Atonement | & Quot; That life was serious, one begins to understand it later & quot;

Atonement | & Quot; That life was serious, one begins to understand it later & quot;

Atonement | & Quot; That life was serious, one begins to understand it later & quot;

In the radio of the car was' Princesa ', my brother, who had just taken his driver's license, played as a DJ and played to be a singer singing' What law do you condemn if we are a judge and part All of your wanderings? I, who at that time did not reach the meter and a half and still dreamed of being a princess, asked from the back seat who was the gentleman who talked about having the strawberry mouth. I had always liked mint. Until that day. It was the first time I listened to Joaquin Sabina.

A kind of Úbeda, a commissioner's son, who my mother had discovered several years before. To which my brothers venerated. A scoundrel that became the soundtrack of my life without asking permission and without warning. Sabina is not the best singer, nor the most handsome, but is the only one who puts the bowler for love Chaplin and Buster Keaton. She is a troubadour, a long-time academic.

Sabina is many characters in one. He is a young Andalusian, "a bundle" -in his own words- that he dreamed of changing the world by reciting Vallejo. She is the black sheep of a family who suffered seeing how she hung up her studies of Romance Philology at the University of Granada, to chase a blonde in kilt and exile in London in the seventies. An emigrant from that gray and pro-Franco Spain who played Manuel in Baroja's 'La Busca'. He scrubbed and pounded the guitar emulating Paco Ibanez and Atahualpa Yupanqui before becoming Sabina.

In the nineties Sabina disguised herself with another mask, that of the reveler and the flirt, the one in charge of closing all the bars, to rush all the glasses. But always surrounded by the same musicians, that praetorian guard that compose Pancho Varona and Antonio García de Diego. The commercial success was born of the nights of excesses. And I thought I could never write a song more beautiful than 'And yet'. I was wrong.


Sabina undressed her arrangement voice in '19 days and 500 nights' to give us the best record of her career, to show us how the last summer of her youth sounded. Five hundred days and nineteen nights later a stroke was about to cost him his skin. Two discs very loose, a period of darkness, a relief of mourning that, despite announcing it, did not arrive. Sabina stopped spending the days in the streets and nights in the bars. He left the drugs. Sabina became human. He began to prefer the verses without chords, the company of the circle of poets of Rota, talks with Caballero Bonald, with Felipe Benítez Reyes, with the longed Angel González.

The character eclipsed the artist, the legend blurred The singer and some confused him with a politician.

The penultimate of Sabina's characters is that of Ave Fénix. Resurrected of the marital happiness to write, four hands with Benjamin Prado, 'Vinagre and Rosas', to turn with Joan Manuel Serrat. Alone or in the company of his cousin 'El Nano' he reunited with his audience. And parents and children we recognized in their repertoire as always. Because Sabina will always be that old cassette tape, 'Judge and Party', 'Princess' and 'Stay to sleep'.

Stay, I thought that December night.

P> And a song.

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Patricia Klindienst's work explores how immigrants to the U.S. hold onto their cultures and past through gardens and food traditions.