Bolero (music style)

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Rhythm scheme of the Latin American bolero: Cinquillo - figuration

In Latin America, bolero describes a form of music, dance and song in straight time signature , in 2/4 meter , with a typical rhythm and different tempos (fast, slow).

«La base está en el Cinquillo, esto es, en una figuración, siempre en compás 2 × 4, que se integra por corchea, semicorchea, corchea, semicorchea y corchea, repitiéndose en rítmo constante, en un rítmo sincopado que suena: 'paaam –Pam – paaam – pam – paaam '. Este rítmo caracteriza al bolero. »

“The base is in the Cinquillo, i. H. in a figuration that is kept in 2/4 meter throughout and is characterized by a sequence of eighth note, sixteenth note, eighth note, sixteenth note, eighth note. This sequence repeats itself in a constant, syncopated rhythm that sounds like this: 'paaam – pam-paaam – pam – paaam'. This rhythm is characteristic of the Bolero. "

- Juan Montero Aroca: Bolero. Historia de un siglo de emociones. 2nd edition. Tirant Humanidades, Valencia 2013, ISBN 978-84-15442-95-0 , p. 14.

With the homonymous Spanish folk dance in 3 / 4 -Stroke in which the pairs according to ethnic tradition rhythm with castanets accompany the romantic, Latin American has Bolero nothing in common but the name.

The lyrics are sentimental-romantic love poetry, "canciones de amor y de desamor" ("Songs of love and the loss of love"). The bolero sings about the longing for “eternal love” (“amor eterno”) as well as disillusionment, passion, erotic desire, seduction, deceit, reproaches and jealousy dramas.

The emotional Latin American bolero , influenced by African-American voodoo rhythms, was created in the last third of the 19th century in the Caribbean , in Cuba , around the Trova , in Puerto Rico and in Mexico , where numerous guitarist trios were formed.

In the USA he became known in the form of Latin ballads with orchestral accompaniment ( called bolero-filin in Latin America ), such as Nat King Coles , Paul Ankas and Frank Sinatra's love songs .

The American bolero and gender researcher Roberto Strongman is of the opinion that the bolero genre includes literary and cinematographic components in addition to the musical ones :

"I propose that Bolereo can be considered as a systemic aesthetic movement that underwrites cultural discourses beyond the musical, as it is also an important component of literary and filmic production"

"I propose that Bolereo can be seen as a systemic aesthetic movement that enables cultural discourses beyond the musical, because Bolereo is also an important part of literary and cinematic production."

- Roberto Strongman : The Latin America Queer Aesthetics of El Bolereo . P. 40/41 (see Queer Aesthetics - El Bolereo )

The Spanish film director Pedro Almodóvar uses famous Bolero music titles as an emblematic background in his films:

In the 2010 animation film Chico & Rita by Spanish directors Fernando Trueba , Javier Mariscal and Tono Errando, the characters sing famous boleros such as Bésame mucho and Sabor a mí .

The importance of this genre in the Hispanic world can be seen, among other things, from the fact that a Latin American Internet broadcaster Tiempo de boleros broadcasts exclusively Bolero music around the clock all year round and operates a relevant thematic portal.

In her bolero novel La última noche que pasé contigo , Mayra Montero describes the social-psychological function of this romantic genre as follows:

«Boleros, sí señor, para bailar en un solo ladrillo, para brillar hebilla ... Boleros para cortarnos las venas y para hacernos polvo, y para todas esas cosas salvajes y calientes para las que servían los boleros."

"Boleros, yes, sir, to dance in one place, so tight that the belt buckles spray sparks ... Boleros to cut our veins, to get ready and for all those wild hot things, why boleros have always been used served. "

- Mayra Montero : La última noche que pasé contigo

Word formation and etymology

The word bolero is formed by adding the suffix "-ero" to the noun "bola" ("ball"). The etymological origin of the word “Bolero” in the meanings of “popular Spanish couple dance in three-four time” or “slow dance of the Caribbean” is still unclear linguistically. In newspaper articles, blogs and forums one can often find the following folk etymological interpretation:

"... su nombre viene de la expression" Volero ", de" volar ", debido a las danzas gitanas que implican movimientos agudos y rápidas que semejan el vuelo de las aves."

"... his name comes from the expression" Volero ", from" volar "(to fly), the gypsy dances, which contain quick stinging steps that resemble the flight of birds."

- Un Ensayo Para El Bolero

In Hispanic Ibero America , the initial "b" and "v" are usually pronounced indiscriminately as "b".

History of the genre

"En la isla [de Cuba] sonaba el Bolero español, asi como los polos y las tiranas, pero de aquel sólo incorporó el nuevo género criollo el nombre , ya que su estructura, en compás de dos por cuatro, differentia aparte de los otros aspectos constitutivos, del tres por cuatro del baile español. »

“On the island [Cuba] the Spanish bolero was heard , like polos and tiranas [these are Spanish folk dances], from which the new Creole genre has only taken the name . Because its structure, the 2/4 time, apart from other constituent elements, differed from the 3/4 time of Spanish dance. "

- Helio Orovio : El bolero latino

The first Caribbean bolero is Tristezas , composed in 1883 by José "Pepe" Sánchez (1856–1918), who is regarded as a style-forming musician of the traditional Cuban trova. Many Bolero texts consist of four-line stanzas, each with its own two-line and then repeated melody. The underlying rhythm was originally the cinquillo des Danzón :

"The Bolero is born in the 1880s in Santiago de Cuba as a result of the arrival of the Contradanza France brought over by St. Domingo settlers fleeing the Haitian Revolution,"

“The Boleros was born in Santiago de Cuba in the 1880s . It is the result of the arrival of the French contra dance that French settlers brought with them from Santo Domingo when they fled the Haitian Revolution . "

- Pablo Dueñas: Bolero: Historia documental del bolero mexicano. Mexico 1993, p. 13.

The bolero spread wherever Cuban Son groups performed and became popular across Latin America with the advent of talkies . Mexico is now considered to be at least as important for the bolero as Cuba. Important Mexican composers are Consuelo Velázquez , María Grever and the former bar pianist Agustín Lara from Veracruz , whose song Granada (often interpreted in the Paso Doble rhythm) became world-famous. The Caribbean bolero had its heyday between 1930 and 1960.

Important performers were Toña la Negra , Pedro Vargas , Chavela Vargas , Olga Guillot , La Lupe , the Trío Los Panchos and Pedro Infante . A “key bolero” is probably María Bonita , which Agustín Lara dedicated to his divorced wife, María Félix (1914–2002), the most famous film actress in Mexico of the 1940s and 50s.

After the collapse of the Soviet Union , the bolero experienced a revival in Cuba during the so-called " special period " after 1990, especially in homosexual circles. Due to the ambiguity of its poetry, the Bolero opened up an "emotional space" of escapism for the local LGBT community, especially in private circles .

The Peruvian Tania Libertad is trying to adapt the bolero in a contemporary way in Mexico. In the Canary Islands , boleros are part of the repertoire of the internationally known male choir Los Sabandeños . In the city of Santiago de Cuba , which sees itself as the “cradle” (“la cuna”) of this genre, the “Festival Boleros de Oro” takes place annually, which is also an attraction for tourists.

Instruments, bolero variants, dance styles

Typical instruments

Typical percussion instruments of the bolero: maracas , claves and bongos
Far right in the picture: The Requinto guitar. The Trío Los Panchos made this guitar, tuned three to four tones higher, an integral part of its instrumentation and thus created its own bolero style, the so-called bolero-panchista .
Another rhythm instrument: the " Güiro "

Typical percussion instruments of the genre are bongos , maracas , claves and the hollow, fluted güiro .

