Although forty years later everyone is still talking about them, on April 16, 1983, almost no one saw Las Vulpes.
If
Drum Machine
had been popular today the names of Geny and the Boomerang or Metal and Ca would tell us something and they don't even appear in
Cachitos
.
In the eighties, commercial music was seen on
Aplauso
and
Tocata
and those who were into the loop—an expression that today sounds as ridiculous as PEC will one day sound, don't abuse it—were plugged into Radio 3. That day we were only in front of the TV, those of us who watched everything because everything seemed, and seems, better than real life.
Everything, even
Pista libre
, the program that preceded Tena's, a sort of
The Key
for children in which they interviewed both a gynecologist and the director of Alcalá Meco 2. That Saturday they broadcast a Bulgarian film about the consequences of placing If the commas are wrong, what young person would not be eager to spend Saturday morning following the vicissitudes of an orthographic sign.
The performance of Las Vulpes brought the whole of Spain to a standstill because the four of us who saw it live (the video had not yet reached the homes) understood little to nothing - the thing about not vocalizing was not invented by Bad Bunny - and we already had very high the threshold of scandal.
In the schoolyards, Sinister Total's
Me pica un egg
was shouting and soon Iñaki from Glutamato Yé-Yé would arrive with his
Hitlerian
look singing
All the black people are hungry and cold
to a chicken leg.
It was, as has been remembered these days,
Abc
, El Pardo's little light of national decency, who raised the cry to the sky, mind you, 11 days after the broadcast, very concerned about the effects of that letter on the children's psyches, although there is no record that after hearing it any girl threw Nancy out the window and ran to ask for a job at an American bar.
Almost no one talked about that performance that she saw for months, as if instead of a song to dance while hugging a litrona it was a publication in the BOE, and it ended up costing his director, Carlos Tena, his job.
It is discouraging that a pop inconsequential today generates as much controversy as a punk inconsequential did 40 years ago, it is relieved that at least no one is forced to resign over it.
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