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Lila Downs Sings About Detained Children in New Manu Chao Cover

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When I think of social justice singer/songwriters, especially an artist that advocates for Latinos and indigenous people, there’s one that always comes to mind: Lila Downs. The Mexican songstress, by way of Oaxaca, has been bringing audiences prideful Mexican culture and music since the early ’90s. Her music resonates because of her powerful lyrics and voice, and she’s using that to bring awareness to the injustices happening at the border. Her new single titled “Clandestino” revamps the Manu Chao original to bring a beautiful rendition in which she takes on immigration by targeting the U.S. government and their appalling treatment of undocumented children. According to a press release statement, Downs “airs political grievances with U.S.-Mexico immigration policies and the detention centers holding migrant children.” In the song, she poses the question “If we don’t fight for the children, what will become of us?” The song will be featured on her new album Al Chile set to be re...
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La historia detrás de "Cariñito".

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Una noche de 1979 Rodolfo Aicardi llegó feliz a los estudios de grabación de Discos Fuentes y le dijo a Pedro Muriel: “Tengo el éxito para este año. Lo escuché en Ecuador y vamos a grabarlo”. En un casete estaba la interpretación de una orquesta peruana, “Los hijos del sol”. Escucharon las dos estrofas que tiene la canción: “Lloro por quererte / Por amarte y por desearte/ Lloro por quererte/ Por amarte y por desearte /Ay cariño ay mi vida. Nunca pero nunca/ Me abandones cariñito/ Nunca pero nunca/ Me abandones cariñito”. Eso era todo. Nada más decía la letra, pero tenía sentimiento. De inmediato Pedro Muriel –el grabador de más de 300 grandes éxitos de Discos Fuentes—llamó al equipo de Los Hispanos. El maestro Luis Carlos Montoya, experimentado arreglista para los temas tropicales se encargó de los arreglos. Ya había dado resultado con “Boquita de Caramelo” que había servido de resurgimiento para Rodolfo y ahora tendrían otro gran éxito. Lo presagiaban. Luis Carlos Monto...
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Border crossings - The imaginary lines of Lila Downs

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WORDS THAT HURT: Downs's new album documents the war on the Mexican-American border. BY JOSH KUN Susan Sontag began her recent acceptance speech for the Jerusalem Prize, which is awarded annually to a writer who examines the relationship between freedom and individuality, by talking about words. She spoke of how words are never just words, especially words that are big and over-arching and general. These words, she said, can come to “resemble rooms or tunnels. They can expand or cave in.” Because they mean so much, they can end up meaning so little. She gave as an example “peace,” a word that can mean either victory or defeat depending on who employs it and who it is employed against. It is of course no coincidence that she offered her comments in the Middle East, at yet another moment of crisis in the Israeli/Palestinian conflict. Such moments force us to re-evaluate how the world becomes narrative, how society is transformed by the language that pretends to represent it...
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