From Mozart to Camarón, from Fleetwood Mac to Shakira: seven songs of spite

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So many years talking about polyamory and new forms of sexuality, so that three minutes and 33 seconds of Shakira's spiteful song makes the whole world become a huge patio of neighbors who celebrate and reproach the old ritual of love, hate and tearing.

Nothing truly new.

Phoebe Bridgers.

'Motion Sickness'

In an ideal world, Ryan Adams would be a very kind, old-fashioned chivalry who, with his presence, would offer a comforting counterpoint to the tormented soul that is expressed in his songs.

In the real world, Ryan Adams has created an embarrassing public figure for his fans: surly, hostile to the world, incapable of managing his frustrations and, according to reports from partners and acquaintances, prone to bordering on sexual violence and abuse.

He met the singer Phoebe Bridgers, for example, because she offered to sponsor her in her musical career.

Before long, he began the game of predator and prey.

Bridgers, who denounced the situation as "emotional abuse", referred to Adams in

The lyrics can be summed up as a minimalist diagnosis of his emotional wounds: "I can barely feel a thing."

Mina Mazzini / Tony Renis.

'Big, big, big'

The opposite of minimalist pain must be a song by Mina: that image of the queen of France on the eve of the guillotine, that overwhelming soprano voice;

that unstable beauty of plucked-out eyebrows and chiaroscuro makeup... The world that the Italian singer's songs recount is equally torn and often directed at spite.

It's just that spite is too simple a feeling to explain Mina's vision of the world, that she could include 70% hate and 30% desire in the same song.

.

That's how

But, three lines later, the addressee of the song appeared repaired and admired.

The intricacies of love/hate were seen with kinder eyes in the 20th century.

Azucena Maizani / Enrique Santos Discépolo.

'I'm getting drunk tonight'

I'm getting drunk tonight

is little title for that tango that everyone knows from its first verses,

(or descangallada, which can also be written like that and which is a word that comes from Portuguese).

Like many tangos from the golden age of the genre, the lyrics are a mixture of modernist verbiage and urban and lunfardo hyperrealism.

And there is a story: Discépolo came across an old lover one night, in a cabaret, dilapidated by time, alcohol and her poor health and decided to immortalize her at her worst moment.

For this reason, the song begins as a revenge:

Later, the song becomes reflective and melancholic, almost compassionate, until it becomes a

that speaks of the ephemeral nature of beauty.

Curiosity: Azucena Maizani, dressed in a masculine suit, was the singer who premiered the song with a very fine and old-fashioned but charming voice.

Island Shrimp / Antonio Sánchez Pecino.

'Of what I am to you'

In reality, no more than 10 verses are needed to explain what spite is: public self-humiliation, verbalization of the grievance, longing for a difficult-to-precise reparation and vindication of the purity of one's own soul.

All of this is in

, a fandango composed by Paco de Lucía's father and interpreted by Camarón de la Isla in the fullness of his conditions, which was very full:

The key, of course, is in that "loving you, I curse you" that explains the key to spite: because I'm good, now I'm going to be bad.

WA Mozart / Lorenzo da Ponte.

'My tradition that'll ungrateful soul'

When in the story of spite the little leg of love that remains "despite everything" appears a little, it is when the spectators begin to generate their hormones of happiness at full speed.

In Mozart's

, that thankless role falls to Doña Elvira, who, twice mocked by the myth, tries to warn the maidens of Spain who Don Juan is... Although, deep down, what she wants is to save his soul and, perhaps, hold him in his arms again.

.

Summary translation: Elvira follows by Juan.

Later, Juan ends his opera by affirming his individuality.

The Stone Guest encourages him to repent of his sins but he refuses: Don Juan is a free man who assumes the consequences of his acts, even the worst of them.

What moral goodness would there be in denying himself?

In the end, he will be the good one.

Paquita of the neighborhood.

'Two-legged rat'

The reference to Paquita la del Barrio in a list of jilted songs is so obvious that it's a bit embarrassing.

It seems that there was a moment when the singer from Veracruz hit the right moment (the entry of the ranchera in the canon of the more or less cultured song), that she found a gag that worked for her and that she dedicated herself to exploiting it, like a Camilín that came out to absorb liquid through the rectum.

But the fact is that there was truth in her stories, that the woman married a forty-year-old and bigamous man when she was a teenager.

And, to be honest, the

is still very funny.

Fleetwood Mac. 'Go Your Own Way'

The story of Fleetwood Mac can be told like a 1990s California soap opera in the

style : Mick was with Jenny but Jenny went off with Donovan and then Alex and then went back to Mick but Mick hooked up with Stevie, the new girl of the group, who in turn was married to Lyndsey, who was also in the band, while Christine and John, the other couple in the band, became entangled in their own problems, related to alcohol, cocaine and highly unstable personalities .

Nobody in that valley was ready to throw the first stone, but Lindsey was the one who finally got up the nerve to tell Stevie to go for the shadow.

Stevie passed away last year and everyone remembered her with a lot of love.

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