José José died on Saturday, September 28, at age 71, but he leaves behind a musical legacy that permeates for generations. For this reason, here we share a fragment of A well frozen boy: chronicles of the 80s, by José Joaquín Blanco, who refers to José José and his music as a key element to understand the Mexico of those years:
"The urban life of Mexico during the last 15 years is not understood, nor the mentality of two or three generations, without the voice of José José. It was probably not the first or, of course, the last of the romantic singers who ended up with the innocence of the 60s (the very clean youth in the classic themes of Angélica María, Enrique Guzmán, César Costa, Alberto Vázquez, Leo Dan, Marisol and especially that Rocío Dúrcal of "Canción de Juventud" and even of "Acompáñame"); but still a teenager, and with a voice so heartfelt and candorous that it left him free of all suspicion, José José began to sing no longer to My Girlfriend Popotitos or a Boy Yeye, but to one - oh, lover! -; and upon hearing The original recordings warn that this lover had to be a mature woman.
Blanche Dubois remembering the princes of the Thousand and One Nights, before the freshness of a child prodigy?
"With José José the song got hot; it took some years to break conventions - since others (the Spaniards, especially) had become more explicit - but from the beginning it showed that the market demanded a more modern sexuality, even aggressive, yet decent, and always romantic ... romantic.
"There must be no conflict between the fly and the heart, although poetry does know that one and the other often follow different paths: in the sentimental utopia the heart rules, sex obeys and industrial music puts into operation all the unbeatable harmony of the Pythagorean spheres
José José usually sings from the perspective of pain, which purifies everything and forgives him, as anyone who has ever been to the cinema knows, and when he narrates his cry, he leaks confidences, otherwise totally common: No longer the sumptuous adventurers not even Esquire's dolls, but middle class women divinized by the nearest self-service store listening to a reinterpretation of José José's song made by Cristian Castro, "La Nave del Olvido" in memory of the Prince of The Song.
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