“El Tarzán de las colas”, a theme musical interpretation by Alejandro García “Virulo” and Kelvis Ochoa to ridicule the “coleros” llamas and the people who in all of Cuba are concentrating on the markets where first-hand products are needed , caused the outrageous reaction of users of social media.
The song and video that the companion, produced by the Ministry of Culture (MINCULT) and the EGREM state disc, will be published on November 26, 2020 in open reception, but through his recent exhibition on national television the people known for his existence.
“Virulo”, who is also the author of the theme “Con Cuba no te metas”, responds from MINCULT to the San Isidro Movement and the collective of 27N, ironic in the letter of “El Tarzán de las colas” from the anecdote that Circulation during the vernacular takes place on individuals who from the madrugan are subject to the eyebrows in the searches of the tents to mark in the coals are detected by the Police, which prohibit agglomerations in their houses.
This solution, among other things used by people to make their purchases in the midst of serious disastrous events that afflict the Isle since the pandemic of Covid-19, is commented on by the wording that “hay gente que se aprovecha / de tanta necesidad / if they are the ones they are / they are the ones who are salty / they are the ones who allow them / they are all ours “.
The theme, which from its estrangement on YouTube and has the charm of this note has a total of more than 3,500 reproductions, 200 responses “I do not like” and less than 100 “I like”, has provoked critical criticism on social media.
“This product wholesale the list of stores with which the power in Cuba distracts the attention of the problems it has, has created and is not necessary to resolve”, on his Facebook wall the artist Julio Llópiz-Casal.
“It’s socridiscimate to insist that the boys are the culprits of what Cuban aunts have to do with the pain they have to deal with in their own way (…) In the same way, insisting that Covid’s cases are due to the people not being even if the current Cuban economy collapses (as Abel Prieto did on December 5, before a group of young artists) because of the embargo and because of the megalithic incapacity of the Central Administration to release the forces productivas, dynamize the system and dynamizos them different steps “, signaled.
También artist Janet Batet commented on her own publication: “Naturalize the cola is a gross and cynical aberration. Scare the culpa to the collar, more of the same: water from ‘dale al que no te dio’. Desviar la atención. Hacer that the genteel busque finds its genuine frustration against another victim engraved by the same system. What characters do you know they perform for your game. Vergüenza ajena. Me pregunto cómo pueden dormir “.
“The only thing that is true is the vivieron of capitalism many years ago and dudo that in Cuba hayan hecho una cola … son sucios”, sub-Sahily Borrero, referring to the years in which Ochoa and “Virulo” resided in Spain and Mexico, respectively.
También artist Camila Lobón, activist of 27N, underlined in his own wall: “Es verschrikkelijke eso de banalizar tragedia al servicio del poder que la causa ya la altura de sus edades, no deberían permitirse semejantes torpezas, cuando no hypocroses. “You are musician hagan colas. From hacerlas, but we are illuminated by sean masoquistas, sabrían que hay comicidad alguna en horas, días, meses, años, de vida y trabajo malgastados en malcomer y malvivir”.
For his part, the periodical José Raúl Gallego recorded: “When vayan to call ‘pagados’ women who do their art or work in criticizing what is bad in Cuba, recuerden that this ‘hymn against the blacks’ and other themes similar to the patron (paga) the Ministry of Culture, the Institute of Music and the EGREEM (public money, of all ours) “.
The video of the song went viral on the official media, the MINCULT, the UNEAC and the prop Miguel Díaz-Canel, among other officials, arrested against the theme “Patria y Vida”, as the Minister of Culture Abel Prieto calificó as “a musical panel” and “a strategy associated with the change of mandate in the United States and in the wake of the more extreme groups of Florida to a transformation in bilateral politics”.