"This musical generation, in addition to evidencing the change in the communication paradigm (clickbait, fake news, hacking on social networks...) has shown that -also in journalism- it was necessary to renew ranks", explains Alicia Álvarez giving it, with great elegance , a blow to the profession on which he reflected in his doctorate and on which he teaches at the university.The majority media not only left the movement empty, to later welcome it with its own rules, its headlines and its interests, among which There was never (as in flamenco) the aim of simply informing.Later, seeing the pull, they tried to gobble it up and that's why, for example, Operación Triunfo invited C. Tangana.
He came, acted and left without speaking to the contestants or the presenter. This is how she explains to Álvarez in the book why she did it: "They offered me a program, I offered them a controversial character and each one played his game." She wanted to take advantage of that platform, "do the pantomime of C. Tangana's own character who doesn't paint anything there", but not be part of a theater. As El Madrileño says, "do a perfomatic act". That is, put conditions on the offer.
The people of El Bloque received treatment similar to that of urban musicians. When they decided to open the YouTube channel and report on their own, they could not find sponsorship. When they found him he was stingy. And when a television channel told them "no" to produce their idea, they saw how they stole it and broadcast it calmer, less resounding: sweetened. On the other hand, even part of the alternative press accused them of not knowing music or writing. And they tried to tame them. Not a few were bothered by their freshness, also that they used memes, Facebook screenshots, emoticons or WhatsApp audios as sources of information. A meme is absurd if it is not relevant, if it does not contribute anything, if it is misused. But the same goes for a conventional date.
Those who wrinkled their brows so much did not even look at what those resources were there for, expanding the language to the point of creating a new one. But it was enough to stop a little to see that they used them for the usual: counting, communicating, arriving. And to create a community. “All music is about weaving a family and its cultural concerns”. Camprubí affirms it in those pages and points to one of the reasons why I felt that I did not get the New York Times right: because a leg was missing, because in addition to more gypsies giving answers, there were also questions about "that family" of which he speaks Aida. Because we were explaining Rosalía (and La Zowi, and Bad Gyal...) only in pieces, through the packaging, from far away and from outside.