Rozalén - La Puerta Violeta
Rozalén - La Puerta Violeta
Letra:
Una niña triste en el espejo me mira prudente y no quiere hablar
Hay un monstruo gris en la cocina
Que lo rompe todo
Que no para de gritar
Tengo una mano en el cuello
Que con sutileza me impide respirar
Una venda me tapa los ojos
Puedo oler el miedo y se acerca
Tengo un nudo en las cuerdas que ensucia mi voz al cantar
Tengo una culpa que me aprieta
Se posa en mis hombros y me cuesta andar
Pero dibujé una puerta violeta en la pared
Y al entrar me liberé
Como se despliega la vela de un barco
Desperté en un prado verde muy lejos de aquí
Corrí, grité, reí
Sé lo que no quiero
Ahora estoy a salvo
Una flor que se marchita
Un árbol que no crece porque no es su lugar
Un castigo que se me impone
Un verso que me tacha y me anula
Tengo todo el cuerpo encadenado
Las manos agrietadas
Mil arrugas en la piel
Las fantasmas hablan en la nuca
Se reabre la herida y me sangra
Hay un jilguero en mi garganta que vuela con fuerza
Tengo la necesidad de girar la llave y no mirar atrás
Así que dibujé una puerta violeta en la pared
Y al entrar me liberé
Como se despliega la vela de un barco
Desperté en un prado verde muy lejos de aquí
Corrí, grité, reí
Sé lo que no quiero
Ahora estoy a salvo
Así que dibujé una puerta violeta en la pared
Y al entrar me liberé
Como se despliega la vela de un barco
Amanecí en un prado verde muy lejos de aquí
Corrí, grité, reí
Sé lo que no quiero
Ahora estoy a salvo
Canciones por la igualdad de género
BOB DILAN - NINA SIMONE- MORIS - JOHN LENNON- TINA TURNER -
BOB DILAN
The lonesome death of Hattie Carroll (The Times They Are a-Changin', 1963)
Si en los Estados Unidos de mitad del siglo XX eras negra y mujer, tenías una condena doble. Los afroamericanos no podían compartir el transporte público con los blancos, por citar solo un ejemplo liviano de la brutal discriminación racial que existía en ese país. En The lonesome death of Hattie Carroll, un joven Dylan narra detalladamente la historia de una cocinera negra que fue matada a golpes por un tabacalero blanco rico, que entró borracho a un hotel y descargó su rabia contra los empleados, todos afroamericanos. La canción también denuncia la hipocresía de una sociedad pasiva ante el crimen: “Y ustedes, que discuten la desgracia y critican todo temor/ quítense la máscara de la cara / ahora no es momento para sus lágrimas”.
Letra de la canción y traducción:
William Zanzinger killed poor Hattie Carroll
With a cane that he twirled around his diamond ring finger
At a Baltimore hotel society gath'rin'.
And the cops were called in and his weapon took from him
As they rode him in custody down to the station
And booked William Zanzinger for first-degree murder.
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
William Zanzinger, who at twenty-four years
Owns a tobacco farm of six hundred acres
With rich wealthy parents who provide and protect him
And high office relations in the politics of Maryland,
Reacted to his deed with a shrug of his shoulders
And swear words and sneering, and his tongue it was snarling,
In a matter of minutes on bail was out walking.
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
Hattie Carroll was a maid of the kitchen.
She was fifty-one years old and gave birth to ten children
Who carried the dishes and took out the garbage
And never sat once at the head of the table
And didn't even talk to the people at the table
Who just cleaned up all the food from the table
And emptied the ashtrays on a whole other level,
Got killed by a blow, lay slain by a cane
That sailed through the air and came down through the room,
Doomed and determined to destroy all the gentle.
And she never done nothing to William Zanzinger
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
In the courtroom of honor, the judge pounded his gavel
To show that all's equal and that the courts are on the level
And that the strings in the books ain't pulled and persuaded
And that even the nobles get properly handled
Once that the cops have chased after and caught 'em
And that the ladder of law has no top and no bottom,
Stared at the person who killed for no reason
Who just happened to be feelin' that way without warnin'.
And he spoke through his cloak, most deep and distinguished,
And handed out strongly, for penalty and repentance,
William Zanzinger with a six-month sentence.
Oh, but you who philosophize disgrace and criticize all fears,
Bury the rag deep in your face
For now's the time for your tears.
