No one can deny the inhabitants of this territory that extends from Sènia to Segura our talent when it comes to performing “the most difficult yet”, a triple somersault or stylistic acrobatics that chains the centenary of the author of the Diccionari per a ociosos with the balladeer of “I love you, I love you” when the half century of his tragic disappearance is fulfilled. Our institutions have decided that after celebrating l’Any Fuster, a commemoration that has had, among other virtues, the recovery of the chronicles that the essayist wrote in some newspapers, we unite “tots a veu” to celebrate the figure and music of the singer of Aielo de Malferit. I don’t know yet, because I haven’t read any more information, what this “Children’s Year” will consist of. Bravo»that we are inaugurating and how it will come to fruition, but since we are in an election year, something will have to be done and, if possible, it will create a bit of noise. How about a great concentration of country music bands interpreting the singer’s songs, followed by a fireworks show harmonized by the most distinguished melodies from his repertoire? I don’t know if there is any exhibition or show planned that includes those years, between the 1960s and the 1970s, the period that embraced the artistic life of Nino Bravo, in which the music and entertainment industry in Spain underwent a great transformation: The revival of a neo-romantic song after the pop explosion and Beatlemania, the consolidation of the record album as a creative and consumer project, the emergence of a songwriter with a lyrical and social accent, the so-called “progressive music” and the irruption of heterodox creators, the disco as a space of freedom, the new composers and lyricists, the tandem Pablo Herrero and José Luis Armenteros and songs like “Un beso y una flor”, “Libre”, and a new way of a mainstream song or of popular projection of quality etc. Arguments all of them that frame the artistic career of the singer in a Spain that began to loosen the Franco corset while the knots of the ties and the lapels of the jackets swelled.
When it comes to artists who have disappeared prematurely, it is normal for questions to arise about what they could have been or given if they had not been interrupted. Today Nino Bravo, at almost 79 years old and with more than half a century of musical career, like other artists would have experienced the convulsions of the recording industry, would have gone through some pothole or crisis like all singers or musicians who have a long life. . His projection in America and in the Latin American market would surely rival that of other Spanish artists and would undoubtedly have entered that category of popular classic. Maybe we even saw him participating as a judge in one of those musical talent shows. On a strictly musical level, I would like to think that he would have faced ambitious projects, delving into genres and styles that he had already approached. It is not naive to imagine a Nino Bravo taking up the energy of rock and roll from his early days or of a genre like soul. Now all this is already territory for visionaries, speculative fans or followers of science fiction.
Waiting for new news about the Nino Bravo Year, I find out with reading affliction about the separation of Isabel Preysler and the writer Mario Vargas Llosa, a couple that one, in their naivety, already assumed for a lifetime and blessed by you. , bread and onion. At this point, I no longer know what the heart and sentimental future can hold for what was in other times, the queen of Porcelanosa and of chocolates ferrero Rocher. After a singer, a marquis, a socialist minister and a Nobel Prize winner, a divorced judge from the Constitutional Court just falls in luck. Like Brigitte Bardot, surely Mrs. Preysler every time she falls in love she thinks it’s forever. And that of subtracting as her partner and lover, even though he was a Nobel Prize winner, was not the most decent thing to do. Come on, like the protagonist of “Romance de la otra” that Concha Piquer sang with such wisdom, she was not willing to be “the other, the other/ I have no rights anymore/ because I don’t wear a ring/ with a date inside” .
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From l’Any Fuster to the Nino Bravo Year