lyrics

The Spanish anthem has no lyrics, so we have sung another one that has nothing to do with football: Nino Bravo’s

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The Spanish anthem or Marcha Real is a rarity: it does not have official lyrics (although there are those who have tried to compose it, from José María Pemán to Sabina or Marta Sánchez), which gives it a solemn aura, but prevents the participation of the masses in festive environments. Like when you win a Soccer World Cup, except that people become helpless “lo lo lo lo.” However, the fans I needed a letter for chant and celebrate the champions and found it within a melodic 1972 song milestone that doesn’t mention football once. When did it start? ‘A kiss and a flower’ by Nino Bravo already played in stadiums in the United States and Mexico throughout the tournament, and ended chanted in unison by players and fans after the whistle that put an end to the same. At the airport, hours later, the public address system made it sound while relatives from both teams shared a terminal on the way home. The verse that circulated the most on networks was the one that opens the song: “When parting, a kiss and a flower, an ‘I love you’, a caress and goodbye.” The original. It was composed by José Luis Armenteros and Pablo Herrero in 1972, with arrangements by Maryní Callejo, and it was number one on Los 40 Principales that same year, four weeks in a row. Its interpreter, Luis Manuel Ferri Llopis, better known as Nino Bravo, died in a traffic accident in 1973, when he was only 28 years old. This video clip that was filmed in the Balearic Islands For the Ministry of Information and Tourism it is the only color material that is preserved from him. Before this song, Nino Bravo had already triumphed outside of Spain: between 1969 and 1970 he recorded some sixty songs and his voice especially resonated in Venezuela, Argentina, Mexico, Puerto Rico, Chile and Colombia, markets where he shared the bill with Raphael without the divo overshadowing him in the slightest. That his repertoire (especially this one and ‘Libre’) is still alive half a century later in the stands and the streets is proof of how it has deeply permeated Spanish popular culture. What the lyrics are really talking about. The more extended reading He links it to the economic emigration of Franco’s regime: the years in which thousands of young people left “with the cardboard suitcase” for Germany, Switzerland or France in search of a salary that they could not find here (“I will leave my land for you, I will leave my fields and I will go, far from here”). That is why the song serves today, far from Spain, as an anthem of another exodus: in Cuba it is still associated with those who have had to leave the island in recent decades. The long relationship with football. In fact, Nino Bravo’s melody has been around for decades sneaking into Latin American standsalthough with the lyrics completely replaced. The fans of Barcelona SC, in Ecuador, adapted it to sing about his yellow uniform; Colombian Deportivo Cali did something similarand there is also a version for Independiente Medellín. In those cases the lyrics vary to encourage the team and the fans and launch the corresponding jabs at the rival. The Spanish case is special: there is no new or modified letter. The original is sung, which promises a return as the only very slight and common link with the circumstances of the competition. And be careful, the original letter does not distinguish flags. In fact, a curious phenomenon has occurred with it: despite its international significance, it has been chanted en bloc among Spanish players and fans because it has been judged in an intuitive and unspoken way that it is a genuinely Spanish anthem and that it represents us. Like the sun every morning. In Xataka | Argentina is clear that Argentina had to give away Argentina’s fourth World Cup. And no one in Argentina is very clear why.

This is what the chilling lyrics of ‘Computer God’ say

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Nothing surrounding the creation of Black Sabbath’s ‘Dehumanizer’ album looked like it was going well. However, the song that opens that album, ‘Computer God’, remains 34 years after its recording one of the most dystopian and terrifying lyrics about how technology replaces the human. A topic that resonates especially disturbingly in these times. A tortuous process. The first sessions of ‘Dehumanizer’ were done in Birmingham with Cozy Powell on drums, but an accident forced him to be replaced by Vinny Appice, who had not played with the legendary band since 1981. In the process, it was even considered to replace Dio himself, who had been occupying the place of Ozzy Osbourne as a vocalist since 1979. Finally, ‘Dehumanizer’ was produced by Reinhold Mack, famous for his work with Queen. A twist in Dio’s work. Until the arrival of this album, all of Ronnie James Dio’s lyrics in his other band Rainbow, in the first albums with Sabbath or in those he signed as Dio deal with warriors, wizards and Tolkienian references, which made him one of the classic emblems of the most epic and hairy heavy metal. However, with ‘Computer God’ he took a turn to talk about topics more linked to reality. This is how he describes it Dio himself: “Technology has eliminated the humanity of the human being. And when the day comes when we are completely exhausted as a race, God will be a computer. Great writers like Isaac Asimov and Arthur C. Clarke inspired this song.” It was the first time that Dio cited two fathers of the hardest and most classic science fiction as a direct source of inspiration for his lyrics. What ‘Computer God’ is talking about. The opening verse of the song sends us to a present of dark future: “Waiting for the revolution / New clear vision, genocide”, “new clear” being a phonetic play on “nuclear”). And he continues: “Computerize God, it’s the new religion / Program the brain, not the heartbeat”, talking about how the logic of computers occupies a space that other things previously occupied. The verse that Dio identified as the most important on the album is “Man’s a mistake, so we’ll fix it.” Dio spoke of this verse stating that “the computer thinks humanity is a mistake, so it corrects it. Let’s hope we’re not there when they want to correct us.” A process that had already received its name in 1992 (transhumanism) and that some critics confirm as the central theme of the album. The most disturbing thing. The lyrics are not at all obvious, because they do not describe catastrophes in the style of a classic science fiction film, but instead describe erosion. When he says “Digital dreams and you’re the next correction,” he’s not talking about robots replacing humans, but about something more gradual: systems that treat people as variables that need optimization. In 1992 that was an abstraction, but it is becoming less and less so. 1992, what a year. The album did not do well commercially, because the world was looking in another direction: ‘Nevermind’ by Nirvana and ‘Ten’ by Pearl Jam had come out in September 1991, and had transformed rock into introspective and somewhat abstract music. However, over time, this song from a group that was already considered an old glory at the time has a more consistent basis in reality than many of the things with which Seattle revolutionized alternative music that year. On July 18, 1992, the first image would be uploaded to the World Wide Web. And from there, every man for himself. In Xataka | A trip by a teacher from Cartagena to meet John Lennon forever changed how we study English