Typical string instruments are guitar, requinto and piano.

In some boleros you can hear wind instruments such as trumpet (often with sordine to achieve a softer, gentler, nostalgic timbre) and flute .

Variants of the bolero

In addition to the classic Cuban bolero, a distinction is made between various bolero variants, depending on the rhythm being played:

bolero-filin ( feeling ), bolero- guaracha , bolero- habanera , bolero-jazz, bolero- mambo , bolero-moruno (with flamenco elements), bolero- ranchera , bolero- son , bolero- tango , bolero- zamba .

Dance styles

Slow boleros are tightly embraced (“bailar en un solo ladrillo”; literally: “dancing on a single floor tile”, dancing in one and the same place, so to speak), danced sensually , similar to blues .

Faster boleros are danced more openly, with Caribbean hips and rumba , cha-cha-cha , mambo or salsa steps and figures.

Song lyrics

"Dos gardenias"

The “immortal” Bolero Dos gardenias by the Cuban composer Isolina Carrillo is part of the repertoire of the Puerto Rican singer Daniel Santos and the Cuban Antonio Machín

Antonio Machín interprets Dos gardenias with his ambivalent androgynous voice, a gender peculiarity that can be found in many Bolero singers:

"El bolerista tiene una voz andrógina - he ahí Pirela , Machín, Bola de nieve , Los Panchos ... voz casi de castrati."

"Bolero singers have an androgynous voice - for example Pirela, Machín, Bola de Nieve , Los Panchos ... castrato voices, so to speak "

- Iris M. Zavala : El bolero. Historia de un amor

Dos gardenias para tí
Con ellas quiero decir
Te quiero, te adoro, mi vida
Ponle toda tu atención
Porque son tu corazón y el mío.

Dos gardenias para tí
Que tendrán todo el calor de un beso
De esos besos que te di
Y que jamás suchenrarás
En el calor de otro querer.

A tu lado vivirán y te hablarán
Como cuando estás conmigo
Y hasta creerás
Que te dirán: «Te quiero».

Pero si un atardecer
Las gardenias de mi amor se mueren
Es porque han adivinado
Que tu amor se ha terminado
Porque existe otro querer.

A tu lado vivirán y te hablarán
Como cuando estás conmigo
Y hasta creerás
Que te dirán: «Te quiero».

Pero si un atardecer
Las gardenias de mi amor se mueren
Es porque han adivinado
Que tu amor se ha terminado
Porque existe otro querer.

Two gardenias for you
With them I would like to say
I love you, I adore you, my life
Devote all your attention to them
Because they are your heart and mine.

Two gardenias for you
Which
hold all the warmth of a kiss From these kisses that I gave you
And that you will never find again
In the warmth of another love.

By your side they will live and speak to you
as if you were with me
and you will even believe
that they say to you: "I love you".

But if one evening
the gardenias of my love wither,
then because they guessed
that your love is over
because there is a new one.

By your side they will live and speak to you
as if you were with me
and you will even believe
that they say to you: "I love you".

But if one evening
the gardenias of my love wither,
then because they guessed
that your love is over
because there is a new one.

"Voy"

The text of the bolero "Voy" is exemplary in that the first two stanzas combine Latin American hyperbolicism , masochistic elements and Christian religious allusions. The exiled Cuban artist Olga Guillot , known as “La reina del bolero” (“Queen of Bolero”), interprets it in expressive body language.

Voy
A mojarme los labios
Con agua bendita
Para lavar los besos
Que una vez me diera
Tu boca maldita.

Voy
A ponerme en los ojos
Un hierro candente
Pues mil veces
Prefiero estar ciega
Que volver a verte.

I'll
moisten My lips
With holy water
To wash off the kisses Your cursed mouth
once gave me
.

I'll put a red- hot iron
on my eyes For a thousand times I prefer to be blind Than to see you again



"La Copa rota"

A highly emotional bolero chachacha by the Puerto Rican composer Benito de Jesús, who is part of the repertoire of the Puerto Rican guitarist and bolero singer José Feliciano :

Aturdido y abrumado
Por la duda de los celos,
Se ve triste en la cantina
A un bohemio ya sin fe.

Con los nervios destrozados,
Y llorando sin remedio
Como un loco atormentado
Por la ingrata que se fue.

Se ve siempre acompañado
Del mejor de los amigos,
Que le acompaña y le dice:
ya está bueno de licor.

Nada remedia con llanto,
Nada remedia con vino
Al contrario, la recuerda
Mucho más tu corazón.

Una noche, como un loco,
Mordió la copa de vino,
Y le hizo un cortante filo
Que su boca destrozó.

Y la sangre que brotaba
Confundióse con el vino,
Y en la cantina este grito
A todos estremeció:

No te apures compañero
Si me destrozo la boca,
No te apures que es que quiero,
Con el filo de esta copa,
Borrar la huella de un beso
Traicionero que me dio.

Mozo, sírveme la copa rota,
Sírveme que me destroza
Esta fiebre de obsesión.
Mozo, sírvame la copa rota,
Quiero sangrar gota a gota
El veneno de su amor.

Mozo, sírveme la copa rota,
Sírveme que me destroza
Esta fiebre de obsesión.
Mozo, sírveme en la copa copa rota,
Quiero sangrar gota a gota
El veneno de su amor.

Dazed and dazed
by the doubts of jealousy
One sees
a gypsy sitting in the canteen who has lost all faith.

Done with his nerves he
cries incessantly
like a tortured madman
Whether the ungrateful who has left him.

You see him always in the company of
his best friend
who is with him and says to him:
Now that's enough with the liqueur

Nothing is solved by complaining
Nothing is solved by wine
On the contrary, she calls all of this back to your
memory even more.

One night like a madman
he
bit into the wine glass And made a cutting piece of it
That hurt his mouth

And the pouring blood
mingled with the wine
And everyone in the canteen was
shaken by this cry:

Don't be frightened, my friend,
When I think of it Hurt
your mouth, don't be scared, because I want to wipe away the trace of a tell- tale kiss that she gave me
with this parting glass . Waiter, bring me the broken wine glass Bring it to me so that it will dispel this fever of obsession Waiter, bring me the broken wine glass I want to bleed out drop by drop The poison of their love. Waiter, bring me the broken wine glass Bring it to me so that it will dispel this fever of obsession Waiter, bring me the broken wine glass I want to bleed out drop by drop The poison of their love.















Linguistic and literary

"Bolero is essentially tragic and extreme ... if any love song taps the vein of sentimentality, bolero cuts that vein with a razor blade ."

“The bolero is tragic and extreme by its nature ... if any love song hits the sentimental vein, the bolero cuts that vein with a razor. "

- J. Quiroga : Tropics of desire: Interventions from Queer Latino Amaerica. New York 2000.

Semantics, word formation, etymology

Semantic connotations

The official dictionary of the Spanish language leads under the lemma bolero in addition to the musical meanings "slow dance of the Caribbean", "popular Spanish couple dance in triple time" and "(professional) Bolero Dancer" also the following resonating pejorative connotations of the word bolero on:

  • Liar ( ¡Qué bolero eres, no te las crees ni tú! - "What a liar are you, you probably don't believe that yourself!")
  • Truancy; someone who powers blue ( persona que hace novillos ).

