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The triumph in the World Cup: the celebration of words Jesús Castañón Rodríguez From the 31st of May in Seul (South Korea) to the 30th of June, 2002 in Yokohama (Japan), a new appointment with the World Cup comes. A special edition due to the fact of being the first World Cup of the 21st century, the first time it is organized between two countries and the first time it is also celebrated in Asia. During that month, the official song and anthem's notes, performed by Anastacia and Vangelis respectively, will maintain the hundreds of supporter's dream in the whole world: the triumph in the tournament or competition. A win which forms a great celebration of language and goes beyond sport, figures, oceans of ink poured in the press, hours of broadcasting on radio or television and surfing in Internet. A great celebration of language where the Latin-American Community of Nations have already participated thanks to the Brazil's four triumphs and the Argentina and Uruguay's two championships. A parade of words starts, where eight countries from the Latin-American Community of Nations become collective characters in search of author: Argentina, Brazil, Ecuador, Spain, Mexico, Paraguay, Portugal and Uruguay. This social celebration in the 21st century has been a challenge to the sun where the footballers balanced their bodies, meanwhile the shoes of fantasy rocked and the feelings spoke loudly in the stand. The minds ran after the ball which brought sweat and yearning for glory into play, hopes in order to dribble the lacks and difficulties. Hearts beat with the regular rhythm of a creative energy capable of fusing together the Nobel Prize and the fan. The win in the World Cup has become a field of sport with complex feelings based on liberation for the effort, where the strong and brave sincerity is set up to the limit in order to run away from the essential and heartbreaking events like slavery or emigration, in order to run away from routine as well, monotony, numerous ways of rigid and complex societies with a lot of contrasts. It shapes a creative atmosphere based on lyricism, passion, bitterness and beauty in order to be lived through in clamor, dreams, fascination: heroes in the collective unconscious, dreams based on the eternal youth, happiness or freedom which transcend the limits of the hostile reality, desires to live and stop the time… Words in order to win the love of the ball The final win in the championship is a new dawn where words win the love of the ball. It's a new humanism which finds musicality in the bounce of the ball, in the journalistic reports or in the combination of words with other artistic displays. The heroes of the win The history of the journalistic reports of Latin-America in the World Cup is marked by legendary names, anecdotes, curiosities… The Ecuadorian Alfonso Laso Bermeo, the Spanish Matías Prats… are important people due to their constant presence in the different editions of the championship, and in a long list the Uruguayan Diego Lucero, settled in Argentina, puts on the top, after being the only journalist who was present in all the editions of the 20th century, between 1930 and 1994. The articles based on the win have become very publicly known in Brazil and Rio de la Plata, and have been transformed into texts of modern literature of fiction. A field of sport where words have contended for the match based on transforming the art of the field into cultural magic, where the tellers of the win have drawn the sideline up to form a diapason range based on happy and sad emotions in the fans, an atmosphere of signs of identity and also a source of turns of phrases and expressions which establish themselves in the popular fantasies. Uruguay: emotion without dramatic aspects Uruguay is important because of its predecessor characteristic, both in the radio narration in 1930 and in the creation of an emotive style without dramatic aspects in the final in 1950, when its win silenced Brazil. All through the 20th century, the Raúl Edilberto "Cacho" Barizzoni, Ignacio Domínguez Riera, Emilio Elena, Duilio de Feo, Lalo Fernández, Javier Máximo Goñi, Alberto Kesman, Víctor Hugo Morales, Carlos Muñoz, Chetto Pelliciari, Herber Pinto, Jorge da Silveira, Carlos Solé, Julio Villegas, Ricardo Zecca's articles and stories… have transformed the sky blue style into a reference for the language of the Spanish sport. In the World Cup in 1930, some basis were created in order to promote the experience of the matches with a magical dimension: each match was a social event, the win was national moral source and pride, and the final win was motive for an enthusiasm in abundance which filled with happiness and celebration the Montevideo streets. And for the language, a great part of the style we have lived with in the 20th century was settled, a style based on telling what can be seen impartially, using simple phrases, using an economy based on words in order to give agility and lightness and anticipating the goals before the multitude shouted them. It was a task which had as predecessors these names: Ignacio Domínguez Riera and Emilio Elena. In 1950, the magnetism and the immediacy of the stories led people to follow them in pubs, bars, public squares and opposite to the newspaper offices of the mass media. Their style based on going on the ball gave also rise to an intense emotion without dramatic aspects which caused happiness for the people, who not only were identified themselves with the footballers wearing the sky blue shirt, but they waited for the journalists in order to ask them their autographs as if they were the heroes in the final. A process where Carlos