Введение
Cumbia villera (грубо переводится как "кумбия из трущоб", "кумбия гетто" или "кумбия трущоб") – это поджанр музыки кумбия, возникший в Аргентине в конце 1990-х годов и получивший широкое распространение по всей Латинской Америке и среди латиноамериканских сообществ за рубежом. В текстах кумбия виллера используется лексика маргинальных и низших слоев населения, например, аргентинский лунфардо и lenguaje tumbero ("язык бандитов" или "сленг преступного мира"), и затрагиваются темы повседневной жизни в виллах мизерия (трущобах), бедности и нищеты, употребления наркотиков, промискуитета и/или проституции, ночных развлечений в болише (дискотеках и клубах), где играют кумбию и другие жанры тропической музыки (такие как культовое заведение Tropitango в Пачеко).
Cumbia villera (ˈkumbja βiˈʎeɾa) (roughly translated as "slum cumbia", "ghetto cumbia", or "shantytown cumbia") is a subgenre of cumbia music originating in Argentina in the late 1990s and popularized all over Latin America and Latin communities abroad. Lyrically, cumbia villera uses the vocabulary of the marginal and lower classes, like the Argentine lunfardo and lenguaje tumbero ("gangster language" or "thug language"), and deals with themes such as the everyday life in the villas miseria (slums), poverty and misery, the use of hard drugs, promiscuity and/or prostitution, nights out at boliches (discos and clubs) that play cumbia and other tropical music genres (such as the emblematic Tropitango venue in Pacheco),
Musically, cumbia villera bases its sound in a heavy use of synthesizers, sound effects, keyboard voices, keytars, electronic drums, and other elements from electric instruments. Cumbia villera's characteristic sound was created using influences from Colombian and Peruvian cumbia, cumbia sonidera and cumbia santafesina in the realm of cumbia, and from reggae, ska, Argentine folklore, and electronic music in other music genres. Over time, the genre has evolved, bands and artists have explored different sounds, and new fusions have arisen, such as cumbia rapera, with Bajo Palabra mixing cumbia villera with hip hop, and tropipunk, with Kumbia Queers mixing cumbia villera with punk. For its characteristics, cumbia villera has been compared to gangsta rap, reggaeton, rock rolinga, raggamuffin, baile funk, and narcocorrido, among other music genres. The introduction of neoliberal economics in Argentina in the early '90s gave a quick boost to the nation's economy but progressively marginalized large areas of society, and by the late '90s, Argentina was in a great depression. Some of the most affected by this crisis were workers and the lower classes, and among them were the inhabitant and dwellers of the villas miseria (slums or shantytowns) in Buenos Aires and its metropolitan area, which favoured cumbia and other tropical music genres. It was in this situation that in 1999, the first cumbia villera band was born in the depths of Villa La Esperanza, a slum in San Fernando, Buenos Aires (in the north of the Buenos Aires metropolitan area). Pablo Lescano, then keytarist from one of these cumbia bands, Amar Azul, started to pen new songs with more aggressive lyrics. His band rejected them, so he began saving money from the royalties he earned from Amar Azul songs in order to buy instruments and equipment for producing an independent record. He created a new group with a different aesthetic, different lyrics, and a different sound, Flor de Piedra. By 2000, dozens of cumbia villera bands were playing and recording,
It was at this point that some of the best albums in the history of cumbia villera were released, including 100% Villero by Yerba Brava (2001) and Sólo Le Pido A Dios by Pibes Chorros (2002). The genre and its repercussions were widely discussed in the mainstream media, with debates in major newspapers, magazines, TV shows, and radio shows, and the phenomenon even reached television, with Tumberos (2002), and film, with El bonaerense (2002) and El polaquito (2003). Cumbia villera bands began touring neighbouring countries, North America, and Europe, spreading the genre beyond its original boundaries. This "Argentine invasion" influenced artists in other countries, including Uruguay (La Clave), Paraguay (Los Rebeldes), Bolivia (Diego Soria), Chile (Buena Huacho), and Mexico (Cumbia Zero), which contributed musically to the genre by incorporating different regional styles and influences as well as local vocabulary and slang. Trends in Argentine cumbia started to change by 2003, owing to the election of president Néstor Kirchner and the subsequent improvement in the nation's economy. Additionally, the Argentine music industry began to pressure bands to stop using controversial lyrics, and censorship from broadcasters and the COMFER reduced cumbia villera's prevalence. Christian advocacy in the villas also contributed to these changes. Newer cumbia villera bands, such as La Base and El Original, mostly avoided controversial themes and instead sang about love, naming their style cumbia base to avoid some of the stigma that cumbia villera had acquired. Through the first decade of the 2000s, cumbia villera continued to have a stronghold among workers and poor communities all over Latin America, with new bands forming each year. The biggest names in the genre continued to tour, including Damas Gratis and Pibes Chorros. As late as 2007, 30% of total sales in the Argentine music industry were from cumbia villera records. In the 2010s, promotion of cumbia villera bands by mainstream music publications like Rolling Stone, the organization of concerts at popular venues, and the close collaboration and financial production of cumbia villera bands by mainstream musicians such as Andrés Calamaro, Vicentico, and Fidel Nadal suggested that the genre was alive and well. To this day, cumbia villera remains known as the most aggressive, defiant, and socially conscious style of cumbia ever made.
