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The triumph in the World Cup: the celebration of words Words in order to win the love of the ball (2) Jesús Castañón Rodríguez Words start dancing If football is the people's art in America, its exaltation is increased in the extreme when it is allied itself with music in order to create popular image and culture batucando (tapping or beating) the words with rhythm, cadence and freedom. All through the 20th century, the World Cup has achieved this by means of three ways. The first way occurs with the world champions who have jumped into the song pitch. Firstly, as professional musicians thanks to the tangos violinist Raimundo "Mumo" Orsi, international with Argentina and Italy, champion in 1934. Secondly, with special recordings like the ones carried out by the Brazilian Pelé with Elis of the themes "Perdâo, nâo tem" and "Vexamâo" in 1969 as well as by the Argentinian Maradona with the Pimpinela duet and with themes such as "Querida amiga" in the eighties. And thirdly, with the celebration of concerts where supporters and players participate in order to share, with the smile on the mouth and the clapping on the hand, the conquered exploits once in the edition in 1982, Zico, Junior and Sócrates sang with the supporters in Seville after their wins in the first phase of the tournament. A second way has been the participation of Latin music as the championship's official anthem. It's the case of the edition in 1998 and "La Copa de la vida", performed by the Puerto Rican Ricky Martin. This intense road, path of emotions and feelings has promoted the Latin-American record industry's interests and given rise to a third way: the composition of special hymns in order to turn up for the great appointment. In the edition in 2002 Portugal with Luis Figo, who was in the lead, Spain with the television program Operación Triunfo and Brazil, where Pelé sings "Em busca del penta" are some of the examples. And the world record industry's interest is so important that the American singer Madonna will perform very soon several football themes together with others by Caetano Veloso and Gilberto Gil in the historical movie "Alegria, a paixâo do futebol". The alliance with music and words is increased in the extreme with the win. The shared eagerness for the triumph goes out of favelas (shanty towns), holes, attics and buildings in order to go for a walk along the streets and avenues showing fantasy.
The predecessor in this task, like in many others connected with football, has been Uruguay. And thus, the eagerness for the wins in 1930 and 1950 is reflected in tangos and bands of street musicians for the carnival. It's the case of the themes "Uruguayos campeones" in 1930- which was previously a tango by Francisco Canaro entitled "La Brisa", although the version which transforms Omar Odriozola into author exists as well, as author of a song performed by a band of street musicians-, "Cuando juega Uruguay" - by Raúl Castro and Jaime Roos- and the case of the carnival bands of street musicians entitled "Celeste" and "Vayan pelando las chauchas".
In Brazil, the state of euphoria caused by the wins generates an atmosphere which throws into relief the recovery of fraternity, the pleasure of living together, the abundance of magical circumstances, the great men's generosity and the talented people's naturalness. Sambas, choros, Brazilian Popular Music songs are the sound tracks in order to sing to the unbeatable aspects formed in trust, certainty and optimism. Carnival has become pitch for letters with football theme since 1958. Triumph marched down to the sound of the march made up by Wilson Batista, Jorge Castro and Nóbrega in 1959 (where Garrincha appears quoted) and it is also present at compositions by Jackson do Pandeiro in 1958 so that Didi, Garrincha and Pelé can play in the letters' pitch. Also, allusions to the editions in 1966 are registered in "Que coisa chata" by Jackson do Pandeiro, Álvaro Castilho and Anastasio Silva, and in 1974, in "Vamos para o tetra-campeâo" by Tiâo Rodrigues and where Didi, Amarildo, Vavá and Garrincha, Jair, Tostâo and Pelé are present at these lyrics. Besides, the canarinho new revival found its musical post in "Alegria do povo" by Moraes Moreira. The transformation from football myths to musical heroes was for Garrincha and Pelé. Thus, musically, Mané Garrincha figure was glossed or commented in "Feticeiro da Pelota", by Jorge Castro and Luiz Wanderley after the bi-championship in 1962, "Garrincha-chá-chá-chá" by Rutinaldo, "Jogo de vedetes" by Paolo Sammartano, "O Balanço do Garrincha" by Palmeira and Celso dos Santos, "Maria espingarda" by Jorge de Costa and Zé da Glória, "Choro do Mané" by Sergio Botto and Guilherme Godoy, as well as in "Linha de Passe" by Joao Bosco, Paulo Emilio and Aldyr Blanc. But the end of the Brazilian dream was also registered with the heroes of the tri-championship in "Linha de Passe" by Joao Bosco, Paulo Emilio and Aldyr Blanc and in the "Balada numero 7" by Alberto Luiz throwing into relief the Mané Garrincha and Pelé's decline, respectively.