The teacher from Cartagena who asked the Beatles to print their lyrics and changed how we listen to music

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In 1966, Juan Carrión traveled from Cartagena to Almería with a notebook full of gaps. They were not incomplete notes: they were very specific gaps, the fragments of Beatles lyrics that I had not been able to decipher listening to them on the radio and on their records. He went to ask John Lennon to help him complete them. A request that would result in an editorial decision that the recording industry would retain for decades. Who is Juan? Juan Carrión Gañán was born in Madrid in 1924. He became a senior official in the Ministry of Agriculture before resigning to go to London as a Spanish teacher at the Language Center associated with the British Embassy. When he returned to Spain, he settled in Cartagena, where he was offered a position at the Tentegorra military base, and set up his own academy. At that time, no one followed this system of teaching English with song lyrics, but it was a tricky job: I transcribed them in real time while listening to them on the radio, leaving blank the fragments that he could not decipher. A pioneer. Let’s remember that in 1966 there was no convenient way to access the lyrics of a song. Singles occasionally included it on their back cover, and LPs rarely did. The fact is that Carrión’s pedagogical method was effective and pioneering, according to describes the writer Javier Adolfo Iglesiasauthor of the book ‘Juan and John, the professor and Lennon in Almería forever’. Carrión was a “pioneer in the use of multimedia resources, cinema, BBC news and Beatles songs” to teach English. But still, there were fragments that escaped him. To the meeting. When Carrión found out that John Lennon was coming to Spain in October 1966 to film ‘How I Won the War!’ Under the orders of Richard Lester, he took the bus to Almería. He stayed there for a week even though he didn’t have much money: first he made friends with Les Anthony, his driver and bodyguard, and through him he sent him the notebooks. They finally met in person. He had a very specific request: that the Beatles include printed lyrics on their albums to make his job easier. Apparently, Lennon promised him that it would be done on the next album. Curiously, Lennon’s relationship with his colleagues was not going through the best moment, and he was considering leaving the Beatles. In those same days in Almería he would compose ‘Strawberry Fields Forever’, a song that the Beatles would record at the end of 1966 and publish as a single in February 1967. Against Sgt. Pepper’s. The LP that the Beatles released after the meeting was ‘Sgt. Pepper’s Lonely Hearts Club Band’, in 1967. And according to it is saidwas the first rock LP to include all lyrics printed on its back cover. Curiously, many sources specialized in the history of the Beatles document the fact, but Carrión is never mentioned. And yet, the importance of the Beatles’ decision was very significant: what the band did on ‘Sgt. Pepper’s’ became standard practice in the industry. To the cinema. In 2013, director David Trueba adapted Carrión’s story in ‘Living is easy with your eyes closed’, with Javier Cámara in the role of the professor. At the 2014 Goya Awards, the film won six awards, including Best Film, Best Director and Best Leading Actor. It was the Spanish candidacy for the Oscars that year. Carrión died on August 30, 2017 in Cartagena and Trueba lament having “met very late in life, especially in his.” In Xataka | The shock of an era: this was the murky breakup of the Beatles seen 50 years later

The lyrics of his students were no longer understood

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If someone sensed that the digitalization of in teaching was going to be an easy way surely at this point has changed their minds. The introduction of digital in schools seems to be oriented by the old test and error method and the last example has been found in a Catalan school. A new step back. A Catalan school, the Escola Pia de Caldes de Montbui, in Barcelona, ​​has been the last educational center to announce that it turned back in its way to digitalization in the classrooms, according to The newspaper advanced The country. Perhaps the most striking in this case is the reason adduced by the center: the students “reached ESO and the lyrics were not understood.” The strategic twist of the center was also due to other factors in addition to the aforementioned worsening in students’ calligraphy. According to the saying to the environment, they had detected problems such as difficulties when devising titles, saving margins or the mere fact of facing a blank sheet. In addition, students also showed signs of early tired when they should write for some time. As reported, the transition plan implied the delay in the incorporation of computers, first until fifth of primary and later to Secondary. Matteries and activities with computers in favor of paper and pen would also be reduced. Trial and error. The case is another example of something that has become usual, that of the back in the introduction of digital in the classrooms. A reverse sometimes starring educational centers and others, For the same public administrations. Bringing new technologies to students is not a simple task as many have discovered. Getting digital tools to complement and not replace other capacities is difficult. Also necessary. There is no standardized way to introduce these resources, which implies that many times the teaching teams end up giving blind sticks and experiencing until they find with the ideal formula with the old test and error method. Learning lessons. However, there are those who already take notes of this. UNICEF, the United Nations Agency dedicated to childhood protection created A decalogue with considerations to take into account when implementing new technologies in schools. Duties accumulate. While the debate on how to introduce digital resources into the classrooms occurs, technology advances and creates new challenges that add to those we have not yet faced. Artificial intelligence is a clear and recent example of this. In Xataka | Years ago Mexico opted to offer longer school days for children. Caused an increase in divorces Image | Adam Sondel

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