Музыкально кумбия виллера основывается на активном использовании синтезаторов, звуковых эффектов, клавишных тембров, китар-синтезаторов, электронных барабанов и других элементов электронных инструментов. Характерное звучание кумбии виллера сформировалось под влиянием колумбийской и перуанской кумбии, кумбии сонидера и кумбии сантафесины в рамках жанра кумбия, а также регги, ска, аргентинского фольклора и электронной музыки. Со временем жанр эволюционировал, группы и исполнители экспериментировали с различными звучаниями, и появились новые фьюжн-направления, такие как кумбия-рэпера, где Bajo Palabra смешивает кумбия виллера с хип-хопом, и тропипанк, где Kumbia Queers сочетает кумбия виллера с панком. Благодаря своим особенностям кумбия виллера сравнивается с гангста-рэпом, реггетоном, рок-ролингой, раггамаффином, баил-фанком и наркокорридо, среди прочих жанров. Внедрение неолиберальной экономики в Аргентине в начале 90-х годов дало толчок экономике страны, но постепенно привело к маргинализации значительной части общества, и к концу 90-х Аргентина переживала глубокий экономический кризис. Особенно сильно пострадали рабочие и представители низших слоев населения, в том числе жители виллас мизерия (трущоб) в Буэнос-Айресе и его агломерации, которые предпочитали кумбию и другие жанры тропической музыки. В этой ситуации в 1999 году в глубине Вилла-ла-Эсперанса, трущоб в Сан-Фернандо, Буэнос-Айрес (на севере столичной агломерации), появилась первая группа кумбия виллера. Пабло Лескано, тогдашний китарист одной из этих кумбийских групп, Amar Azul, начал писать новые песни с более агрессивными текстами. Его группа отклонила их, поэтому он начал откладывать деньги, полученные от роялти за песни Amar Azul, чтобы купить инструменты и оборудование для записи независимого альбома. Он создал новую группу с другой эстетикой, другим текстом и другим звучанием – Flor de Piedra. К 2000 году десятки групп кумбия виллера играли и записывали музыку.