Allusions to these derogatory connotations of the word bolero can be found, for example, in titles such as Miénteme ("Lie to me!") And Miénteme más ("Tell me more lies!"). Romantic whispers of love is portrayed as dishonest in Bolero texts, but such lies are desirable for self-deception; for example:

"Voy viviendo ya de tus mentiras, sé, que tu cariño no es, sincero [...]"

"I already live from your lies, I know that your tenderness is not real."

- Bolero: Miénteme

and:

«Miénteme más que al mentirme me the la ilusión que me quieres con el corazón aunque no sea verdad. Miénteme más que al mentirme me haces feliz […] »

“Tell me more lies so that by lying you can give me the illusion that you love me from your heart, even if it is not true. Lie to me even more so that your lies make me happy [...] "

- Bolero: Miénteme más

Language of seduction and desire

"If a love or a passion, an affair or a" dream number "is to begin, the right words have to be said beforehand. Impossible words. Because they should sound seductive and be sincere, beautiful and confidence-inspiring, demanding and true. Fraud always nestles in the conditions of success. Whoever is to succumb to the effect of words must be hypnotized by desire and blinded by the appearance of truth. Nietzsche reduced the paradox of this law to the formula: "What should appear to be true must not be true." "

- Manfred Schneider : love and deceit. The language of desire

A large number of the Bolero texts use the imperative stylistic device of the apostrophe , the imploring, imploring turn to a (loved) person:

“Listen to me!” (“¡Atiéndeme!”, “¡Escúchame!”, “¡Oye!”); look at me («¡mírame!»); “Swear to me!” (“¡Júrame!”); “¡Understand!” (“¡Comprende!”); “Kiss me!” (“¡Bésame!”); "Caress me" ("¡acaríciame!"). In the amorous discourse of the seductive bolero, in the language of desire, one encounters imperative apostrophes of what is improperly meant , such as “forget me!” (“¡Olvídame!”), Whereby it is tacitly assumed: But I know that you cannot! “Go away!” (“¡Vete!”), (“¡Aléjate!”), Which actually means: “stay!”

The bolero interpreter is - like any seducer - an actor . The language of love is not about truth for him, he is only interested in the effect of the poetic words, the effect of the seductive "  palabras de bolero  " ( bolero words ). - "What should appear to be true must not be true":

“You are an actor in that you have one insight ahead of the rest of the people: what should appear to be true must not be true. The sentence is formulated by Talma : it contains the entire psychology of the actor, it contains - let's not doubt it! - also its morals. "

- Friedrich Nietzsche : Turin letter of May 1888, § 8

In this context, the bolero expert Iris M. Zavala asks Nietzsche the rhetorical question of how much truth a person can take:

«¿Qué dose de verdad puede soportar el ser humano? - así lo planteó Nietzsche, que no conoció el bolero. "

“How much truth can a person take? - so asked Nietzsche, who did not know the bolero. "

- Iris M. Zavala : El bolero. Historia de un amor

Connection to trobadoresque love poetry

Cuban founders of the genre saw themselves as successors of medieval trobadors , a phenomenon that was also expressed in the literal self-name of the musical movement Nueva Trova . Similar to the trobadoresque ideology of courtly love , the woman is extremely idealized and the man is a slave to her. The Bolero Entrega , for example, sings of this submission of the man totally (total surrender):

«… Yo no te pongo condición. Harás conmigo lo que quieras, bien oh mal ... »

“I don't make any conditions on you. Do with me what you want, for better or for worse ... "

- Total Bolero Entrega

As in medieval love poetry, floral metaphors are used. The comparison of entwined lovers with an inseparable botanical symbiosis , as in Bolero La hiedra (ivy), is reminiscent of a similar metaphor in the old French song of the honeysuckle :

"... te siento cual la hiedra liagado a mí, y así hasta la eternidad te sentiré ..."

"I feel like ivy chained to you, and for all eternity I will feel you ..."

- Bolero: La hiedra

In the Bolero Dos gardenias (Two Gardenias ) these flowers personify the lovers. Gardenias require faithful care like love, which otherwise withers just like gardenias. (See section Sample Lyrics ).

Between Christian morality and transgression of norms

Morals expressed in Bolero texts are ambivalent. On the one hand, they follow the norms of traditional Christian doctrine and condemn extramarital relationships as "pecado" (sin), as "lo prohibido" (the forbidden), as for example in the first two stanzas of the Boleros Pecado by the Argentine composer Armando Pontier:

Yo no sé si es prohibido
Si no tiene perdón
Si me lleva al abismo
Sólo sé que es amor.

Yo no sé si este amor es pecado
Que tiene castigo
Si es fatal a las leyes honradas
Del hombre y de Dios.

I don't know if it's forbidden, if there is
no forgiveness for it , if it
leads me to the abyss,
I just know that it's love.

I don't know if this love is a sin,
That brings punishment,
Whether it
violates the honorable laws of man and God.

On the other hand, one encounters appeals to exceed the norm, for example in the Bolero Sígamos pecando by the Puerto Rican composer Benito de Jesús.

Bolero poets also play ambiguously with the two moral concepts, for example in the Bolero Soy lo prohibido by the Mexican composer Roberto Cantoral, in which the forbidden (“lo prohibido”) is extolled:

Soy ese vicio de tu piel
Que ya no puedes desprender
Soy lo prohibido

Soy esa fiebre de tu ser
Que te domina sin querer
Soy lo prohibido

Soy esa noche de placer
La de la entrega sin papel
Soy tu castigo

Porque en tu falsa intimidad,
En cada abrazo que le das
Sueñas conmigo

Soy el pecado
Que te dio nueva ilusión en el amor
Soy lo prohibido

I am this vice of your skin
from which you can no longer detach yourself
I am the forbidden

I am the fever of your being
That rules you without will
I am the forbidden

I am this night of lust
The one of surrender without a document
I am your punishment

Because in yours fake intimacy
In every hug you give her
you dream of me

I am the sin that gave
you new joy in love
I am the forbidden

Mariano Muñoz-Hidalgo sums up this conflict of morals in an essai as follows:

«La literatura modernista se caracteriza por su paganismo estético. … El mismo paganismo irreverente se advierte en el bolero, esta vez de índole predominantemente moral. Si el discurso en el bolero es de afirmación amorosa, entonces el leitmotiv será, numerosas veces, el amor adúltero o en abierta oposición al mandato matrimonial religioso. … En todos estos textos el hablante manifiesta su oposición al dogma tradicional que había sido hegemónico en la America española. En algunos casos históricos, el bolero entró claramente en conflicto público con el oficialismo religioso. »

“Modern literature is characterized by aesthetic paganism. ... This disrespectful paganism shows itself in the Bolero above all from its moral side. When “affirmation of love” is sung in the Bolero, then the leitmotif is “adulterous love”, which is in open opposition to the religious law of marriage, which had previously prevailed in Ibero America without being contradicted. In some historically documented cases, the bolero came into open conflict with the religious authorities. "

- Mariano Muñoz-Hidalgo : Bolero y modernismo: la canción como literatura popular

Exaggerated expression in the performance - "camp" performance

In her essay Notes on “Camp”, the Jewish publicist Susan Sontag describes the Cuban bolero singer La Lupe's art of representation as an example of “camp performance”.

In English, “camp” means “exaggerated effeminate mannerisms, usually affected for amusement”. Susan Sontag commented in 58 annotations ( "notes") the use of the word "camp".

