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Maradona is a flesh-legendary character that hard to imagine how he could have invented on paper. Perhaps a hero of the gauchesca, retobado with authority and the powerful to the Martín Fierro or Juan Moreira, or else he could leave the malevo and courageous Creollism of the Borges del Hombre de la Esquina Rosada. And, they still don't reach the words. The literature of Roberto Fontanarrosa and Osvaldo Soriano, closer Gabriela Cabezón Cámara, sketch the popular hero in various stories that still seem distant to the burning feelings that aroused 10. But when you hear “Facing adversity with eagerness to earn a living at every step” in the voice of the Potro Rodrigo, or in the tangazo of Alorsa, “with the smile of pibe, with the guerrilla arm and the heart of the hamlet” we shake the Argentine fiber. You don't talk or look or read more, and we close our eyes pointing at the Cosmic Barrel . As immaterial art, art of the gravity of the auras, music possesses the superiority of transforming body and soul. There are no intermediaries in music and it is pure plane of enjoyment. For something musicians are the most loved of artists, whom one leads in the sound band of life, rather than writers or artists. Simply because musicians play in the exquisite language of notes, and silences, you need nothing but a next human.
We went through the branches and the eighth notes. Let's go back to Diego. Is this an impossible mission? To put together the complete songbook, the total playlist , dedicated to the genius of the Argentine sport who died on November 25, 2020? Let's recognize our failure. First, mentions to the eternal captain of the celestial and white have multiplied since he entered immortality as feints to the English in 86. Then, because there is a very particular phenomenon with Maradona that musicologists surely warned. A first look will show that when he appeared worldwide with the conquest of the Youth World Cup in Japan, in 1979, the composers immediately put their eyes on that little curling hair and brave heart. For those years the Italian Mimmo Politanò, a renowned baladist at the Sanremo Festival, composed the founding “Dieguito”, “He grew up playing the ball/because to him the star fell on his feet” A five years later he would adapt the lyrics with new stanzas by the passage from astro to Napoli, and Argentina's winning the glorious 1986 World Cup. So with less than twenty years old, artists already felt that Pelusa would be transcedent to millions. And from there the evening mentions were repeated or expressed to his genius in songs, and we left for another note the analysis of why this musical cult of Maradona. Although we risk one, which is linked to Western culture, and exploits the parable of Christian redemption and martyrillogy. Diego could have said the beatles brulote in 1966, “I'm more famous than Jesus.”
At the local level, although his figure was a constant with sports events in Boca and Barcelona, and the chimenterile news of rigor, even the doubt of his talent before the World Cup in Mexico launched by journalists - not in the swollada, which was always with Dieguito, it was only in 1987 that the first composition appeared in 1987. oacute; n argentina for Maradona. The chacarera “La canción del Brujito ”, a beautiful poetry and melody by Peteco Carabajal and Jacinto Piedra , opened the way to the local themes that celebrate our popular idol with the round on the feet and the sharp tongue.
Below is a playlist with the capricious criterion of serargentino.com , located by genre to make everyone happy, and widen the tastes of the lady and the gentleman. We also chose the Argentines although the final list is opened so that all lovers of the world Maradona can inhabit, humming it, dance it. Look for the pearls. One, the unpublished of former Boquense scorer Hector Bracamonte, Bracagol, who deserves to sneak among the best. Another is the epic version of the lyric-pop group Hero of the classic sung by Rodrigo, and that vibrates that chronicle of the Argentine passion that would be “La Mano de Dios”.
Let's clarify: there are thousands of brief references to Maradona, in recent years millions in trap, hip hop and Latin American rap, cite Calle 13 in “Latinoamérica” or several lines in Daddy Yankee's flow . You won't find them downstairs. We focus on those that specifically mention Diego. In other words, there are also “Yo te sigo” from Los Calzones, which is not very well understood what bases its usual inclusion in the Maradonian songbook because it is a singing to general football, or “And give joy to my heart” by Fito Páez, one that Maradona loved for her optimism contagious. Now, put on the headset and give it gas. The Maradonian songbook is to listen to maximum volume and swirling T-shirts.