In Argentina, tangos and rock will triumph as ways for the win after a long fight. Tango and football are destiny's dribbles, subtle moves which are made with the legs in order to bewilder the occasional enemy. And rock and roll throws into relief the hopeful search for an ideal path which becomes truth after a permanent fight against worries, robbed eagerness or perverse adversities which tried to destroy its life. Thus, the win in 1978 gave rise to eight triumphal compositions: Marcha oficial del Mundial'78, The hit of Viva el Mundial, Los chicos del Mundial, La Copa tiene dueño, La Copa es de Argentina, El equipo del Mundial, Argentina, te queremos ver campeón and Argentina, te llevo dentro de mí. Process which culminates in the final phase of Spain, in 1982, with La milonga clementera based on the Caloi pictorial humorist's character. Since the win in 1986, in Mexico, the style changes and the win is focused on the Diego Armando Maradona figure, with his facet of rebellious hero with charisma in order to excite his people and also with his facet of angel with the wings injured. His evolution between 1986 and his retreat in 2001, in Europe and Argentina, was transformed into music thanks to the Argentinian names: Andrés Calamaro, Charly García, Ricky Maravilla, Fito Páez, Rodrigo and Los Piojos, the French names: Mano Negra and Manu Chao and the Uruguayan singer Julio Lacarra. The foot's enchantment To sum up, the triumph in the final of the World Cup generates a foot's enchantment which proclaims a new humanism which leads us to liberation by means of effort and transforms football into art and culture. For the history of Latin-American Community of Nations, Uruguay defined the path of journalism, literature and music with an innovatory characteristic and at the same time predecessor of positive emotions; Argentina, the celebration based on the pictorial humor and the passion which goes beyond the limits which were set; Brazil, sonority and dance harmonized by fantasy and the original talent. The game based on language stimulates pupils and leads happiness to their people in order to be rediscovered with eagerness in a celebration based on intelligence which transforms hostile realities, compensates old frustrations which weren't never healed up or dreams of new spaces of vitality, fancy and freedom. The foot's enchantment will win again the love of the words in the 21st century.
BARELLA, Humberto: El tango después de Gardel. Buenos Aires: Corregidor Publishing House, 2000. CASTAÑÓN RODRÍGUEZ, Jesús: "Gambetas que encandilan las pupilas", La Página del Idioma Español, Río de Janeiro, 21st of December, 2000 (In http://www.el-castellano.com/diego.html). EDUARDO RAFAEL: "El deporte y Gardel", in Gardel Extra III ¡Qué los cumpla feliz, Troesma! Los Ángeles: Tango Reporter, 1998. FERRARO, Sergio: Argentina en los Mundiales. Buenos Aires: Sudamericana, 1998. HARRISON, David-DAVIS, Mark: Sporting fever. British Broadcasting Corporation-WGBH Boston, London, 1995. MACGOWAN, Chris-PESANHA, Ricardo: Músicas do Brasil. Barcelona: Time Life, 1998. MARADONA, Diego Armando: Yo soy el Diego de la gente. Buenos Aires: Planeta, 2000. - Yo soy el Diego de la gente. Sin censuras. Buenos Aires: Sony, 2000. ROMANO, Eduardo, Las letras del tango, Antología cronológica 1900-1980, Córdoba, Fundación Ross Publishing house, 2000. SESSA, Aldo, Tango, Buenos Aires, Publishers Sessa, 1999. ZONA DE OBRAS: Gol!!!, Zaragoza: 1996. - Especial Fútbol mundial. Zaragoza, 1998. Record references MARTIN, Ricky: La Copa de la vida. Argentina BEVACQUA, Hilda: Los chicos del Mundial. CALAMARO, Andrés: Maradona. CALOI-OLIVER-VEZZANI, A.-FARUK-GURVICH, N.-DOLINA, A. R.: La milonga clementera. CHAO, Manu: Santa Maradona. DARRE, Martin: Marcha oficial del Mundial '78. GARCÍA,
Charly: Maradona Blues. MANO NEGRA: Santa Maradona. MARADONA, Diego Armando-DÚO PIMPINELA: Querida amiga. MARAVILLA, Ricky: La pelota (el baile de Maradona). PÁEZ, Fito: Y dale alegría a mi corazón. RAMA, N.-FONTANA, J., Argentina, te queremos ver campeón. - El equipo del Mundial. - La Copa es de Argentina. - La Copa tiene dueño. - The hit of Viva el Mundial. RODRIGO: Diego. SHERIKO-RAMA, N.: Argentina, te llevo dentro de mí. Brazil ALBERTO LUIZ: Balada numero 7. BOSCO, Joâo-PAULO EMILIO- BLANC, Aldyr: Linha de Passe. BOTTO, Sergio-GODOY, Guilherme: Choro do Mané. CASTRO, Jorge- WANDERLEY, Luiz: Feticeiro da Pelota. COSTA, Jorge de-GLÓRIA, Zé da: Maria espingarda. MORAES MOREIRA: Alegria do povo. PANDEIRO, Jackson do-CASTILHO, Álvaro-SILVA, Anastasio: Que coisa chata. PELÉ-ELIS: "Perdâo, nâo tem", Tabelinha. PELÉ-ELIS: "Vexamâo", Tabelinha. RODRÍGUEZ, Tiâo: "Vamos para o tetra-campeâo. RUTINALDO: Garrincha-chá-chá-chá. SAMMARTANO, Paolo: Jogo de vedetes. SANTOS, Palmeira dos-SANTOS, Celso dos: O Balanço do Garrincha. Uruguay CANARO, Francisco-CANARO, J.: Uruguayos campeones. CASTRO, Raúl-ROOS, Jaime: Cuando juega Uruguay. Celeste. ROOS, Jaime: Los Olímpicos. Vayan pelando las chauchas.
This article has had musical and sports information about Uruguay provided by Carlos Castillos and Ricardo Soca, journalists of the DPA news agency in Montevideo and Rio de Janeiro. Traducción: María Elena Martín Pérez
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