"Camp" stands for an aesthetic phenomenon , for the metaphor of "life as a theater play" and for " affected self-expression" in theatrical performances:

"Indeed the essence of" Camp "is its love of the unnatural: of artifice and exaggeration. ...
"Camp" sees everything in quotation marks. It's not a woman, but a "woman". To perceive "Camp" in persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater. "

“Indeed, the essence of Camp is its love of the unnatural: affectation and exaggeration. ...
"Camp" means everything in quotation marks. It is not a woman, but a "woman". Perceiving “camp” in people means understanding being as “playing a role”. It is the highest level of sensitivity to understand the metaphor "life as a drama". "

- Susan Sontag: Notes on "Camp". P. 1 and p. 4 note 10

Bolero interpreters like La Lupe, Olga Guillot and Chavela Vargas are considered “camp” icons in the Hispanic world because of their exaggerated vocal technique, facial expressions and gestures. Susan Sontag characterizes this exaggeration of artistic expression in her eighth note on "Camp" as follows:

"It is the love of the exaggerated, the 'off' of things-being-what-they-are-not."

"It is the love of the exaggerated, that" standing next to you ", that of things-being-what-they-are-not."

- Susan Sontag: Notes on "Camp". P. 3

Not only do professional performers switch to such a trance-like “camp” bolero mode , but also young women and men who meet in private for the informal singing of boleros. Moshe Morad reports from such a meeting of homosexuals in Cuba:

“… An old portable cassette player was quickly plugged in, and the event began with some boleros by singer Olga Guillot. The loud chatting stopped instantly and everyone switched into a “bolero mode” with facial expressions changing, looking emotionally tense… People began miming and singing… making gestures with their hands and faces, dramatically expressing pain, anger, or passion, and sometimes all three simultaneously. The impression was one of a temple during a ritual, and some of the audience looked as if they were in a state of trance. "

“… An old portable cassette player was quickly hooked up and the event started with a few boleros from singer Olga Guillot. The noisy conversation stopped and everyone switched to 'bolero mode' with expressions on their faces that seemed emotionally tense ... People started mimicking the facial expressions and singing ... They made gestures with their hands and faces, expressing pain, anger or theatrical expressions Passion from and sometimes everything at the same time. The impression was like that in a temple during a ritual, and some of the spectators looked as if they were in a state of trance. "

- Moshe Morad : Queer Bolero: Bolero Music as an Emotional and Psychological Space for Gay Men in Cuba. P. 569

Composers, lyricists, interpreters, pieces of music

Composers and lyricists

María Grever (1885–1951), Rafael Hernández Marín (1891–1965), María Teresa Vera (1895–1965), Agustín Lara (1897–1970), Benito de Jesús (1912–2010), Chucho Navarro (1913–1993, one of the three founders of the Tríos Los Panchos ), Alfredo Gil (1915–1999, also one of the three founders of the Tríos Los Panchos ), Consuelo Velázquez (1916–2005), Chucho Martínez Gil (1917–1988), Federico Baena Solís (1917 –1996), Álvaro Carrillo (1921–1969), Armando Manzanero (1935–), Mayra Montero (1952–).

Performers

Alci Acosta, Alfredo Antonini, Alfredo Sadel, Antonio Machín, Gregorio Barrios, Bola de Nieve , Benny Moré , Café Quijano, Carmen Delia Dipiní , Chavela Vargas , Chucho Avellanet, Daniel Santos , Eydie Gormé , John Serry , José Feliciano , Javier Solís , Juan Arvizu , Julio Jaramillo , La Lupe , La Sonora Matancera , Leo Marini , Los Guacamayos, Los Paraguayos , Lucho Gatica , Luis Miguel , María Teresa Vera, Moncho, Nelson Ned, Nestor Mesta Chayres, Olga Guillot , Pedro Vargas , Rafael Colón , Rolando Laserie , Ruth Fernández , Tania Libertad , Terig Tucci , Tito Rodríguez , Toña la Negra , Trío Guadalajara, Trío Los Panchos, Trío Los Tres Diamantes, Trío Los Tres Ases, Trío Los Tres Reyes, Trío Siboney.

Well-known boleros

Adoro, Algo contigo, Aléjate, Alma corazón y vida, Amar y vivir, Amor de mis amores, Amor sin esperanza, Anillo de compromiso, Apasionado, A pesar de todo, Aquella tarde, Aquellos ojos verdes, Arráncame la vida, Aunque me cueste la vida, Ay amor, Bésame mucho , Azabache, Boda negra, Bravo, Camarera de mi amor, Caminemos, Campanitas de cristal, Cancionero, Cómo fue, Como un bolero, Cómo fue, Como un bolero, Contigo aprendí, Contigo en la distancia , Copas de licor, Cuando calienta el sol, Cuando vuelva a tu lado, Cuatro palabras, La barca, La copa rota, La Paloma , Delirio, Desesperanza, Dijiste no, Distancia, Dos almas, El almanaque, El reloj, Encadenados, En el juego de la vida, En el último trago, Entrega total, Ese bolero es mío, Eso eres para mi, Espérame en el cielo, Esperaré, Ésta tarde vi llover, Fango negro, Fatalidad, Flores negras, Gema, Hoja seca, Hola soledad, Incertidumbre, Irresistible, Juramento, La flor de la canela, La gran tirana, Lamento borincano, La puerta, La revan cha, La última noche, La vida es un sueño, Llanto de luna, Luz de luna, Mala sangre, María bonita, Mentiras tuyas, Miénteme, No, Noche no te vayas, No me platiques más, No me quieras tanto, No puedo ser feliz, Nuestro balance, Nuestro juramento, Nuestro secreto, Obsesión, Ódiame, Ofrenda, Pecadora, Perfidia, Perfume de gardenias, Piel canela, Piensa en mi, Poquita fe, Por eso te perdono, Presentimiento, Puro teatro, Qué te pedi, Quien tiene tu amor, Quiéreme mucho, Quizás, quizás, quizás , Rayito de luna, Rondando tu esquina, Sabor a mi, Se vive solamente una vez, Somos novios, Sabor a mi, Sabrá Dios, Si Dios me quita la vida, Sígamos pecando, Si me pudieras querer, Si tú me dices ven, Si me pudieras querer, Se as flores pudessem falar, Sin ti, Sin un amor, Solamente una vez, Sombras, Sombras (nada más), Somos, Soy lo prohibido, Te extraño, Temes, Te quedarás, Tengo un pecado nuevo, Tiemblas, Toda una vida, Total, Tres palabras, Triunfamos, Tu condena, Tu me acostumbraste, Una aventura más, Último fracaso, Una copa más, Un poco más, Usted, Veinte años, Ven a mis brazos, Vereda tropical, Vete de mi, Virgen de medianoche, Voy a apagar la luz, Yo tengo un pecado nuevo.

