domingo, 19 de mayo de 2013

Searching for sugar man: un documental o una historia de detectives con final feliz

Un joven director sueco decide realizar un documental de 9 minutos para la televisión  a partir  en una  historia que escucha sobre un músico de Detroit  que grabó un par de discos en los años 70 y a pesar de las buenas críticas no consiguió el éxito comercial en los Estados Unidos.  El que este cantante se negara a cambiar su apellido  (como en su momento tuvo que hacer Bob Dylan, al que muchos le compararon en su momento) y la contundencia de sus letras podrían explicar todo eso.
Sin embargo, en la Sudafrica del apartheid las  canciones de su disco Cold Facts se graban en cassettes y pasan de mano en mano como   en un auténtico símbolo de la lucha contra un sistema racista e injusto. Algunos de sus admiradores intentan averiguar qué sucedió con su héroe desaparecido y su búsqueda obtiene resultados inesperados y sorprendentes.
El documental se llama Searching for sugar man, ha recibido infinidad de premios y tiene una banda sonora realmente emocionante.

Rodriguez is sweeter than sugar, man |

He seemed frail when escorted onstage by two women Wednesday at the sold-out Fitzgerald Theater in St. Paul. But then he put on his dark-tinted glasses, his floppy black hat and his beige guitar and suddenly he transformed into Rodriguez, musician of mystery, melancholy and that Oscar-winning movie.
“Searching for Sugar Man,” which took the Academy Award this year for best documentary, told the story of an obscure Detroit folk-rock singer whose two albums from the early 1970s had somehow made him into a beloved cult hero in South Africa. Two obsessive fans there started searching for the singer, thought to be dead, and not only found him in Detroit but then brought him to South Africa for a series of major concerts in the late 1990s. It was all filmed and eventually turned into a 2012 movie.
It’s a fascinating story and a terrific footnote in rock history — that Rodriguez’s career was relaunched by an Oscar-honored movie.
And Rodriguez’s concert at the Fitzgerald was as winning as the movie. Maybe more so.
Rodriguez, 70, is a star who is masterful at playing the anti-star. With his face framed by long hair and that floppy hat pulled down low, he seemed painfully shy, like the man in the documentary who played with his back to the audience early in his career. Between songs in St. Paul, he was quiet at first, then told a silly old joke about Mickey Mouse, Minnie and Goofy and eventually segued into witty comments and self-deprecating humor.
“I’m a solid 70,” he said. “On May 9, I received a doctorate at Wayne State University. [He also has a B.A. from there in philosophy.] I don’t know if that means I’m smart — or educated. I want everyone to know that I want to be treated like an ordinary legend.”
Perfectly put.
Not only did Rodriguez prove to be funnier than expected but also more musically satisfying than the movie or its soundtrack suggest. While his songs clearly owe a debt to 1960s Bob Dylan and Leonard Cohen, Rodriguez demonstrated a gift for writing lyrics and melodies, a flair for expressing sadness and sweetness. The guy is unquestionably a romantic (he crooned the Flamingos’ “I Only Have Eyes for You” as if it were a jazz standard) even if the heartbreak songs like “Forget It” had more impact.
Unfortunately, he didn’t have the vocal bite to match the bitterness of his lyrics. Backed by a trio that played at living-room volume, his voice was soft and thin. His phrasing was positively Dylanesque at times but he never punched his words for emphasis the way the bard does. Interestingly, the only times Rodriquez raised his voice in song were on Dylan’s “Like a Rolling Stone” and a bluesy treatment of Little Richard’s “Lucille.”
Rodriguez also offered political pieces, which helped to make him a hero in South Africa with both blacks and liberal Afrikaner youth. Though dated in its talking-blues style, the message of “This Is Not a Song, It’s an Outburst: Or, the Establishment Blues” still resonated with the singer’s worshipful audience in St. Paul.
The crowd cheered at the opening notes of several songs from “Searching for Sugar Man.” Two insistent fans kept shouting a request for “Cause,” a tune from the movie.
Finally, Rodriguez, who had been hunched over with posture that suggested Neil Young, looked up and explained. “It’s such a brooding song. I try to keep it light. It’s too pensive sometimes. But thanks for asking.”
That may be one of the best rejoinders to a song request ever uttered. But what else would you expect from an anti-star who exuded a peaceful calm all night, even when singing about heartbreak and pain. After all, how can you argue with a mysterious hipster folk-rocker who philosophizes to his fans: “Hate is too powerful an emotion to waste on someone you really don’t like.”
For a set list:
Twitter: @JonBream • 612-673-1719

domingo, 5 de mayo de 2013

Dalí: Misterios, enigmas y angustias

Salvador Dalí

El Reina Sofía presenta en Madrid más de 200 obras de Salvador Dalí, algunas de ellas expuestas en España por primera vez. Sus textos son tan sorprendentes como sus dibujos y pinturas. En uno de ellos dice que el espectador disfruta de los "misterios, enigmas y angustias" que encuentra en sus obras. Y desde luego hoy cientos de personas disfrutaban del siempre joven Dalí.