Cumbia villera (ˈkumbja βiˈʎeɾa) (roughly translated as "slum cumbia", "ghetto cumbia", or "shantytown cumbia") is a subgenre of cumbia music originating in Argentina in the late 1990s and popularized all over Latin America and Latin communities abroad. Lyrically, cumbia villera uses the vocabulary of the marginal and lower classes, like the Argentine lunfardo and lenguaje tumbero ("gangster language" or "thug language"), and deals with themes such as the everyday life in the villas miseria (slums), poverty and misery, the use of hard drugs, promiscuity and/or prostitution, nights out at boliches (discos and clubs) that play cumbia and other tropical music genres (such as the emblematic Tropitango venue in Pacheco),
Musically, cumbia villera bases its sound in a heavy use of synthesizers, sound effects, keyboard voices, keytars, electronic drums, and other elements from electric instruments. Cumbia villera's characteristic sound was created using influences from Colombian and Peruvian cumbia, cumbia sonidera and cumbia santafesina in the realm of cumbia, and from reggae, ska, Argentine folklore, and electronic music in other music genres. Over time, the genre has evolved, bands and artists have explored different sounds, and new fusions have arisen, such as cumbia rapera, with Bajo Palabra mixing cumbia villera with hip hop, and tropipunk, with Kumbia Queers mixing cumbia villera with punk. For its characteristics, cumbia villera has been compared to gangsta rap, reggaeton, rock rolinga, raggamuffin, baile funk, and narcocorrido, among other music genres. The introduction of neoliberal economics in Argentina in the early '90s gave a quick boost to the nation's economy but progressively marginalized large areas of society, and by the late '90s, Argentina was in a great depression. Some of the most affected by this crisis were workers and the lower classes, and among them were the inhabitant and dwellers of the villas miseria (slums or shantytowns) in Buenos Aires and its metropolitan area, which favoured cumbia and other tropical music genres. It was in this situation that in 1999, the first cumbia villera band was born in the depths of Villa La Esperanza, a slum in San Fernando, Buenos Aires (in the north of the Buenos Aires metropolitan area). Pablo Lescano, then keytarist from one of these cumbia bands, Amar Azul, started to pen new songs with more aggressive lyrics. His band rejected them, so he began saving money from the royalties he earned from Amar Azul songs in order to buy instruments and equipment for producing an independent record. He created a new group with a different aesthetic, different lyrics, and a different sound, Flor de Piedra. By 2000, dozens of cumbia villera bands were playing and recording,
It was at this point that some of the best albums in the history of cumbia villera were released, including 100% Villero by Yerba Brava (2001) and Sólo Le Pido A Dios by Pibes Chorros (2002). The genre and its repercussions were widely discussed in the mainstream media, with debates in major newspapers, magazines, TV shows, and radio shows, and the phenomenon even reached television, with Tumberos (2002), and film, with El bonaerense (2002) and El polaquito (2003). Cumbia villera bands began touring neighbouring countries, North America, and Europe, spreading the genre beyond its original boundaries. This "Argentine invasion" influenced artists in other countries, including Uruguay (La Clave), Paraguay (Los Rebeldes), Bolivia (Diego Soria), Chile (Buena Huacho), and Mexico (Cumbia Zero), which contributed musically to the genre by incorporating different regional styles and influences as well as local vocabulary and slang. Trends in Argentine cumbia started to change by 2003, owing to the election of president Néstor Kirchner and the subsequent improvement in the nation's economy. Additionally, the Argentine music industry began to pressure bands to stop using controversial lyrics, and censorship from broadcasters and the COMFER reduced cumbia villera's prevalence. Christian advocacy in the villas also contributed to these changes. Newer cumbia villera bands, such as La Base and El Original, mostly avoided controversial themes and instead sang about love, naming their style cumbia base to avoid some of the stigma that cumbia villera had acquired. Through the first decade of the 2000s, cumbia villera continued to have a stronghold among workers and poor communities all over Latin America, with new bands forming each year. The biggest names in the genre continued to tour, including Damas Gratis and Pibes Chorros. As late as 2007, 30% of total sales in the Argentine music industry were from cumbia villera records. In the 2010s, promotion of cumbia villera bands by mainstream music publications like Rolling Stone, the organization of concerts at popular venues, and the close collaboration and financial production of cumbia villera bands by mainstream musicians such as Andrés Calamaro, Vicentico, and Fidel Nadal suggested that the genre was alive and well. To this day, cumbia villera remains known as the most aggressive, defiant, and socially conscious style of cumbia ever made.
