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‘Betances suena así’ en la conciencia {'Betances sounds like this' in consciousness}

At the juncture of fiscal bankruptcy and one of the worst values ​​crisis in Puerto Rico's recent history, “Betances suena así”, {"Betances sounds like this"} emerges as a call to the collective conscience to rebuild the nation by force of sacrifice in the defense of its dignity.
Conceptualized by Tito Auger and Tito Román Rivera, with the advice of historian Félix Ojeda Reyes, the soundtrack "Betances suena así" consists of two compact discs in which are distributed around a score of songs that the night of Saturday 9 of May were Interpreted by an enthusiastic representation of the talent of the contemporary popular song; Young songwriters, performers and instrumentalists who are characterized by their sensitivity and intellect.
Each one from its corner contributes to the historical transcendence of the patrician Betances; Which in the present era neoliberal outlines, from their voices and instruments, as the consciousness of Borinquen; Releasing subtle cultural and institutional gags to challenge the country about the urgency of solidarity in the meeting to save the Nation from the faintness and extermination of its identity.
In mid-2015, the soundtrack "Betances Sounds Like That" reconfirms the usefulness of music as an expression of the documentation of the history of peoples and their struggles, as in recent times other artists have done around the figures of Eugene María de Hostos and Pedro Albizu Campos and events such as the American invasion of 1898, the presence of the US Navy in Vieques and now the clamor for the release of Óscar López Rivera.
As we pointed out above, each artist honors Betances from its corner or cultural referent. With the resource of spoken poetry and the "spoken Word", Hermes Ayala synthesized Betanes' gestation, accompanied by the barrels of Bataklán. Pirulo Rosado, with his Tribe, contributed a hot version of the composition "Soy antillana" by Marilyn Pupo that popularized in the late 70's Celia Cruz and Sonora Ponceña. Mijo de la Palma, with its acoustic proposal, undressed the libertarian vate that beats in Betances with his delivery of "Step by step".

And so, with a complacent display of their musicality, some of singular sophistication and others of eloquent simplicity, the artists succeeded in the scene, participating the sovereign of a heterogeneous parade of musical forms and legitimate artistic styles, evident in the works of Mikie Rivera, Tito Auger & Walter Morciglio, Bataklán, Dulce de Coco, Juan José Hernández and Sebastián Andrés, Lizbeth Román, Chabela Rodríguez, and the collaboration of the singer Willito Otero, the plenero Charlie Pizarro and the cuatrista Manny Trinidad in "Doctor of the poor ", among others.

The dance "Requiem for Lita", original of its interpreter Juan Pablo Diaz, triggers in a tasty chachachá, rich in counterpoints obtained by its combination of symphonic and Afro-Caribbean instruments, besides the beautiful melody conceived by the author to recreate the love of Betances By his girlfriend Maria del Carmen Henri, who dies at age 21 suffering from typhoid fever.

As a colophon, the poet Luis Díaz and Intifada emphasized the speech of Betances in favor of the self-determination of Borinquen and his contest, as a free and sovereign nation, in the West Indian confederation, with the forceful verses of "Heaven for assault", inspired by The question that used to repeat the hero: What happens to Puerto Ricans who do not rebel?

Que Dios Bendiga Nuestra Patria y a Todos Sus Hijos. May God Bless Our Country and All His Children.

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