Solé, Duilio de Feo and Chetto Pelliciari are important, as well as the captain named Obdulio Varela with his phrase or expression "Los de afuera son de palo" and his celebration in the night of the win, who took refuge in a bar from Copacabana in order to drink till the dawn in cordial and kind company with the Brazilian fans. The Brazil's carnival planet The participation of Brazil in six semi-finals has given rise to stories and a dance of words as if they participated in the carnival, that planet full of contrasts where happiness and sadness are mixed magisterially. Thus, the history of the Brazilian selection team welcomes the atmosphere of inconsolable melancholy in the Ash Wednesday for the defeats in 1950 and 1998 before Uruguay and France. The team's loss became the brasileiro man's defeat, his failings and qualities' influence, an incurable grief in the soul, shouts with irremediable disillusion pulled up from their breasts by Obdulio Varela and Zidane. But it broke out in a world full of illusion and stars with light beams which make people dream about the tetra-championship. The epic named amarella which gives rise to that fantastic parade for words starts the 21st of April, 1957 when in Maracaná Didí scored a goal of folha seca, applied for the first time to Perú in a valid match for the ranking of the World Cup in 1958. For the memory, among a lot of other contributions, we have important people's voices and works carried out by the following authors: Geraldo José de Almeida, Fernando Calazans, Alberto Helena, Juca Kfouri, Pedro Luiz, Paulo Machado de Carvalho, Armando Nogueira, Sergio Noroña, Joseval Peixoto, Nelson Rodrigues or Matinas Suzuki, among others, with the difficult mission based on informing and exciting the torcedor, a fan who diminishes dramatic aspects and the importance of the win, who suffers with the win and acquires greater confidence with the defeat with a state of mind which evolves between the sad expression and the face flushed with satisfaction. They produced soft and sweet texts like a sigh, they created an epic narrative in order to perform the sounds of the words dramatically… to the extent of shaping a new world of art, culture and talent. In 1958, the footballers had a state of mind based on attractiveness, fantasy, improvisation and creativity which amazed the planet. The physical exuberance of football gifts achieved miracles in great numbers, transformed each goal into a national anthem, transformed football into a work of art, got even the illiterate people to read and read again newspapers and magazines voraciously. Brazilian people were rediscovered themselves with eagerness thanks to the Garrincha's game which evolved throughout the pitch like in a dance, with a state of soul which gave agility, expressiveness, lightness and crazy fancies. The World Cup in 1962, the bi, entailed the injury Pelé suffered became like a national melancholy which carries sad and inconsolable winds. But also the delirium after the triumph of the game's gleam and spark, especially after the epic of the semi-final against Chile where Brazil played against the team, the people, the mass media and the chain of the Andes. The reporters or columnists, with their deeply moved account of anguish in order to lead the most sentimental and weeping people in the world to the glory, led the Brazilian man's triumph to the uncontrollable euphoria, a Brazilian man who would represent Garrincha, a footballer with shattering and twisted legs who carried happiness, goodness and purity of the art of being Brazilian in his baby's bootees. The edition in 1970, the tri, was the exaltation of eternal moments, of perfect moves which don't need finishing touches like the prize-winning cow's health, moves carried out with a brilliant slowness. It was the definitive burial of the spirit in 1950 thanks to an harmonious, expressive, articulate and beautiful game like a music which led the apotheosis to the city to the extent of exploding in a new carnival. The edition in 1994, the tetra, was the awakening of the long dream without championships, though the triumph of the series of penalties and the brilliance of the developed game couldn't be classified as dance like in the three previous occasions. The Argentina's enormous passion In Argentina, emphasis and synthesis are embraced each other since 1924, date of the first broadcasting of football in a match between Argentina and Uruguay, and in this way, in the collective memory there are the brothers' voices and writings left and which are the following: D'Agostino, Marcelo Araujo, Enzo Ardigó, Alfredo Aróstegui, Luis Aróstegui, Horacio Beblo, Ricardo Lorenzo "Borocotó", Julio César Calvo, Alejandro Fantino, Fioravanti, Julio Ricardo García Blanco, Luis García del Soto, Diego Lucero, Juan José Lujambio, Enrique Macaya Márquez, Julio César Marini, Tito Martínez Delbox, José María Muñoz, Fernando Niembro, Lalo Pelliciari, Luis Elías Sojit or Bernardino Veiga, among others. Some stories became very publicly known in 1978 like the ones written by "El relator de América", José María Muñoz, with his style based on marking each move or the goal which was going to be scored and the narration of the goals from the edition in 1986 in the charge of Víctor Hugo Morales, with his ta, ta, ta… or the recreation of dialogues which were produced in the pitch. Thus, the stories of the triumph in 1978 were compiled in sound recordings and the narration of the Maradona's goal to England in Mexico, 1986 was inserted in musical compositions or the weekly's cover El Gráfico with the title "No llores por mí, Inglaterra" remains fixed in the retinas.
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