Monday, March 20, 2023

Zacatecan magazine “Dosfilos” reappears

MEXICO CITY (approval). – For those who know the verses and taste for Anglo-Saxon rock, which characterizes the poet Jose de Jess Sampedro, it is not an open secret that each issue of the magazine “Dosfilos” – founded by him for 48 years Went. In earlier years – there are always musical texts.

The most recent issue of this Zacatecas publication corresponds to installment 142, and its cover is a beautiful tribute by visual artist Luis Fernando to the most important folk, country, jazz and folk singer-songwriter in Canada at the turn of the century: Joni Mitchell, Creator of the hymn of the hippie festival “Woodstock”.

On page 29 the “news-ad” of the director of “Dosfilos” announces:

“After a very uncertain period, ‘Dosfilos’ returns to the scene. Barely recovering the temporal timing of the pandemic, an additional series of ups and downs around its pages created a double barrier (material, spiritual) almost impossible to remove so far. The intuitive reader will be able to notice some of the cues reflected here. It is impossible to know better than what (or what not) awaits him…”.

“Dosfilos” features three sound texts for this version:

  • “The Honest Heroism of Joni Mitchell” by Dan Chiasson, published in “The New Yorker” magazine on October 2, 2017, translated by Andrea Elisa Sampedro Cárdenas (Zacatecas, 1991).
  • “The Beatles in Hamburg. Many Days of Tough Nights” by Alejandro Toledo (author of “Snapshots of Beatlemania and Other Notes on Music and Culture”, in Dosfilos Editores)”.
  • “Carlos Santana: A Distant Neighbor” by journalist Victor Raura.

We have already admired the portrait of Joni Mitchell created for the cover of “Dosfilos” by Luis Fernando, a painter painting and coloring Anglo-Saxon rock artists to whom “Dosfilos” dedicated dozens of cool covers Huh. It is highly commendable that Zacatecan magazine now dedicates it to Joni Mitchell, because without her there would be no women in rock like Patti Smith, Björk or PJ Harvey. Actress/songwriter Jewel wrote about the 100 Greatest Artists of All Time for a special issue of “Rolling Stone”, the list where Joni was voted #62:

“Joni Mitchell, more than a star, is an icon, (but) Joni is still unknown to many.”

Dan Chiasson’s lesson shows. Review, through fragments from the biography “Reckless Daughter: A Portrait of Joni Mitchell” (translated as “Reckless Blade: A Portrait of Joni Mitchell” in “Dosfilos”) and the song’s lyrics, The Life of Roberta Joan Anderson (Real Name) from his birth at Fort McLeod on November 7, 1943, until the eve of his 78th birthday (Joney will be 80 in 2022). She revealed that she suffered from polio as a child and was still a virgin when she studied painting at the Alberta School of Art and Design in Canada. He had a daughter whom he had given up for adoption and whom he did not see until several decades later.

His leap from pop music to jazz was sensational thanks to Jaco Pastorius and Charles Mingus.

(A contributor to “The New Yorker” since 2007, author Dan Chiasson teaches English at Wellesley College and his most recent book of poems is “The Math Campers.”)

In return, Alejandro Toledo traveled on August 17, 1960, to reveal that the Beatles had “held their first concert” in Hamburg, Germany. There are three sources that serve as a blog: “The Love You Make: An Insider’s Story of the Beatles” (1983, The Beatles in Spanish: A Secret Biography), by Peter Brown and Steven Gaines; “Anthology” by Ian Softley and the opening chapters on the video and DVD of the film “Backbeat” (2003).

Third, the chronicle “Carlos Santana: A Distant Neighbor” is read with pleasure by Victor Raura (deputy director of information for the US and Canada at the Notimex agency and a member of the “Dosfilos” board). It goes back to his backpacking time during the veto of Mexican rock and took us to the Nu Camp soccer stadium of “Green Panzas” in León, Guanajuato on Saturday, November 5, 1988, to attend the Carlos Santana gig. and Autlan, a band from Jalisco in celebration of two musical decades.

This concert is the pretext that guides his practice of historical chronology, as Raura soon deftly weaves a literary hammock without a strict chronology, to which he warns us:

“Remember that this text was written when the rock, oh time immemorial was already gone, already completed, already finished”, was prohibited in Mexico City (…) Remember that We are at the beginning of November 1988. Salinato, a six-year stint in which large-scale rock concerts are finally sanctioned in Mexico.”

Suddenly we are covered in a return to the mythical cradle with a quote (apparently unrelated, but which gives meaning to the story) from French Christian Duverger in his book “The Origin of the Aztecs” (Grijalbo):

“History tells that after years and a long fast of Mixcotl, the five descended from heaven and placed themselves in some trees where the eagle provided them with food; during that time (…), Camaxtli invented the pulque and Tried to give it to Chichimecas, who abused it (…)”.

Or “acclaimed” by Kenny y los électricos, the diversion of his interview with Ricardo Ochoa, “Ex Peace and Love, Ex Nahuatl, Ex Polvo”, who opened Santana at the time, although Leonese “didn’t know what things”. Rura weaves a tapestry that humanizes Santana’s genius (divinity?), putting some Mexican politicians and our rock fans in his place; The lesson is on — and so is when the guitarist fainted on stage two weeks ago and was hospitalized.

Finally, a surprising writing should be mentioned in “Dosfilos”: “Praise of Malombra. The Black Areola of Absolute Love”, by the so-called “Five of the Bucharest Surrealist Group”: Gherasim Luca, Gelu Nam, Paul Poun, Virgil Teodorscu and Dolphie Trost (Translation and Notes by Daniel de la Rosa and Gustavo de la Rosa Muruato)

This refers us to the rare Gothic novel “Malombra” (1881) by Italian storyteller and poet Antonio Fogazzaro (1842–1911), and especially to the 1942 film adaptation by Mario Soltati, produced with music by Dino De Laurentiis has gone. Rosati/Pedrotti, starring Isa Miranda in the role of Marina di Malombra—though among “many versions, all of them blasphemous”, refers to a couple of tapes with different similar names: the silent one from 1917 and the second In four parts by Radio and the other by 1974 Television Italian (RAI).

The Return of “Dosfilos” features a graphic insert in black and white by Panamanian painter Pascual Borzelli Iglesias and his women. In addition, poems by Vanessa Droz and Luis Cortés Bargallo are included; Evodio Escalante writes about “Julio Ruelas and Modernism”; Marco Antonio Campos translates a sonnet by Guido Cavalcanti; Carlos Chimal writes “Back from the sky”; Juan Manuel Gómez “Slave of the Idols”, Javier Bez Zacharias “Life in the Flesh”, Edgar Aguilar “Anticoronavirus Lines”, Alain Derbez “Minimal Initials for the Vigilant Roster”, Nelson Guzmán “The Being and the Mark of Time”, Gonzalo Lizard “Poetry as Politics”, and Jesus de Leon”, “Under One Roof”.

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