Queer aesthetic

El Bolereo

Roberto Strongman, professor at the interdisciplinary Department of Black Studies , introduces a neologism in his essay The Latin America Queer Aesthetics of "El Bolereo" : " El Bolereo ". Under this new technical term he summarizes phenomena in the genre of the bolero music style, which he describes as queer aesthetics:

“… There is an underlying queer aesthetics to the Bolero that functions as a strategy of performance that reveals gendered and sexual identities as constructed . I call these aesthetics Bolereo . "

“The bolero is based on a queer aesthetic, a strategy in the performances that reveals that gender roles and gender identities are constructed. I call this aesthetic Bolereo . "

- Robert Strongman : The Latin American Queer Aesthetics of El Bolereo

This includes, for example, androgynous voices from many Bolero performers. Falsetto in male singers, such as Lucho Gatica and Antonio Machín, or deep smoky voices in female performers, such as Chavela Vargas . Strongman quotes Iris M. Zavala:

"Este" bésame mucho "se volatiza, ya puede ser la mujer quien pide los besos, o el hombre. Insisto en que el sexo del personaje del bolero depende del oyente … androginia de la voz, ambiguedad textual, las voces cambian. "

“This“  Bésame mucho  ”disappears, and it could be the woman who demands kisses or the man. I insist that the gender of the bolero performer depends on the listener. Androgyny of the voice, ambiguity of the texts, the voices change. "

- Iris M. Zavala : El Bolero. Historia de un amor

Roberto Strongman sees in the gay romance novels El lugar sin límites (1966, German: Place without borders ) by the Chilean José Donoso , filmed in 1977 by Arturo Ripstein and "El beso de la mujer araña" (1976, German: The kiss of the spider woman ) des Argentinian Manuel Puig , filmed in 1985 by Héctor Babenco , the first copies of a new literary genre, the " Bolero novel ":

“Beginning in the early 1980s and continuing into the late 1990s, there was a" boom "in Latin American novels with Bolero themes, an artistic phenomenon that literary criticism has not yet sufficiently addressed. My reading of Jose Donoso's El lugar sin limites (1995) and Manuel Puig's El beso de la mujer araña (1994… seeks to understand the origins of this understudied literary movement,… the concept of the novela Bolero . ”

“From the early 1980s to the late 1990s, there was a" boom "in Latin American novels with bolero themes, an artistic phenomenon that literary criticism has not yet adequately explored. My reading of José Donoso's El lugar sin limites (1995) and Manuel Puig's El beso de la mujer araña (1994) ... tries to understand the origins of this literary movement, which has not yet been sufficiently explored. Vicente Francisco Torres allows me to read these texts by introducing the concept of "Novela Bolero" into literature. "

Strongman continues:

"Two of the most important Latin American queer novels ... José Donoso's El lugar sin límites (1966) and Manuel Puig's" El beso de la mujer araña "(1976) ... use the Bolero to create a space in which queerness can thrive by using this musical form as a discursive tool that can stand up to the dominant ideology of compulsory heterosexuality. ... The interaction between the male and female voices and their modes of expression produce the androgynious dialogue that form Donoso's novel. "

“Two of the most important Latin American“ queer novels ”... José Donoso's El lugar sin límites (1966) and Manuel Puig's El beso de la mujer araña (1976) use the bolero genre to create a space in which queerness can flourish. The authors use this musical form as a discursive tool that can withstand the dominant ideology of obligatory heterosexuality. … The interaction between male and female voices and their forms of expression create the androgynous dialogue that defines Donoso's novel. "

One of the first bolero composers and guitarists, María Teresa Vera, "the voice of the Trova", cleverly uses the bolero to come out as a lesbian. Homosexuality was socially frowned upon in Cuba at that time and was even a criminal offense. María Teresa Vera sings bluntly in the second stanza of the Bolero "He perdido contigo" by the Cuban composer Luis Cárdenas Triana:

Tantas mujeres buenas
Que con fe me adoraban,
Yo les negué el cariño
Que inocente he quedado.
Pero fuiste tan cruel
Que jugaste conmigo.

¿Que le vamos hacer?
Yo tenía que perder
Y he perdido contigo.

So many good women who
sincerely adored me,
I refused their love
and remained innocent.
But you were so cruel
You just played with me.

What we gonna do?
I had to lose
and I lost with you.

Had there been problems with state authorities, she could have gotten out of the affair by claiming that she had only read the original text of the bolero, literally as her male colleagues sing it. In Cuba it is undisputed that María Teresa was a lesbian:

«… María Teresa Vera, destacadísima representante de lo mejor de nuestra trova tradicional. Esta mujer mulata y reconocida en el gremio como lesbiana… »

“María Teresa Vera, the outstanding and best representative of our traditional trova . This mulatto is known in the relevant circles as a lesbian ... "

- Krudas Cubensi : ¡Vivan las gordas sin domesticar!

Grammatical cross-gendering

In the Spanish language, morphemes mark the speaker's gender. Depending on whether a woman or a man sings the same bolero, these morphemes would have to be adjusted for specific genders. Some bolero singers consciously do not adapt these morphemes to be heterosexual, but sing from the perspective of the opposite sex, a "bolereo" phenomenon that Roberto Strongman calls "queering grammatical gender".

“The listener's suspicions as to a certain dissonance between the gender of the performer and the expectations of this gendered voice within the Bolero find support in Varga's use of the male noun“ injusto ”to refer to herself. Other male nouns further confirm this cross-gendered performance: "al pobre", "un mendigo". "

"The suspicion of the listener, who perceived a certain dissonance between the sex of the actress and the expectations of this gender-specific voice within the bolero, is corroborated by the fact that Chavela Vargas uses the masculine form of the adjective« injusto »(" unjust "), to relate to yourself. The use of other masculine nouns also confirms that it is a cross-gender presentation : "al pobre" ("the poor"), "un mendigo" ("a beggar"). "

- Robert Strongman : Ibid p. 55

Strongman cites the bolero “El anillo de compromiso” (The engagement ring) as an example. Chavela Vargas sings it from a male-lesbian perspective. They correspond to the lines of verse, on the left, what Chavela Vargas sings as a lesbian, on the right, what she should have sung as a woman from a heterosexual perspective:

Perdona lo injusto que fui sin querer
…
Si algun día recuerdas al pobre que sueña
…
Jamás lo maldigas que al fin fue un mendigo

Perdona la injusta que fui sin querer
…
Si algun día recuerdas a la pobre que sueña
…
Jamás lo maldigas que al fin fue una mendiga

The bolero novel - la novela bolero

The genre of romantic songs, the bolero , is also found in Spanish-language entertainment literature . Bolero poetry is alluded to in book titles and in the context of stories. Fictional characters identify their sentimental situation with Bolero verses, they feel so strongly as if these lyrical texts were written for them personally. In Latin American fiction , therefore, since the 1980s one speaks of a new literary sub-genre, the so-called “novela bolero” , the bolero novel. For example, the Chilean writer Roberto Ampuero wrote one such bolero novel, Bolero in Havana (1994), a crime story. One of the main characters, Plácido el Rosal, is a bolero singer. The bolero creates intertextuality in this novel by using well-known song verses as chapter headings and mottos , such as “La barca” (bolero by the Mexican composer Roberto Cantoral), “Tú me acostumbraste” (bolero by the Cuban songwriter Frank Domínguez) or “Ésta tarde vi llover »(Bolero by the Mexican composer Armando Manzanero ):

« Boleros en La Habana de Roberto Ampuero … forma parte de un nuevo subgénero de la literatura latinoamericana postmodernista, la denominada novela bolero en la que el bolero y sus canciones, crean una nueva intertextualidad dirigida no ya al lector culto, del pueblo imaginario que se identifica fácilmente con esta música. "

“ Bolero in Havana by Roberto Ampuero … is part of a new sub-genre of post-modern Latin American literature, the so-called bolero novel , in which the bolero and its songs create a new intertextuality that is not addressed to the educated reader but to the emotional world of the people that easily identifies with this music. "

- Gioconda Marún : La función del bolero en "Boleros en la Habana" by Roberto Ampuero , p. 403

Gioconda Marún describes the function of the bolero in this literature sub-genre as follows:

"El bolero cumple, por un lado, a función de idealización del tema del amor y la pasión y, por otro lado, de refuerzo o duplicación, según la define Umberto Eco."

