The music as excuse, by Miqui Otero

The ones we live demasiado obsessed with music estostos acostumbrados a hablar con la mayor seriedad y pasión de lo que parece frívolo ya enfrentarnos a lo serio con humor.

We are like those of the Russians who are tyros (of fogueo) in the city of Rostov of Don, for the sake of a discussion about Kant. So, bottom line is that we need 24 hours a day for the best of The Beatles’ English or American songs, as well as the Future of the Future.

For those of us who are training these days use music to discuss other themes, thanks to the controversy of Eurovision oa la Spotify. In a country where only music is listened to when there is no excuse (ask the records, the static bike or, about everything, the party), we can see that now the music is an excuse to discuss other themes.

Of the same way that in the British Parliament it was proposed to debate quoting The Smiths over a dispute with the Prime Minister’s entities, David Cameron, now there are groups that elevate the Congress of the Eurovision Song Contest to the Congress, while the syndicates are waiting for the advertisement to be transparent to TVE, the organizer of the competition.

From Eurovision you can talk about something good or very good. Me sucede como con los packs de quintos de serveza o con los fuets: puedo no abrirlos, pero si lo hago es muy probable que me los acabe. Now the songs that are presented and analyzed are open to you as opposed to the opposite: there are absolutely no analysts or there are many more analysts, from the sensitive juices and the cognitive juices, if they want me to ask.

If we choose the second, second, first example, we will have the theme of Rigoberta Bandini’s pop without pointing out that artistically it is the best, to add that it, at the same time, results in being expressed and passed around the world the most important classes of Barcelona (Ironically distant distance, allergy to ostentation, scaly and white Cadaqués, in a pendilla of first and second graders, with a stage scene conceptually audacious for self-conscious disarray, with the form that has shown its talent that does not have the need to demonstrate). This is how many other songs he has served to discuss various visions of feminism, in some cases up to the short circuit. The comma in Chanel’s analysis conveys the body control with his exhibition and the classicism (including the racism) generated by his victory with the power of the music industrythe one she owned. The como Tanxugueiras represents the periphery and the dignification of the popular through the updating of folklore. The debate appears silent, but there is no such thing as any good pop song (as some of those present at the competition).

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The other notice, the Spotify Neil Young’s Desertion for them Negotiating or antivacious content which is a digital acoge platform, I suggest another letter reflection. Yo mismo me puse a volumen 11 en el tocadiscos su ‘Here We Are in the Years’: “Hasta el tiempo se compra y vende / El miedo de hacerse mayor / Contiene un millar de juegos idiotas / Que jugamos & rdquor ;. And passed the debate, thanks to a comment made on the radio in Santiago Segurola, in the intimacy of each. About everything, about the ideological policies that abound in the speeches. We believe that the platform does not treat the musicians well and that the podium is a vergel for ideas that we dislike. We are capable of algo tan sencillo and poco heroic como give us our page account on Spotify?

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