NINA SIMONE
Four Women (Wild Is the Wind, 1966)
En plena tensión racial, Nina Simone elige cuatro mujeres para describir las secuelas de la esclavitud, la violación y el abuso de menores. El relato es desgarrador y explícito. Nina canta como si fuera esas cuatro mujeres afroamericanas. La base jazzera del piano impone una lenta agonía que explota al final. Una de las mejores canciones que documentan los agitados años 60.
Letra de la canción y traducción:
My skin is black
My arms are long
My hair is woolly
My back is strong
Strong enough to take the pain
inflicted again and again
What do they call me
My name is AUNT SARAH
My name is Aunt Sarah
My skin is yellow
My hair is long
Between two worlds
I do belong
My father was rich and white
He forced my mother late one night
What do they call me
My name is SAFFRONIA
My name is Saffronia
My skin is tan
My hair is fine
My hips invite you
my mouth like wine
Whose little girl am I?
Anyone who has money to buy
What do they call me
My name is SWEET THING
My name is Sweet Thing
El álbum debut de Moris tiene varios temas inolvidables, como Ayer nomás, Pato trabaja en una carnicería y De nada sirve. A esas canciones pioneras del rock nacional se le suma Escúchame entre el ruido, que habla del miedo del hombre por reconocer su lado femenino y denuncia la educación machista a la que es sometido, que le impide “ser como una flor”. “El hombre tiene miedo de su sexo también / y niega la mujer que lleva dentro de el”, es la frase insignia de la letra y de la propia carrera de Moris.
Letra :
El hombre tiene miedo de ver la verdad,
de ver que él era algo que no podía definir..
de ver que al fin su sexo pudo ser o no ser
que no era absoluto, que podía ser la flor...
El hombre tiene miedo de su sexo también
y niega a la mujer que lleva dentro de él
¿Qué flor le daré a aquel que vive sin amor?
la flor de mil y un sexos, la flor de un creador...
Cuando él era muy pequeño, él sabia vivir,
todo era pureza, mamá y papá
si después creció, sufrió y lloró
¿dónde estará la flor, dónde está el que se fue?
Un día la farsanta, nuestra gran sociedad...
Le dijo mil mentiras, lo metió en un corral,
le dijo que su sexo él tenía que ocultar,
la flor se marchitó, no pudo ver el sol...
JOHN LENNON
Woman is the nigger of the world (Sometime in New York City, 1972)
Después de conocer a Yoko Ono, Lennon abrazó la militancia por la paz y por los derechos de las mujeres. Incluso llegó a agregarse el apellido de su segunda esposa: pasó a llamarse John Winston Ono Lennon. En Woman is the nigger of the world hace una síntesis sobre la opresión que vive cotidianamente la mujer y, de paso toca, el tema racial, ya que como bien dice el título, “la mujer es el negro del mundo”. “La insultamos todos los días en la TV”, “si no es nuestra esclava, decimos con no nos ama”, son algunas de las frases más picantes de la canción, que suenan actuales 40 años después.
Letra de la canción y traducción:
Woman is the nigger of the world
yes she is...think about it
woman is the nigger of the world
think about it...do something about it
We make her paint her face and dance
if she won't be a slave, we say that she don't love us
if she's real, we say she's trying to be a man
while putting her down, we pretend that she's above us
Woman is the nigger of the world...yes she is
if you don't believe me, take a look at the one you're with
woman is the slave of the slaves
ah, yeah...better scream about it
We make her bear and raise our children
and then we leave her flat for being a fat old mother hen
we tell her home is the only place she should be
then we complain that she's too unworldly to be our friend
Woman is the nigger of the world...yes she is
if you don't believe me, take a look at the one you're with
woman is the slave to the slaves
yeah...alright...hit it!
We insult her every day on tv
and wonder why she has no guts or confidence
when she's young we kill her will to be free
while telling her not to be so smart we put her down for being so dumb
Woman is the nigger of the world
yes she is...if you don't believe me, take a look at the one you're with
woman is the slave to the slaves
yes she is...if you believe me, you better scream about it
We make her paint her face and dance
we make her paint her face and dance
we make her paint her face and dance
we make her paint her face and dance
we make her paint her face and dance
we make her paint her face and dance
Tina Turner
What's Love Got to Do With It (Private Dancer, 1984)
La elección de este tema es simbólica: la letra en sí no habla de la igualdad de género, pero representa la vuelta al estrellato de Tina Turner luego de dejar atrás una etapa muy dramática en su vida. El mismo título llevó la película de 1993 que muestra detalladamente la violencia física y psicológica que Ike Turner ejerció sobre la cantante en los tiempos de Ike & Tina Tuner.