"On the one hand, the bolero has the function of idealizing the topic of" love and passion "and on the other hand a function of reinforcement or multiplication according to the definition given by Umberto Eco (in his writing Apocalittici e integrati )."

- Gioconda Marún : La función del bolero en "Boleros en la Habana" by Roberto Ampuero , pp. 407/408.

The Mexican author Ángeles Mastretta has also written a bolero novel, Arráncame la vida (“Tear my life out of my body!”), Which is named after a famous tango by the Mexican composer Agustín Lara . In this feminist story, the main characters - divided into chapters - sing the bolero version of this song in stanzas , as interpreted by Toña la Negra . The Spanish literary scholar Álavaro Salvador Jofre interpreted this feminist bolero novel in the essay Novelas como boleros, boleros como novelas: una lectura de Arráncame la vida .

The erotic bolero novel by the Cuban-Puerto Rican author Mayra Montero, La última noche que pasé contigo (“The last night I spent with you”), bears the title of the bolero of the same name by the Cuban composer Bobby Collazo. All eight chapter headings are named after Bolero titles: "Barbujas de amor", "Sabor a mí", "Negra consentida", "Amor, qué malo eres", "Nosotros", "Vereda tropical", "Somos" and "La última noche que pasé contigo “. During a cruise through the Caribbean, the sound of boleros evokes associative memories in the protagonists Celia and Fernando and rekindles their desire and passion.

A list of the most famous Bolero novels can be found in Robert Strongman's essay The Latin American Queer Aesthetics of “El Bolereo” , pp. 43/44.

literature

In Spanish

  • Jorge Eliécer Ordóñez: Llanto de luna: entre el bolero y la poesía. In: Espéculo. Revista de estudios literarios. Universidad Complutense de Madrid 2002. Full text
  • Tony Évora: El libro del bolero . Alianza Editorial, Madrid 2001, ISBN 84-206-4521-4 .
  • Celina Fernández: Los Panchos: the historia de los embajadores de la canción romántica contada por su voz Rafael Basurto Lara. Ediciones Martínez Roca, Madrid 2005, ISBN 84-270-3071-1 .
  • Fernando Linero Montes: El bolero en sus propias palabras. Editorial Icono, Bogotá 2008, ISBN 978-958-97842-8-0 . ( google books )
  • José Loyola Fernández: En ritmo de bolero: el bolero en la musica bailable cubana. Ediciones Huracán, Río Piedras 1996, ISBN 0-929157-37-0 .
  • Gioconda Marún: La función del bolero en «Boleros en la Habana» by Roberto Ampuero . In: Actas XIV Congreso AIH (Vol. IV), pp. 403/409; cervantes.es (PDF) on Centro Virtual Cervantes
  • Juan Montero Aroca: Bolero. Historia de un siglo de emociones. 2nd edition. Tirant Humanidades, Valencia 2013, ISBN 978-84-15442-95-0 .
  • Mariano Muñoz-Hidalgo: Bolero y modernismo: la canción como literatura popular. In: Literatura y Lingüística N ° 18 ISSN  0716-5811 pp. 101-120, doi: 10.4067 / S0716-58112007000100005 .
  • Yolanda Novo Villaverde, María do Cebreiro Rábade Villar: Te seguirá mi canción del alma. El bolero cubano en la voz de las mujeres . Universidad de Santiago de Compostela, 2008, ISBN 978-84-9750-915-2 . (Excerpts from: google books )
  • Manuel Román Fernández: Bolero de amor. Historias de la canción romántica. editorial Milenio, Lleida 2015, ISBN 978-84-9743-665-6 .
  • Jorge Rosario-Vélez: Somos un sueño imposible: ¿Clandestinidad sexual del bolero en «la última noche que pasé contigo» de Mayra Montero? In: Revista Iberoamericana. Vol. LXVIII, Núm. 198, Enero-Marzo 2002, pp. 67-77. doi: 10.5195 / reviberoamer.2002.5746 (PDF file, on the website of the Revista Iberoamericana magazine) (A monograph on the Bolero La última noche que pasé contigo : “The last night I spent with you”).
  • Francisco Torres: La novela bolero latinoamericana , El Centauro, Mexico DF 2008, ISBN 978-970-35-0076-5 . ( google book )
  • Álvaro Salvador Jofre: Novelas como boleros, boleros como novelas: una lectura de Arráncame la vida . In: Anales de Literatura Hispanoamericana , 1999, 28, pp. 1171-1190; revistas.ucm.es (PDF).
  • Iris M. Zavala: El bolero. Historia de un amor. Celeste Ediciones, Madrid 2000, ISBN 84-8211-262-7 .
  • Iris M. Zavala: El bolero: el canto del deseo. In: Anthropos, revista de documentación científica de la cultura. n ° 166/167, Barcelona Mayo-agosto 1995, pp. 105-113. ( google books )

In German

In English

  • Moshe Morad: Queer Bolero: Bolero Music as an Emotional and Psychological Space for Gay Men in Cuba. In: Psychology Research. Vol. 5, No. 10, October 2015, pp. 565-584. (PDF)
  • Moshe Morad: Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba. ISBN 978-1-4724-2457-0 . ( google.books )
  • Vanessa Knights: Tears and Screams: Performances of Pleasure and Pain in the Bolero. Lecture at the 12th Biennial Conference of the International Association for the Study of Popular Music. Stream: Queering Practice. Session: Transgressing Gender Boundaries. July 3, 2003 McGill University, Montréal, Canada. ncl.ac.uk (PDF)
  • Susan Sontag : Notes on "Camp". 1964. In: Against Interpretation: And Other Essays. Penguin, London 2009, ISBN 978-0-312-28086-4 ; Monoskop.org (PDF)
  • Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, pp. 39-78. ( Abstract at JSTOR and full text in The Free Library )

Web links

Rhythm and percussion instruments

Well-known performers and boleros

Music portal "Tiempo des boleros"

