Writings About Chava Flores, Composer

Writings about Chava Flores, composer

Salvador Flores Rivera, known as Chava Flores, was a Mexican composer and singer. Born in the neighborhood of Merced, in the historic center of Mexico City, it is considered one of the greatest Mexican composers of popular music in the twentieth century. He was called in many ways, but he preferred to be called the song maker. In 1952 he began as a composer, some of his with the song as examples: two hours of bullets, in the same way the success the gathering, continuing with his such famous songs soon appeared his new creations as a neighborhood wedding, weight on weight, The interested party, and the gorrones arrived . Some of their melodies which soon rooted in the taste of the people, these other songs created by the same author were also a popular success in those years which have a title which will name at this time as: poor Tom, let’s go toParque, céfiro, closed his eyes Cleto, Pichi Cuás, the fifteen years of experience and, later, Saturday Federal District, I go in the subway and what do you throw when you dream, Mexican.

Upon knowing a bit of his past from this author who really did not know. He was the creator of a unique style, as well as the main diffuser of his songs, through presentations he made in the most important nightclubs and theaters of the capital and interior of the Mexican Republic.

If it has not been for this work, I would not have known some of his songs in which Salvador (Chava) Flores reflect a deep knowledge of the folklor of Mexico City, parodying society and daily activities.

Salvador Flores’s popularity was such that whole phrases of his songs are part of popular language, or have become popular ones applicable to daily life, remembering that song is entitled as what you throw when you dream Mexican, Saturday Federal District, and the gorrones arrived. In some of his works he tells us the story of how the people of a neighborhood live. He also showed us how they lived in the fifties, as well as the language that was particularly used in Mexico City.

I continue listening to his songs in which Chava reflects in music everything that he sees and feels the Mexican, in particular the one who lives in the big cities: loves, passions, life in neighborhood and multifamily, traditional parties, provincial customs, his attitude towardsWork and society, talk between compadres, transport insufficiency and the illusions of the common individual who is a dreamy, spiritual and extremely passionate.

As they should know their audios encounter that in their songs they have phrases that are part of popular language, since this author directed the songs to a people where he felt so identified in such a way began to use words as a daily language and throughFrom the years they went from generation to generation.

Somehow he knew how to go to Mexican settlers and communities, who were largelyfame. In most Chava’s compositions, to a large extent, since the country masses moved to the city, in search of a better life, to work in their shops, in its offices and in its incipient industry, to study in the educational institutions that were strengthening in the city and that provided many of the possibility of a social ascent, to have fun in the tents, the nightclubs, the film and radio rooms, and to populate the neighborhoods to which whichThe composer referred. This audience demanded an art and popular amusements whose aesthetics recovered not only the realism of their own daily life, but the taste of their popular speech, the art of including phraseological units with the pure mood of bringing them to the slightest provocation, aSpirit that Cantinflas had raised in the popular theater about fifteen years before Chava began his career as a composer.

For Chava, the recurrence to these songs guaranteed the authors that their work would be framed in a style of the taste of the peasants, most of those who integrated, both in the countryside and in the cities, the auditorium of the radio and the publicof Mexican cinema, both based in the rancher style so identifiable today inside and outside Mexico for the popularity that it reached in those years. Referring to the first version enunciated, it is often cited euphemisticly: love from afar is to think, and since the majority know that thinking appears there instead of assholes, it is a case of obscene fraud, since thelistener awaits the conclusion for him known, but that the censorship of the radio and phonographic industry would have made unthinkable.

I would like to write about some songs by this author in which somehow they caught my attention for its lyrics in which it reflects some details of Mexico in the 50s and was the taste of peasants and some others in the urban area startingWith some classics such as:

To be thrown when you dream Mexican: it refers to the fact that instead of thinking or waiting for your life to improve without effort, it is better to work.

Chava Flores composed this song in 1952 and, along with "Two hours of bullets", he was one of his first singles.

As his name says, "The gathering" tells in detail everything that happens during a party at Julia’s house. The narration of dances, food and drinks will transport you to a typical family party that ends up becoming a disaster.

 "Saturday Federal District"

Also composed during the 1959, this song became a hymn for all the inhabitants of the CDMX (at that time called Federal District).The theme makes a detailed narrative of everything that happens in the center of the country’s capital on a common Saturday from the different angles of its inhabitants. If you miss visiting the socket or you have never had the opportunity to visit it, this song is perfect for you.

"APAN pulques"

This song talks how a pulquería was lived in the CDMX Pensol neighborhood, owned by Osofronio El Mayor. The name of the establishment refers to the municipality of Apan, Hidalgo, where this drink is a tradition since the 1920s, when it was served equally at the tables of the richest and most humble families, according to unknown Mexico.

 "The store of my town"

By itself, the song seems to be very innocent because it talks about everything that can be bought in a traditional town store. However, its lyrics are an ode to Albur, according to Chava Flores, who believed that it was part of the "folklore" of the language of our country and that it should be recognized by its ingenuity.

 "I go in the subway"

The subway is one of the means of transport most used by capital citizens, and, for all those who have not had the opportunity to travel in it, it is an experience. Chava Flores makes a tour of Tacuba, Legaria, Cuitláhuac, Popotla and Tasqueña. In him, everything that his eyes see in the platforms and cars talk happily. The biggest difference you will find with the metro trips at that time and those of now, is that before it was only a weight to travel in it.

 "Let’s go to the park, Céfira"

Not all the songs by Chava Flores talk about the CDMX. Some of them transport us to other cities, where the Mexican essence can be felt thanks to its lyrics. That is the case of “Let’s go to the part, Céfira”, which describes what the experience is like to visit the municipal garden of any Mexican municipality. In addition, it refers to the coquetry that exists between men and women, who visit the park to look for a partner.

 "The XV years of experience"

What Mexican has not attended a party of XV years? It is one of the most traditional celebrations in our country, so the experience is embodied in this song by Chava Flores. However, the fifths of experience are a bit different, since her family had to wait until she turned 30 to be able to celebrate them, since they did not have the money to celebrate with the whole neighborhood.

 "My Mexico yesterday"

With this song, Chava Flores returned in time to tell us what the CDMX was like when he was a child. The singer -songwriter emphasizes the tranquility of cobbled streets and the street vendors of that time. If you feel nostalgia for the past, this topic will reach your heart.

In this writing I have tried to account for an existing resource in the songs of Chava Flores, which undoubtedNot exclusively because of the coin of melodies or by the mere display of arrangements to the way of the moment something with which, by the way, he also told, but for the deep knowledge of popular poetic taste, which allowed him to update and culminate a type of songhumoristic that some have wanted to imitate but, definitely, no one has been able to match.

I believe that the activation of the dialogue between genres that since ancient times have had a close relationship and the songbook and the proverbGood result as Chava Flores did, who did not limit himself to fitting, mainly in sayings, in his compositions, but gave them new senses.

With that sensitivity, it manages to coin songs of sententious tone and paremias that have been incorporated into the speech of Mexicans, which reflects the great ear and the rapport that the composer reached the taste for speech, the oral tradition and the sentences of their countrymen, land in which their contributions keep validity and have reserved a privileged place.