Letra de la canción y traducción:
You must understand though the touch of your hand
Makes my pulse react
That it's only the thrill of boy meeting girl
Opposites attract
It's physical
Only logical
You must try to ignore that it means more than that ooo
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
It may seem to you that I'm acting confused
When you're close to me
If I tend to look dazed I've read it someplace
I've got cause to be
There's a name for it
There's a phrase that fits
But whatever the reason you do it for me ooo
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
BOB DILAN
The lonesome death of Hattie Carroll (The Times They Are a-Changin', 1963)
Letra de la canción y traducción:
William Zanzinger killed poor Hattie Carroll
With a cane that he twirled around his diamond ring finger
At a Baltimore hotel society gath'rin'.
And the cops were called in and his weapon took from him
As they rode him in custody down to the station
And booked William Zanzinger for first-degree murder.
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
With a cane that he twirled around his diamond ring finger
At a Baltimore hotel society gath'rin'.
And the cops were called in and his weapon took from him
As they rode him in custody down to the station
And booked William Zanzinger for first-degree murder.
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
William Zanzinger, who at twenty-four years
Owns a tobacco farm of six hundred acres
With rich wealthy parents who provide and protect him
And high office relations in the politics of Maryland,
Reacted to his deed with a shrug of his shoulders
And swear words and sneering, and his tongue it was snarling,
In a matter of minutes on bail was out walking.
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
Owns a tobacco farm of six hundred acres
With rich wealthy parents who provide and protect him
And high office relations in the politics of Maryland,
Reacted to his deed with a shrug of his shoulders
And swear words and sneering, and his tongue it was snarling,
In a matter of minutes on bail was out walking.
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
Hattie Carroll was a maid of the kitchen.
She was fifty-one years old and gave birth to ten children
Who carried the dishes and took out the garbage
And never sat once at the head of the table
And didn't even talk to the people at the table
Who just cleaned up all the food from the table
And emptied the ashtrays on a whole other level,
Got killed by a blow, lay slain by a cane
That sailed through the air and came down through the room,
Doomed and determined to destroy all the gentle.
And she never done nothing to William Zanzinger
She was fifty-one years old and gave birth to ten children
Who carried the dishes and took out the garbage
And never sat once at the head of the table
And didn't even talk to the people at the table
Who just cleaned up all the food from the table
And emptied the ashtrays on a whole other level,
Got killed by a blow, lay slain by a cane
That sailed through the air and came down through the room,
Doomed and determined to destroy all the gentle.
And she never done nothing to William Zanzinger
But you who philosophize disgrace and criticize all fears,
Take the rag away from your face.
Now ain't the time for your tears.
In the courtroom of honor, the judge pounded his gavel
To show that all's equal and that the courts are on the level
And that the strings in the books ain't pulled and persuaded
And that even the nobles get properly handled
Once that the cops have chased after and caught 'em
And that the ladder of law has no top and no bottom,
Stared at the person who killed for no reason
Who just happened to be feelin' that way without warnin'.
And he spoke through his cloak, most deep and distinguished,
And handed out strongly, for penalty and repentance,
William Zanzinger with a six-month sentence.
Oh, but you who philosophize disgrace and criticize all fears,
Bury the rag deep in your face
For now's the time for your tears.
NINA SIMONE
Four Women (Wild Is the Wind, 1966)
En plena tensión racial, Nina Simone elige cuatro mujeres para describir las secuelas de la esclavitud, la violación y el abuso de menores. El relato es desgarrador y explícito. Nina canta como si fuera esas cuatro mujeres afroamericanas. La base jazzera del piano impone una lenta agonía que explota al final. Una de las mejores canciones que documentan los agitados años 60.
Letra de la canción y traducción:
My skin is black
My arms are long
My hair is woolly
My back is strong
Strong enough to take the pain
inflicted again and again
What do they call me
My name is AUNT SARAH
My name is Aunt Sarah
My arms are long
My hair is woolly
My back is strong
Strong enough to take the pain
inflicted again and again
What do they call me
My name is AUNT SARAH
My name is Aunt Sarah
My skin is yellow
My hair is long
Between two worlds
I do belong
My father was rich and white
He forced my mother late one night
What do they call me
My name is SAFFRONIA
My name is Saffronia
My hair is long
Between two worlds
I do belong
My father was rich and white
He forced my mother late one night
What do they call me
My name is SAFFRONIA
My name is Saffronia
My skin is tan
My hair is fine
My hips invite you
my mouth like wine
Whose little girl am I?