“Curious weakness, if Jesus stumbled, why he should not do it/Fame presented him with a white woman of mysterious taste and forbidden pleasure” describes in a few words the temptations of Maradona, on a string close to Christian religious imagery. The whole lyrics of Alejandro Romero, Rodrigo's brother-in-law, condenses an exciting biography in case anyone doesn't know who Maradona is . Bianca Ruggia in SeRargentino.com tells the story of this quart, the dedicated theme that Diego himself loved the most “La song that you made me, sos un bajo de puta”, it was heard that they were saying Maradona and Rodrigo when it premiered in Cuba, during the show Versus by Jimena Cyrulnik in 2000. The rest is legend.
In 1995 Diego Armando Maradona returned to his beloved Boca Juniors. Gone were the nefarious nurse of World Cup 94, “They cut my legs,” and the brief step in Rosarino Newell's Old Boys. He was excited about the reunion with the coach Silvio Marzolini, the same who directed him in obtaining the xeneize star of Metropolitan 1981 . However Boca had a weak performance in the tournament with an annoying Maradona, something that was aggravated by the conflicting arrival in the presidency of the club of the future president of the Argentines, Mauricio Macri “El cartonero Macri”, Maradona dixit. But in the first months everything was winning hope and Pocho La Pantera - Ernesto Gauna-, one of the animators of the golden decade of tropical music, wanted to express his enormous love for Diego — and Boca . And with the melody of the tribunero “Yes, yes, gentlemen, I'm from Boca,” Pocho wrote another classic intended for the boys on the board of the caliber of “Croró la niña”
One of the pillars of Argentine cumbia, Tambó Tambó began in 1998 with the demolishing hit of “False Promises” -or “El loser” - and the definitive incorporation of the accordion into the cumbieros ensembles. At the peak of popularity they presented “La cumbia del 10”, and coinciding with the retirement of Maradona in 2001. This EP with three versions, original, karaoke and murguera, was transformed into a must for weddings and fifteen birthdays. He has the enormous merit of including the family in another biography sung Maradonian, Claudia, Dalma, Giannina and Doña Tota, and the captain's ideological positions, close to Fidel Castro and Che Guevara. It even includes the reference to Rodrigo at the end with “that distant star” that will someday sing “The hand of God” Emotion and give the duck with these holy idols.
Among the successes of “Ritmo sustancia” in 2000, one of the best albums of the so-called cumbia villera, which represents the class consciousness of the sectors living in Argentina's emergency neighborhoods, Mala Fama reached the maradonian bone with “Made in Argentina” Ligando a Maradona with Argentina, “I will always be set sail from Argentino/Fanático del Diego and our wine fanclub”, in the video there are iconic images of Argentine history to the rhythm of the reo genre that popularized this group from San Fernando, Buenos Aires.
“The whole country with him running goes/His Majesty's troops fall/And falls north of rich Italy/And the pope circling is not explained/ Bites the language of João Havelange” is a war song for Maradona's combative version. He appeared on the album “3rd. arco” of 1996, which represented the leap to fame of Los Piojos among the groups of the so-called neighborhood rock, or rock chabón. From the lyrics these bands appealed to myths, commons and popular heroes, in a strong localist resistance to the brios of globalization. That's why they dived into the recovery of forgotten massive genres such as candombe and folklore, or an extreme musical simplification of the early rock eras. The Piojos brought together these trends and celebrated football culture in “Maradó”, under the melody of the imperishable singing of the court, and with their greatest national exponent of history. Maradona's daughters were phanatics of the band that marked Rioplatense music at the end of the century.
Another topic written especially for Maradona's retirement. And so that we don't forget that his genius is our sweet condemnation. Written in two hands between Juanse and Calamaro, and premiered in “Vivo Paranoico” in 2000, the only new theme of that live compilation, ended up being the curtain of “La Noche del 10”, the talk show that Maradona conducted with Sergio Goycochea in 2005 “I would like to see the Diego forever/ gambeteando for all eternity, /it is true that Diego is the greatest thing there is or is our religion, our identity/ I want it to continue playing for all people” shouted the leader of Los Ratones Paranoicos, a successful Argentinean group that is walking in the footsteps of the Rolling Stones, a kind of Rolling of the Pampas, and a punk attitude. Like the Tambó Tambó, Los Ratones Paranoicos released an EP with three versions, original, live and karaoke.