В этот период были выпущены одни из лучших альбомов в истории кумбия виллера, включая 100% Villero группы Yerba Brava (2001) и Sólo Le Pido A Dios группы Pibes Chorros (2002). Жанр и его последствия широко обсуждались в основных СМИ, в крупных газетах, журналах, теле- и радиопередачах, а явление даже достигло телевидения (Tumberos, 2002) и кино (El bonaerense, 2002 и El polaquito, 2003). Группы кумбия виллера начали гастролировать по соседним странам, Северной Америке и Европе, распространяя жанр за пределы Аргентины. Это "аргентинское вторжение" повлияло на исполнителей в других странах, включая Уругвай (La Clave), Парагвай (Los Rebeldes), Боливию (Diego Soria), Чили (Buena Huacho) и Мексику (Cumbia Zero), которые внесли свой вклад в жанр, включив в него различные региональные стили и влияния, а также местный словарь и сленг. Тенденции в аргентинской кумбии начали меняться к 2003 году в связи с избранием президента Нестора Киршнера и последующим улучшением экономической ситуации в стране. Кроме того, аргентинская музыкальная индустрия начала оказывать давление на группы, чтобы они прекратили использовать провокационные тексты, а цензура со стороны вещателей и COMFER снизила популярность кумбия виллера. Христианская пропаганда в трущобах также способствовала этим изменениям. Новые группы кумбия виллера, такие как La Base и El Original, в основном избегали спорных тем и вместо этого пели о любви, называя свой стиль cumbia base, чтобы избежать негативных стереотипов, связанных с кумбия виллера. В течение первого десятилетия 2000-х годов кумбия виллера оставалась популярной среди рабочих и бедных слоев населения по всей Латинской Америке, ежегодно появлялись новые группы. Самые известные исполнители жанра продолжали гастролировать, включая Damas Gratis и Pibes Chorros. В 2007 году на кумбия виллера приходилось 30% от общего объема продаж в аргентинской музыкальной индустрии. В 2010-х годах продвижение групп кумбия виллера в популярных музыкальных изданиях, таких как Rolling Stone, организация концертов на известных площадках и тесное сотрудничество и финансовая поддержка групп кумбия виллера со стороны известных музыкантов, таких как Андрес Каламаро, Висентико и Фидель Надаль, свидетельствовали о том, что жанр жив и развивается. И по сей день кумбия виллера считается самым агрессивным, протестным и социально осознанным стилем кумбии.
Cumbia villera (ˈkumbja βiˈʎeɾa) (roughly translated as "slum cumbia", "ghetto cumbia", or "shantytown cumbia") is a subgenre of cumbia music originating in Argentina in the late 1990s and popularized all over Latin America and Latin communities abroad. Lyrically, cumbia villera uses the vocabulary of the marginal and lower classes, like the Argentine lunfardo and lenguaje tumbero ("gangster language" or "thug language"), and deals with themes such as the everyday life in the villas miseria (slums), poverty and misery, the use of hard drugs, promiscuity and/or prostitution, nights out at boliches (discos and clubs) that play cumbia and other tropical music genres (such as the emblematic Tropitango venue in Pacheco),
Musically, cumbia villera bases its sound in a heavy use of synthesizers, sound effects, keyboard voices, keytars, electronic drums, and other elements from electric instruments. Cumbia villera's characteristic sound was created using influences from Colombian and Peruvian cumbia, cumbia sonidera and cumbia santafesina in the realm of cumbia, and from reggae, ska, Argentine folklore, and electronic music in other music genres. Over time, the genre has evolved, bands and artists have explored different sounds, and new fusions have arisen, such as cumbia rapera, with Bajo Palabra mixing cumbia villera with hip hop, and tropipunk, with Kumbia Queers mixing cumbia villera with punk. For its characteristics, cumbia villera has been compared to gangsta rap, reggaeton, rock rolinga, raggamuffin, baile funk, and narcocorrido, among other music genres. The introduction of neoliberal economics in Argentina in the early '90s gave a quick boost to the nation's economy but progressively marginalized large areas of society, and by the late '90s, Argentina was in a great depression. Some of the most affected by this crisis were workers and the lower classes, and among them were the inhabitant and dwellers of the villas miseria (slums or shantytowns) in Buenos Aires and its metropolitan area, which favoured cumbia and other tropical music genres. It was in this situation that in 1999, the first cumbia villera band was born in the depths of Villa La Esperanza, a slum in San Fernando, Buenos Aires (in the north of the Buenos Aires metropolitan area). Pablo Lescano, then keytarist from one of these cumbia bands, Amar Azul, started to pen new songs with more aggressive lyrics. His band rejected them, so he began saving money from the royalties he earned from Amar Azul songs in order to buy instruments and equipment for producing an independent record. He created a new group with a different aesthetic, different lyrics, and a different sound, Flor de Piedra. By 2000, dozens of cumbia villera bands were playing and recording,