Individual notes

  1. ↑ Rhythmus des Bolero Video on YouTube - Percussion - Demonstration of the Cuban Bolero rhythm by the drum teacher Michael de Miranda.
  2. ↑ See the article Cinquillo in the English Wikipedia
  3. ↑ Helio Orovio: El bolero latino. Editorial Letras Cubanas, 2004, ISBN 959-10-0211-4 , p. 7.
  4. ↑ Rhythmus des Bolero Video on YouTube - Percussion - Demonstration of the Cuban Bolero rhythm by the drum teacher Michael de Miranda.
  5. ↑ Iris M. Zavala: El bolero: el canto del deseo. In: Anthropos, revista de documentación científica de la cultura. n ° 166/167, Barcelona Mayo-agosto 1995, pp. 105-113. ( google books )
  6. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, p. 42. ( Abstract at JSTOR and full text in The Free Library )
  7. ↑ El 'filin', canción con sentimiento de bolero. In: El País . February 2, 2002.
  8. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo . In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, pp. 39-78 ( abstract at JSTOR and full text in The Free Library ).
  9. ↑ Lucho Gatica: Encadenados - (Youtube video)
  10. ↑ Los Pancho: Lo dudo - (Youtube video)
  11. ↑ La Lupe: Puro teatro video on YouTube - accompanied by the choir from Tenerife , Los Sabandeños
  12. ↑ Luz Casal: Piensa en mí - (Youtube video)
  13. ↑ En el ultimo trago - (Youtube video)
  14. ↑ Ay amor - (Youtube video)
  15. ↑ La música en Almodóvar: La flor de mi secreto
  16. ↑ Bolero ballad in pictures. Film tip of the day: Chico & Rita. In: Süddeutsche Zeitung. 4th April 2017.
  17. ↑ Sabor a mí - Scene from Chico & Rita - (Youtube video)
  18. ↑ Tiempo de boleros - Bolero internet station, 24 hours online.
  19. ↑ Jorge Rosario-Vélez: Somos un sueño imposible: ¿Clandestinidad sexual del bolero en la última noche que pasé contigo de Mayra Montero? In: Revista Iberoamericana. Vol. LXVIII, Núm. 198, Enero-Marzo 2002, p. 67. revista-iberoamericana.pitt.edu (PDF), on the website of the Revista Iberoamericana magazine .
  20. ^ Translation of the quote into German by the author of this Wikipedia article
  21. ↑ Mayra Montero: La última noche que pasé contigo . Tusquets Editores, Barcelona 2014, ISBN 978-84-8383-835-8 , chapter "Negra consentida", p. 76. ( assets.espapdf.com ( Memento of the original from September 5, 2017 in the Internet Archive ) Info: The archive link was used automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this note. - Excerpts) - German version: Mayra Montero: Bolero of passion . Galgenberg, Hamburg 1992, ISBN 978-3-87058-123-7 , p. 76 ( review ). @1@ 2Template: Webachiv / IABot / assets.espapdf.com
  22. ↑ Un Ensayo Para El Bolero - full text from page 1
  23. ↑ Helio Orovio: El bolero latino. Editorial Letras Cubanas, 2004, ISBN 959-10-0211-4 , p. 7.
  24. ↑ Tristezas . The Trío Los Soles interprets this oldest known bolero - (Youtube video)
  25. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, p. 41. ( Abstract at JSTOR and full text in The Free Library )
  26. ^ Trío Los Panchos , biography of the trio on the website of the online radio station Tiempo de Boleros
  27. ^ María Bonita. Agustín Lara plays and sings his own composition - (Youtube video)
  28. ^ Moshe Morad: Queer Bolero: Bolero Music as an Emotional and Psychological Space for Gay Men in Cuba. In: Psychology Research. Vol. 5, No. 10, October 2015, p. 565 ff. (PDF)
  29. ↑ Los Sabandeños: El día que me quieras . The choir interprets this bolero-tango by Carlos Gardel - (Youtube video)
  30. ↑ Biography of the Los Sabandeños men's choir on the website of the online radio station Tiempo de boleros
  31. ↑ Festival Boleros de Oro - on santiago24horas
  32. ↑ Celina Fernández: Los Panchos: la historia de los embajadores de la canción romántica contada por su voz Rafael Basurto Lara. Ediciones Martínez Roca, Madrid 2005, ISBN 84-270-3071-1 , pp. 35-39.
  33. ↑ Originally made from a bottle gourd (“calabaza”) - Güiro - in the video from 0: 46/2: 28 you can see a garnet red Güiro in action, in Bolero-Cha-cha-cha Quizás, quizás, quizás - (Youtube -Video).
  34. ↑ Manuel Román Fernández: Bolero de amor. Historias de la canción romántica. editorial Milenio, Lleida 2015, ISBN 978-84-9743-665-6 , p. 15.
  35. ↑ El 'filin', canción con sentimiento de bolero - Article in El País February 2, 2002.
  36. ↑ «moruno» = " Moorish " - Los Morunos: Ese bolero moruno - (Youtube video)
  37. ↑ Jorge Rosario-Vélez: Somos un sueño imposible: ¿Clandestinidad sexual del bolero en la última noche que pasé contigo de Mayra Montero? In: Revista Iberoamericana. Vol. LXVIII, Núm. 198, Enero-Marzo 2002, p. 67. (PDF) , on the website of the Revista Iberoamericana magazine.
  38. ↑ B olero Dos gardenias cumple 60 años . "The Bolero of Cuban Isolina Carrillo Dos gardenias is 60 years old." - Report by the television station telesur from September 29, 2007.
  39. ↑ Biografía de Antonio Machín on Biografia y vidas - la enciclopedia biográfica en linea
  40. ↑ António Máchin: Dos gardenias - (Youtube video)
  41. ^ The Latin American queer aesthetics of "el Bolereo". on The Free Library, Farlex website.
  42. ↑ Iris M. Zavala: El bolero. Historia de un amor. Celeste Ediciones, Madrid 2000, ISBN 84-8211-262-7 , p. 23.
  43. ↑ In each case interlinear translation based on the source language by the author of the article
  44. ↑ Voy , Olga Guillot, the Queen of Bolero ( La Reina del Bolero ) - (Youtube video).
  45. ^ Vanessa Knights: Tears and Screams: Performances of Pleasure and Pain in the Bolero . Lecture at the 12th Biennial Conference of the International Association for the Study of Popular Music. Stream: Queering Practice. Session: Transgressing Gender Boundaries. July 3, 2003 McGill University, Montréal, Canada; Lecture text (PDF)
  46. ↑ Benito de Jesús - Eladio Rodulfo González: Grandes compositores y compositoras de bolero .
  47. ↑ José Feliciano: Lo Copa rota - (Youtube video)
  48. ↑ Entry bolero . Entry in the Diccionario de la lengua española on the official website of the Real Academia Española .
  49. ↑ Los Tres Diamantes: Miénteme. - (Youtube video)
  50. ↑ Los Tres Diamantes: Miénteme más. - (Youtube video)
  51. ↑ Manfred Schneider : Love and Deception. The languages ​​of desire. Carl Hanser Verlag, Munich / Vienna 1992, ISBN 3-446-16575-4 , p. 9 (Review by Reinhart Baumgart : Das Zwitschern des Fleisches . In: Die Zeit , No. 37/1992).
  52. ↑ Iris M. Zavala: El bolero. Historia de un amor. Celeste Ediciones, Madrid 2000, ISBN 84-8211-262-7 , p. 116.
  53. ↑ Manfred Schneider : Love and Deception. The languages ​​of desire. Carl Hanser Verlag, Munich / Vienna 1992, ISBN 3-446-16575-4 .
  54. ↑ Achim Geisenhanslüke : The language of love. Figurations of the transference from Plato to Lacan . 1st edition. Wilhelm Fink Verlag, 2016, ISBN 978-3-7705-6040-0 . ( Excerpt (PDF) - on the Fink Verlag website)
  55. ↑ Fernando Linero Montes: El bolero en sus propias palabras. Editorial Icono, Bogotá 2008, ISBN 978-958-97842-8-0 . ( google books )
