on the other side of the coin was the restlessness inherent to youth in the inheritance received from the “constant search on the record players of the first ‘singles’”, where he begins to lean towards the Cuban rhythms that end up captivating him when, With Radio Futura, he got to know the island and “how Spanish-speaking blacks and mulattoes shaped verse, the subway, diction and, with them, created images.”

To talk with Santiago Auserón is to do it with a deep voice that is preparing for his next act and that is more than the comb of the air around him, it is a voice that, when twenty years have passed since the attack on the ‘World Trade Center ‘, in New York, shows how “The turn of the century was a point from which to rethink everything, where many synergies began to occur, such as control of financial markets or electronic communication prevents social transformation in order to save the planet and achieve a more just society”.

From a somewhat more distant past, although present in every step of his day to day, that of the ‘Movida Madrileña’, he values ​​that, then, “there was a social disposition towards artistic and cultural novelty, with a fondness for novelties sound systems, in particular, which was cut short when the owners leveraged their offices to end up being, themselves, the designers of the formats in the music business ”. Auserón laments, with a throat clearing that reflects more pain at the missed opportunity than irritation in his throat, the way in which he “All the musical sap was encased in commercial formats”. Thus, that mirror of the past is in which current music is looked at, in which “young creativity has no place since only outdated forms are repeated except when, very occasionally, they make use of banal novelties that serve as a condition of the audience’s taste in an easy way ”, criticizes the emblematic voice that the heat school opened to us, back in 1984.

As a reflection and lifeline for music, whose mission is “to open and cross the borders that sometimes draw different languages ​​and cultures”, Auserón calls for a union “to overcome the resistance of the music business, controlled by the firms, continue with intergenerational contact and, also, take international musical quality seriously, where, at all times, institutional and media support is transcendental ”.

On the other hand, Juan Perro has returned to the stage and “on the road”, as he likes to define the inherent nomadism of the artist, this summer with his ‘Cantos de ultramar’, an album that they had prepared to publish in the past. April 2020, which was a live premiere truncated by the pandemic but which, on the other hand, “was conceived to be broadcast on social networks.” He talks about “initial contacts with a view to touring cities in the United States, the Southern Cone of America and, also, Mexico.”

Precisely, about the ‘tri’ country, where the spicy is transferred from the kitchen to all of society, the artist defines it as “colorful, hallucinatory and, also, with contradictions such as the threat of violence related to drugs or crime, something against which her absolute beauty can”.

Not with as much heat as in Mexico, where they are already considering a possible nap, but with the expectation of the other many times in which Juan Perro has traveled to Valladolid, the singer will be received, tonight, in a city that already begins to rethink his festivities within a year, to the deep and honest cry that Auserón proclaims: “Health and luck!”.

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“The turn of the century served to prevent saving the planet and achieving a more just society”