Latinajos

My released:

In January 1918 Ramón Menéndez Pidal wrote a letter to El Sol in protest that the newspaper gave the name of Latin America to one of its international policy sections. The philologist believed that name dispelled the Spanish presence on the continent. Elvira Roca ( Imperophobia , page 413) dates the coinage in 1856 and points out two candidates: the Chilean philosopher exiled in France, Francisco Bilbao , and the Colombian poet José María Torres Caicedo . The phrase was rooted in the interest of France and the expansionist policy of Napoleon III : Latin sneaked the French influence, which was reduced to Haiti and part of the West Indies. However, that the name arose from two Americolatins symbolizes the general complacency of the continent's elites towards the brand. By subsuming the overwhelming importance of origin, they gained sovereignty and formalized their oedipal treatment with the Motherland by giving birth to a new creature. Menéndez Pidal stressed, among his many arguments, that South Americans did not receive their language from Lazio but from Spain. Mariano de Cavia , who would attend the next day in the same newspaper, remembered how the Portuguese romantic writer and politician Almeida Garrett argued that the Portuguese could be called perfectly Spanish because Spain was a geographical name. The direction of El Sol , at that time in charge of Felix Diaz , Heliophile , answered these objections with great realism, arguing that the Latin American peoples felt fertilized by a thousand milks. Actually, he said seeds . And before announcing that, despite everything, they would change the name of the section and call it Ibero-America, they specified what, in their opinion, was the origin of the problem: "Neither our thinkers nor our prelates nor our politicians have done any effort to give universal value to iberism. " Heliophile was the one who was closest to warn that with respect to Latin America or Latin America , Latin America was an emancipation.

A century later, Latin America has successfully completed its trip. It is no longer that the phrase masks the Spanish but resolutely expels it. Only this explains the criticisms that the MTV Video Music Awards have received for having rewarded Rosalia in the Latin section. Critics such as those recently supported by the Mexican edition of Vogue when he dedicated his cover to the singer (photographed by Peter Lindbergh ) symbol of those 20 Latin singers who, according to the magazine, have put the world to dance. Regarding the MTV, Billy Nilles tabloid said : "There is an entire ocean between her and the Latin people, which are certainly not monolithic. But her undeniable Eurocentric privilege means that there is a lot of life experience that she will never share with Colombian and Puerto Rican singers. with whom he has been working for only one year. " In the NBC, something like the Sixth, an Eric Duran put his finger on the sore of the serious identity problems of the singer: "Rosalía, originally from Barcelona, ​​can be considered Hispanic because of her Spanish language (although the language Catalan is technically in his region.) And although Spain and Latin America share many similarities in culture and language, the singer is not latinox [adjective without gender] by definition. " They will observe in passing what this Duran has solved in this way, with a papirot shot. Neither own nor autochthonous: Catalan is the technical language of Catalonia. I like it.

These types of comments, which are going to be reproduced corrected and augmented on October 17 in Hollywood when Rosalía wins one of the Latin AMAs for which she is nominated, do not argue that the daughter of Sant Esteve Sesrovires plays Latin music. Billboard , a weekly canon, has already ruled that a Latin song is one that carries at least 51% of words in Spanish, which leaves Pérez Prado , maaaammbo, in serious trouble, but saves our anomic princess. (She almost always saves her, because Fucking money , just sung in Catalan, irrevocably identifies her as a sesrovira singer). Now, that he makes Latin music does not mean that he is Latin: for his Eurocentric privilege. So they place it, poor thing, in the limbo of someone who did rock and could not be a rocker or who did flamenco without being able to. The most interesting case, however, is the definitive breakdown of the language of being: they stopped being Spanish speaking Spanish and now they are Latin without speaking Latin. As anyone will suspect, I am delighted with this split. I always defended that it had a lot to do with Montaigne and much less with a Puerto Rican waiter. And very little too, although I don't know exactly, with Carlos Slim , who has fiercely maintained his Latinity against all Eurocentric privileges. If the Spanish language is an important language it is because it no longer mechanically designates an identity. Speaking Spanish can be anything; and one of them, and notorious, antispañol: what evidently does not happen with Catalan or Basque, which are languages ​​that have not yet lost the placenta. For the rest, if Rosalia has a whim - although she seems firm and indifferent as an oak - she will not easily stop being Latin. One who carries the coffees in the Times building repeated the other day on her twitter: "Rosalia is European. Rosalia is not Latin", without paying attention to the fearsome logic that Rosalia is European because she is Latin. Azares of etymology, always colonialist! What I should say is that Rosalia is not Latin Latina and so even El Valido would understand her.

There are no linguistic debates. When you talk about the language you always talk about something else. In this case, in addition, the discussion about calling or not Latin barely hides the true intention of the dealers against Rosalia: denounce the European for cultural appropriation. Rosalia could not sing like Latinos because she does not live (does not suffer, rather) the deprivations of Latinos. That is exactly what Eurocentric privileges mean. Something similar was said and still said in flamenco when it became a condition of singing to have gone hungry. A really scary clause that indicates that the sated man will kill art, but that it is inscribed in different ways in the romantic vision of the artist: for that type of enraged devil, if there is no hunger that at least there is morphine or absinthe, substitutes. It is not the first time they accuse Rosalia of thief. The first to do so must have been Mala Rodríguez (who acts, by the way, on October 5 in Cádiz as the opening of the great Luna Ki , he points out), a gypsy woman who went to the Bronx and Harlem and stole the rap and now denounces, so put in its condition, that of Sesrovires has stolen the flamenco shop. Behind what with the usual euphemistic twist they call cultural appropriation there is no more, in short, that the old and rotten issues of racism and xenophobia, which do not change their nature and their bad intention even if they are practiced by the humiliated and the offended , whether presumed or not. And there is something else, and what they find truly intractable. The case, for example, of that 19-year-old Dylan , listen to him, whose childhood seemed rocked in a Tennessee hut by Bessie Smith , and who was actually the grandson of Jews from Eastern Europe, merchants in gray coats. And it goes and reinvents folk, country rock and blues at a stroke. And it is that the intolerable, acknowledge it, is not that they appropriate it, but that those who can never swear by the milk that I killed will improve it.

Keep your path blind.

TO.

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