Anyone who has money to buy
What do they call me
My name is SWEET THING
My name is Sweet Thing
My hair is fine
My hips invite you
my mouth like wine
Whose little girl am I?
Anyone who has money to buy
What do they call me
My name is SWEET THING
My name is Sweet Thing
Letra :
El hombre tiene miedo de ver la verdad,
de ver que él era algo que no podía definir..
de ver que al fin su sexo pudo ser o no ser
que no era absoluto, que podía ser la flor...
El hombre tiene miedo de su sexo también
y niega a la mujer que lleva dentro de él
¿Qué flor le daré a aquel que vive sin amor?
la flor de mil y un sexos, la flor de un creador...
Cuando él era muy pequeño, él sabia vivir,
todo era pureza, mamá y papá
si después creció, sufrió y lloró
¿dónde estará la flor, dónde está el que se fue?
Un día la farsanta, nuestra gran sociedad...
Le dijo mil mentiras, lo metió en un corral,
le dijo que su sexo él tenía que ocultar,
la flor se marchitó, no pudo ver el sol...
JOHN LENNON
Woman is the nigger of the world (Sometime in New York City, 1972)
Después de conocer a Yoko Ono, Lennon abrazó la militancia por la paz y por los derechos de las mujeres. Incluso llegó a agregarse el apellido de su segunda esposa: pasó a llamarse John Winston Ono Lennon. En Woman is the nigger of the world hace una síntesis sobre la opresión que vive cotidianamente la mujer y, de paso toca, el tema racial, ya que como bien dice el título, “la mujer es el negro del mundo”. “La insultamos todos los días en la TV”, “si no es nuestra esclava, decimos con no nos ama”, son algunas de las frases más picantes de la canción, que suenan actuales 40 años después.
Letra de la canción y traducción:
| Woman is the nigger of the world yes she is...think about it woman is the nigger of the world think about it...do something about it We make her paint her face and dance if she won't be a slave, we say that she don't love us if she's real, we say she's trying to be a man while putting her down, we pretend that she's above us Woman is the nigger of the world...yes she is if you don't believe me, take a look at the one you're with woman is the slave of the slaves ah, yeah...better scream about it We make her bear and raise our children and then we leave her flat for being a fat old mother hen we tell her home is the only place she should be then we complain that she's too unworldly to be our friend Woman is the nigger of the world...yes she is if you don't believe me, take a look at the one you're with woman is the slave to the slaves yeah...alright...hit it! We insult her every day on tv and wonder why she has no guts or confidence when she's young we kill her will to be free while telling her not to be so smart we put her down for being so dumb Woman is the nigger of the world yes she is...if you don't believe me, take a look at the one you're with woman is the slave to the slaves yes she is...if you believe me, you better scream about it We make her paint her face and dance we make her paint her face and dance we make her paint her face and dance we make her paint her face and dance we make her paint her face and dance we make her paint her face and dance |
Tina Turner
What's Love Got to Do With It (Private Dancer, 1984)
La elección de este tema es simbólica: la letra en sí no habla de la igualdad de género, pero representa la vuelta al estrellato de Tina Turner luego de dejar atrás una etapa muy dramática en su vida. El mismo título llevó la película de 1993 que muestra detalladamente la violencia física y psicológica que Ike Turner ejerció sobre la cantante en los tiempos de Ike & Tina Tuner.
Letra de la canción y traducción:
You must understand though the touch of your hand
Makes my pulse react
That it's only the thrill of boy meeting girl
Opposites attract
It's physical
Only logical
You must try to ignore that it means more than that ooo
Makes my pulse react
That it's only the thrill of boy meeting girl
Opposites attract
It's physical
Only logical
You must try to ignore that it means more than that ooo
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
It may seem to you that I'm acting confused
When you're close to me
If I tend to look dazed I've read it someplace
I've got cause to be
There's a name for it
There's a phrase that fits
But whatever the reason you do it for me ooo
When you're close to me
If I tend to look dazed I've read it someplace
I've got cause to be
There's a name for it
There's a phrase that fits
But whatever the reason you do it for me ooo
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
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