Maradona and Charly García were always admired but only in 1994 did the musician find the perfect song for the 10 . Written in the company of Claudio Gabis, another Argentine rock legend, Charly expressed the sadness about the elimination of the World Cup in the United States, that of the doily nurse carrying Diego smiling hand, step by step, into the abyss, “I don't know what drug harms you more than me, but this rain did not pass/I'm crying here for you” sings Charly in a heartbreaking blues. He is not one of the best known repertoire of the genius of the bicolor mustache, the founding father of many of the Argentine trends in popular music, folk, progressive, piano rock, new wave and folk-rock, but few come to express the communion of Argentines with their idol in the moments of fall. He appeared on Gabis's album, “Convocatoria”
Hector Bracamonte was Boca's nine for much of 2002 and La 12, the club's famous swollen, shouted his 17 goals in 39 games. Not bad. The following year the Cordovan traveled to Russia and remained for ten years inflating nets in Europe. Retired Bracagol in Sarmiento de Junión returned to his great passion, music, and trained the lower divisions of the La Ribera club until he was displaced by Juan Román Riquelme in 2020. A couple of years earlier he appeared in TyC Sports's “Tocala” and premiered a song that really “was written by Maradona, for his genius and talent,” recognized humble Hector, “the gold/that thousand wars conquered /is the captain of my happy days” Impossible not to cry.
Seconds after the death of Maradona singer-songwriters of the world they launched themselves to the race of LA Songa . Rolo Sartorio, singer of La Beriso, composed “El Mundo a mi Pies”, “a small tribute to the greatest in the world”, said "Magic is the trick/that turned me into the king/Your happiness passed on my skin/Right always when talking/So left-handed always when gluing/Life is round and never gets stained & aacute; /Sorry to retire and I did it without notify/ I shared my life and my solity/If something I liked it was to party/ Live all my lives and some more/ My legs cut and I could walk/With more time I could dance/Friend I say goodbye, it's time to rest”, says the leader of this massive band, which continues the tradition of neighborhood rock in the two thousand. A million two hundred thousand views, and on the rise, seem to give the verdict of the favorite in the networks.
“La argentinity al palo” by Bersuit Vergarabat tried in 2004 to compensate for every subject the Argentine being, to the rhythm of rock, cumbia, murga, candombe and several Latin American genres. So I couldn't leave Diego Armando Maradona out. This group, which became famous for the political and social content in the preteroom of the 2001 crisis, found a diagonal way to pay tribute to the idol. One might think that there is a general talk of the festive spirit of dance in “The dance of the gambeta”, about the feeling of healing, but when Cordera, a former professional second-division football player, says “And because I am /from the school of Bocha/I go with fantasy to strategy fry iacute; to” it is impossible not to identify Diego in his admiration for the 10 of Independiente, Ricardo Bochini “Let's dance/To change this luck/If we know gambetear/To scare away death/Come to dance/To change this luck/If we know gambetear/To scare away death” motivates the body the Bersuit, more if we play the group's performance with a cheerful Maradona on the stage of Pepsi Music Festival 2005 “I want to be given a strong welcome for what he is, rather than as a footballer, as a human being: Diego Armando Maradona”, starts and the party is not over.
While in “Dieguitos y Mafaldas” the Spanish singer-songwriter had quoted Maradona, the song really portrays a girlfriend who survived painting t-shirts with the face of the 10 and the brilliant creation of Quino. Sabina repeatedly confessed that Maradona was her idol because of her rebellion and the values of fierro friend. And he had the chance to gratify him with a song in “La Noche del Diez” in 2005. In that broadcast of the program in elthirteen, Sabina sang this unpublished, “Don't you die more, pucha qua what scare, pelusa, bounapelotas, guerrilla, nephew of Fidel, my brother” There is the memory of the night that Maradona was on the verge of death in Punta of the East; and which resulted in his placement in Cuba. Juan Carlos Baglietto helped with chords, in dressing rooms, that Sabina will taste the air.
Calamaro reappears in the worship of Diego. In 1999's “Brutal Honesty”, his triumphant return to the Argentine scene after breaking it with Los Rodríguez in Spain, the key musician in Los Abuelos de la Nada led Maradona to a mythical stature “Diego Armando we are waiting for you to come back/We're always going to love/For the joys that you give to the people/And for your art too/Maradona is not a person/He is a man stuck to a leather ball/He has the heavenly gift of treating the ball/He is a warrior” he wrote on an album that had Argentine rock glories like Pappo and Moris along with international stars of the quality of Marc Ribot. For the farewell of the 10th in 2001 she adapted her classic “My disease”, which was popularized by Fabiana Cantilo and that Diego had chosen on her return in 1992 in Seville, and followed the magical caravan that dismissed man, not the myth .