  56. ↑ WA-8 - The Wagner Case - auf (eKGWB) Digital Critical Complete Edition of All Works and Correspondence, ed. by Paolo D'Iorio, Paris, Nietzsche Source, 2009–.
  57. ↑ Iris M. Zavala: El bolero. Historia de un amor. Celeste Ediciones, Madrid 2000, ISBN 84-8211-262-7 , p. 48. see Friedrich Nietzsche: Ecce homo. How to become what you are. Preface 3.
  58. ↑ Iris M. Zavala: El bolero: el canto del deseo. In: Anthropos, revista de documentación científica de la cultura. n ° 166/167, Barcelona, ​​Mayo-agosto 1995, pp. 105-113. ( google books )
  59. ↑ Javier Solís: Entrega total - (YouTube video)
  60. ↑ Los Panchos: La hiedra - (YouTube video)
  61. ↑ Los Panchos: Pecado - (Youtube video)
  62. ↑ Trío Los 3 Diamantes - (Youtube video)
  63. ↑ Olga Guillot: Soy lo prohibido - (Youtube video)
  64. ^ Mariano Muñoz-Hidalgo: Bolero y modernismo: la canción como literatura popular. In: Literatura y Lingüística N ° 18, pp. 101-120, doi: 10.4067 / S0716-58112007000100005 , ISSN  0716-5811
  65. ^ Susan Sontag: Notes on "Camp". 1964. In: Against Interpretation: And Other Essays. Penguin, London 2009, ISBN 978-0-312-28086-4 , p. 3; Monoskop.org (PDF)
  66. ↑ camp In: Collins English Dictionary online
  67. ^ Vanessa Knights: Tears and Screams: Performances of Pleasure and Pain in the Bolero . Lecture at the 12th Biennial Conference of the International Association for the Study of Popular Music. Stream: Queering Practice. Session: Transgressing Gender Boundaries. July 3, 2003 McGill University, Montreal, Canada, p. 2; Lecture text (PDF)
  68. ^ Moshe Morad: Queer Bolero: Bolero Music as an Emotional and Psychological Space for Gay Men in Cuba. In: Psychology Research. Vol. 5, No. 10, October 2015, p. 569; Pp. 565-584. (PDF)
  69. ↑ Juan Montero Aroca: Bolero. Historia de un siglo de emociones. 2nd edition. Tirant Humanidades, Valencia 2013, ISBN 978-84-15442-95-0 .
  70. ^ Media Sound and Culture In Latin America and the Caribbean Editors - Alejandra Bronfman and Andrew Grant Wood. University of Pittsburg Press 2012 p. 49 "Viva America", Elsa Miranda and Terig Tucci, Alfredo Antonini, CBS Pan American Orchestra, Nestor Mesta Chayres, Juan Arvizu CBS, Latin American music on Google Books (English)
  71. ^ Media Sound and Culture In Latin America and the Caribbean Editors - Alejandra Bronfman and Andrew Grant Wood. University of Pittsburg Press 2012 p. 49 "Viva America", Elsa Miranda and Terig Tucci, Alfredo Antonini, CBS Pan American Orchestra, Nestor Mesta Chayres, Juan Arvizu CBS, Latin American music on Google Books (English)
  72. ^ A Pictorial History of Radio, Settel, Irving. Grosset & Dunlap, New York, USA. 1960 & 1967, P. 146, Library of Congress # 67-23789 John Serry senior and Juan Arvizu photographed in the CBS Pan American Orchestra
  73. ↑ Moncho - Biography on Tiempo de boleros
  74. ↑ Brazilian bolero singer, who is oxymoronically called "El pequeño gigante de la canción" ("The little giant of song") because of his short stature : Se as flores pudessem falar (When the flowers could speak) - (Youtube video)
  75. ^ Media Sound and Culture In Latin America and the Caribbean Editors - Alejandra Bronfman and Andrew Grant Wood. University of Pittsburg Press 2012 p. 49 "Viva America", Elsa Miranda and Terig Tucci, Alfredo Antonini, CBS Pan American Orchestra, Nestor Mesta Chayres, Juan Arvizu CBS, Latin American music on Google Books (English)
  76. ^ Media Sound and Culture In Latin America and the Caribbean Editors - Alejandra Bronfman and Andrew Grant Wood. University of Pittsburg Press 2012 p. 49 "Viva America", Elsa Miranda and Terig Tucci, Alfredo Antonini, CBS Pan American Orchestra, Nestor Mesta Chayres, Juan Arvizu CBS, Latin American music on Google Books (English)
  77. ^ Tony Évora: El libro del bolero . Alianza Editorial, Madrid 2001, ISBN 84-206-4521-4 , pp. 427/453.
  78. ↑ Nelson Ned: Se as flores pudessem falar (If the flowers could speak; Brazilian Portuguese) - (Youtube video)
  79. ↑ Iris M. Zavala: El bolero. Historia de un amor. Celeste Ediciones, Madrid 2000, ISBN 84-8211-262-7 , pp. 175-229.
  80. ^ Tony Évora: El libro del bolero . Alianza Editorial, Madrid 2001, ISBN 84-206-4521-4 , pp. 407-414.
  81. ↑ Juan Montero Aroca: Bolero. Historia de un siglo de emociones. 2nd edition. Tirant Humanidades, Valencia, 2013, ISBN 978-84-15442-95-0 , pp. 393/394.
  82. ^ Roberto Strongman
  83. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America. and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, pp. 39-78. ( Abstract at JSTOR and full text in The Free Library )
  84. ↑ Ibid . P. 40.
  85. ↑ see for example: Chavela Vargas: Somos - (Youtube-Video)
  86. ↑ Iris M. Zavala: El bolero. Historia de un amor. Celeste Ediciones, Madrid 2000, ISBN 84-8211-262-7 , p. 32
  87. ↑ Vicente Francisco Torres: La novela bolero latinoamericana , El Centauro, Mexico DF 2008, ISBN 978-970-35-0076-5 : ( google book ).
  88. ^ Roberto Strongman: The Latin American Queer Aesthetics Of "El Bolereo" , p. 43
  89. ^ Roberto Strongman: The Latin American Queer Aesthetics Of "El Bolereo" , p. 61
  90. ↑ María Teresa Vera: He perdido contigo - (Yotube Video)
  91. ↑ Krudas Cubensi: ¡Vivan las gordas sin domesticar! , on the website of the Revista cultural de la juventud cubano
  92. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, p. 52. ( JSTOR 41800377 (abstract) and full text in The Free Library )
  93. ↑ Chavela Vargas: Anillo de compromiso - (Youtube video)
  94. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, ( p. 61 )
  95. ↑ Gioconda Marun: La función del bolero s "Boleros en la Habana" de Roberto Ampuero . In: Actas XIV Congreso AIH (Vol. IV); P. 405 (PDF) on Centro Virtual Cervantes .
  96. ^ Roberto Ampuero : Bolero in Havana . The New Berlin 1997, ISBN 978-3-360-01206-7
  97. ↑ Gioconda Marun: La función del bolero s "Boleros en la Habana" de Roberto Ampuero . In: Actas XIV Congreso AIH (Vol. IV) - cervantes.es (PDF) on Centro Virtual Cervantes .
  98. ↑ Agustín Lara interprets his tango ( Arráncame la vida ) - (Youtube video)
  99. ↑ Toña la Negra sings the bolero version of Arráncame la vida - (Youtube video)
  100. ↑ Alvaro Salvador Jofre: Novelas como boleros, boleros como novelas: una lectura de Arráncame la vida . In: Anales de Literatura Hispanoamericana , 1999, 28, pp. 1171-1190; revistas.ucm.es (PDF)
  101. ↑ Mayra Montero: La última noche que pasé contigo . Tusquets 2014, ISBN 978-8-48383-835-8 - German version: Bolero of passion . Galgenberg, Hamburg 1992, ISBN 978-3-87058-123-7 .
  102. ↑ Pedro Vargas interprets the Bolero La última niche que pasé contigo - (Youtube video)
  103. ^ Roberto Strongman: The Latin America Queer Aesthetics of El Bolereo. In: Canadian Journal of Latin America and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes. Vol. 32, No. 64, 2007, pp. 39-78. ( Abstract at JSTOR and full text in The Free Library )