It was at this point that some of the best albums in the history of cumbia villera were released, including 100% Villero by Yerba Brava (2001) and Sólo Le Pido A Dios by Pibes Chorros (2002). The genre and its repercussions were widely discussed in the mainstream media, with debates in major newspapers, magazines, TV shows, and radio shows, and the phenomenon even reached television, with Tumberos (2002), and film, with El bonaerense (2002) and El polaquito (2003). Cumbia villera bands began touring neighbouring countries, North America, and Europe, spreading the genre beyond its original boundaries. This "Argentine invasion" influenced artists in other countries, including Uruguay (La Clave), Paraguay (Los Rebeldes), Bolivia (Diego Soria), Chile (Buena Huacho), and Mexico (Cumbia Zero), which contributed musically to the genre by incorporating different regional styles and influences as well as local vocabulary and slang. Trends in Argentine cumbia started to change by 2003, owing to the election of president Néstor Kirchner and the subsequent improvement in the nation's economy. Additionally, the Argentine music industry began to pressure bands to stop using controversial lyrics, and censorship from broadcasters and the COMFER reduced cumbia villera's prevalence. Christian advocacy in the villas also contributed to these changes. Newer cumbia villera bands, such as La Base and El Original, mostly avoided controversial themes and instead sang about love, naming their style cumbia base to avoid some of the stigma that cumbia villera had acquired. Through the first decade of the 2000s, cumbia villera continued to have a stronghold among workers and poor communities all over Latin America, with new bands forming each year. The biggest names in the genre continued to tour, including Damas Gratis and Pibes Chorros. As late as 2007, 30% of total sales in the Argentine music industry were from cumbia villera records. In the 2010s, promotion of cumbia villera bands by mainstream music publications like Rolling Stone, the organization of concerts at popular venues, and the close collaboration and financial production of cumbia villera bands by mainstream musicians such as Andrés Calamaro, Vicentico, and Fidel Nadal suggested that the genre was alive and well. To this day, cumbia villera remains known as the most aggressive, defiant, and socially conscious style of cumbia ever made.
Обстоятельства
С 1930-х годов наблюдается сильная миграция из провинций (а также из соседних стран, таких как Перу, Парагвай и Боливия) в район Большого Буэнос-Айреса, где манили рабочие места на фабриках. Мигранты привезли с собой свою культуру, и смешение музыкальных стилей и динамичные звуки большой городской жизни в конечном итоге дали рождение новым направлениям. Особенно заметно, что шамаме из Корриентеса смешался с андской музыкой и квартетом из провинции Кордова. Перуанские группы, играющие кумбию, такие как Los Mirlos, пользовались большим спросом в пригородах Буэнос-Айреса. В 1970-х и 1980-х годах термин "тропическая музыка" использовался как общее название для этого гибрида. В 1990-х годах коммерческие структуры начали продвигать местные кумбийные композиции, такие как Amar Azul и Ráfaga, с более изысканным имиджем и упором на привлечение более широкой аудитории. Ценители традиционной кумбии искали "аутентичных" исполнителей, и многие группы откликнулись, перейдя на квадратный ритм кумбии и сочиняя тексты, все глубже затрагивающие темы преступности и наркомании. Пионерами стали Pibes Chorros. Другие группы в том же духе включают Yerba Brava и Damas Gratis. Обнищание значительной части населения из-за экономического спада, начавшегося в 1998 году, расширило социальную базу, поддерживающую этот жанр. В СМИ закрепился термин "кумбия виллера", и многие группы обрели известность, когда молодые футбольные звезды из трущоб, такие как Карлос Тевес, заявили о своей поддержке. Когда позволяет его график, Тевес выступает в качестве вокалиста группы Piola Vago. Кумбия виллера может быть музыкально связана с другими местными кумбийными сценами, такими как мексиканская кумбия сонидера и чича из Перу.
Параллели
В то время как традиционные ансамбли для исполнения кумбии часто используют полный состав духовых инструментов, записи кумбии виллера обычно создаются с минимальными затратами. Поскольку это как правило подразумевает использование синтезаторов, аргентинскую кумбию, подобно алжирскому раю, румынскому манеле или бразильскому baile funk, можно охарактеризовать как жанр "низкого качества записи, высоких технологий".