“Maradona has become a legend already in life,” says Alejandro Falcone, a baritone with renowned experience in national stages, and who was born Hero, the first Latin American group of the lyrical pop genre. In an emotional recreation of Rodrigo's classic that “ perfectly describes the idol of the village that was Maradona ,” says the musician who is working on the second production of the group, “we took it to our genre, in an adaptation of Federico -Picone, and we tried to resignify the lyrics with an epic that we loved in the first rehearsals. Now we'll see what people think”, leaving the answer with your play. Unmissable the images in one of the best summaries in images of the joys and sorrows of the sixty years of the Argentine captain.
The Hand of God - Hero from Serargentino.com on Vimeo .
On Maradona's return to Argentina in 1995 he was the target of strong criticism from a part of the press, even with the fresh memory of positive doping at the 1994 World Cup. At that time Attaque 77, a punk band from the second litter of the genre in the country, enjoyed great success partly because of the rock ballad, “Do it for me” On the band's fifth album, one who tried to recover punk dirt, appears “Sniper” and that turns out a tight fit description of the feelings that aroused Maradona version 95, “Head of my homeland, saint and siner/Revenge of the poor winner and loser /Carries my mistakes pictures of my frustration/Give his virtues like/To whom he speaks to whom they want to deceive/of goat expiatory always want to use/Puto cagatinta nothing can save you/He kills journalists loads the rifle once more” Well clear which side the band was wearing while Maradona fired bullets from a compressed air rifle at journalists guarding at the door of her house. Not to mention that years later he spent aboard a Scania inches away from colleagues. Years of fury and madness the nineties for Maradona.
We lower a few decibels and let the body carry in the Jamaican cadences of Los Cafres. The band led by Guillermo Bonetto presents “Captain Pelusa”, and with a smooth rhythm, intelligently puts a combative letter “Lusa shakes the neighborhood exposes the animal/This hesitates looking, Lusa is innocent why has fun/Its magic flies in the grass people will rejoice/an artist with a bow of capitan que defende” are some of the verses that have a delirious audiovisual descent set in the Middle Ages and Robin Hood. This 1997 classic “Sounds the alarm” combines popular recognition of the Maradonian image against the powerful, “a hot cry”, with a melancholy “awaits” of every fallen hero.
“The song came up in a rally where Diego listened to me and there he asked me to make a song,” said Patricio Monti, the steering wheel of Gimnasia y Esgrima de La Plata that was among the last ones directed by Maradona. Finally after the first match of the Argentine tournament in 2020, and on Diego's 60th birthday on October 30, the rap in question came to light. And it was a trend in the networks, even a young man asked Monti if he could tattoo any of the verses “Diego one day in the locker room told me that my booties were ugly because they were colored embroidered and gave me a black pair. He also gave me a perfume on my birthday,” he told Mundo Tripero, on the platense FM La Cielo, and gave us one of the last postcards of the generosity of the footballer and coach.
The music of La Plata has several legends to its credit. The city that shelters Indio Solari and Federico Moura contributed a lot to contemporary Argentine music. In the two thousand stood out a group with rock attitude but played tango and candombe. It was La Guardia Heretic. And his driver was Alorsa, Jorge Pandelucos, a real life taxi driver. Although nothing is more real than her incredible poetry, Alorsa is one of the best secret poets in the city of the diagonals. He died at age 38 in 2009 without knowing the honeys of consecration, going and coming with a spent notebook, between wise and suicide, but time placed his “Para verte verte gambetear” among the summits in the tribute to Maradona “30 million black perspiring on your shirt to play a world/more gift than a birthday, more prize than the pool, more dancing than carnival/and in the neighborhoods there were no televisions to see you gambetear/olé olé, olé olé, ole ole ole ola, to see you gambetear/keg, inflated chest, with the sun of our dreams you lit up again & rdquo; raise his voice and we are pianted by a tear. Part of the group's first album, “Tangos y otros yerbas” in 2004, who said there are no new tango composers?
Reinaldo Yiso wrote this lyrics in 1945 when the River Machine and Atomic Mario Boyé in Boca were ravaging in Argentine football. He would never imagine that the top national footballer would make a version half a century later on television and on Antonio Gasalla's show. Magistral gambeta in the lyrics of the original when Baldonedo, Martino and Boyé are named to Maradona's version that names Kempes, Olguin and himself. Repeats in both the myth of Barnabé Ferreyra, a tremendous national scorer: “They say the boys, from the Argentine West, that I have more shot, than the great Barnabas”
Premiere for serargentino.com of this heartfelt composition of platense Raúl Picone, a renowned singer of tangos and boleros. This director of the Escuela de la Voz, trainer of litters of artists in his city, extends our endless thanks in the 2x4.
Peteco in the eighties meant the renewal of folk music from the platform of Argentine Popular Musicians. Together with Jacinto Piedra they form Santiagueños, who with “Transmission Huaucke” (Transmission Hermano) from 1987 achieve a vast impact among young people, based on chacareras and an inspiring lyrical quality. A good example appears in the first Argentine tribute to Maradona, La Canción del Brujito , “Geniuses of hunger and hope/They fly next to your heart/ Don't forget them never/ Play for them/ Come on told the child/ Your dream has a star/ Take this free field/ And this Stockingball/ Come on what are the goblings/ Ready to play/ Before I sing the cock/ Departing the darkness” The magic left-handed opening paths of hope, and conquering the darkness of both hungry child, in a melody that unites us and excites us without appealing to “Maradó& rdquo;
Not all themes have to be epic or seek the low coup — or tribunero. A good example is this cueca composed by Carlos Castellón, and that recalls in solfa Diego's unforgettable match against the subjects of the Queen “The eleven English danced with the cueca de Maradona” and you want to grab the china and wander the handkerchiefs with the bottom of Barrilete C& oacute; smico Oh, it! How does that little guy run!
Among the last tributes this topic appears in the voice of folklorist Eduardo Pantuso, who knew how to accompany Cacho Tirao and Argentino Luna in Cosquín “We Argentinos identify with him. And the people who criticize it, and keep criticizing him, I would ask what he did for the country. If you brought it all to your mill, you are selfish; now if you handed it out, and Diego gave away tons of joy, you are the People. The maradonian goblin is with us,” said the folklorist to serargentino.com, and added a new tribute to a popular idol, Pantuso that has songs dedicated to Juan Manuel Fangio and Ringo Bonavena, among others.
“My tango to Maradona”, Lionel Capitan
“The Cueca de Maradona”, Martin Soler
“Give it 10”, Julio Larraca
“Diego Armando Maradona”, Francesco Baccini
“ Maradona”, Maumau
“Tango Della Good Luck”, Pino Daniele
“ The Ball”, Ricky Wonder
“Dressage il mare, il mare dressage”, Stadio
“ Maradona”, The Business
“I wear the 10”, La Covacha
“Avenger Angel”, Buzzers
“Fifth Byle”, Flavio and La Mandinga
“Ho seen Maradona”, King's Typhosis
“I saw a big cry”, Pampa Cruz
“Come and see”, Pablo Coll
“Chacarera for Diego”, Katie Viqueira
“The Chosen to Dona Tota”, Norma Gloria
“Pompeii for Diego was Paris”, Patricia Barone and Javier González
“Cosmic Barrel”, El Farolito
“Maradona”, Antonio Rios
“Diego dear”, Willy Polvorón
“Between the Prince and the King”, Washington the Canary Moon
“Diego”, Joel Jáuregui
“Loving Maradona”, Alex Batista
“The Immortal”, Los Turros
“I want Diego because I'm a yawn,” La12
“Maradona”, we$t dubai
“Glory to the ten”, Pampa Yakuza
“Life is a tombola”, Manu Chao
“Santa Maradona”, Black Hand
“ O surdato 'nnamurato”, by Massimo Ranieri — 1972 hit that thundered the Neapolitan swollen with the entrance of Maradona on court
“Maradona, Maradona”, The Calatrava Brothers
“Preghiera a Maradona”, Tony Sorgente
“What is God? ”, Grandfather's Pills
“Maradona is meglio 'e pelé”, Enzo Romano
“Delivering the Heart (Diego)”, Expelled
“I no longer die” (to Maradona)”, Cucuza Castiello
Publication Date: 25/01/2021
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