[Sängerin] Celia Cruz

[Diego]

nix gefunden - weder deutsch noch englisch :breakdown:

[Diego]

ich hab ein paar lieder vom azúcar konzert hochgeladen:

Gloria Estefan

La India (die beste stimme von allen an dem abend)

Milly Quezada

morgen tu ich noch wenn ich dran denk Marc Anthony, Victor Manuelle und Ana Gabriel hoch, falls es jemand interessiert

ana gabriel

Edited February 17, 2005 by Diego

[Diego]

hier kann man sich ein Programm von BBC Mundo über Celia Cruz anhören (ca. 15min)

http://www.bbc.co.uk/spanish/audio/seriemilenio10.ram

[LaPequeña]

muchas gracias diego! mil besos para ti chico!

[Diego]

Wer Celia Cruz Autobiographie gelesen hat, der hat sich vielleicht gewundert, dass alles immer nur schön war scheinbar und bis auf das Exil nie etwas schlechtes in ihrem Leben passiert ist. Den Rassismus der 40er und 50er und ihre eigene politische (totgeschwiegene) Vergangenheit erwähnt sie mit keinem Wort.

Nach ihrem Tod ist aber jetz ein viel interessanteres Kapitel aus ihrem Leben aufgetaucht, das zeigt, dass sie als schwarze Frau keine Einreisevisa in die USA erhalten hat und (was aber schon teilweise bekannt war) bei einem kommunistischen afrocubanischen Radiosender als Sängerin angestellt war und scheinbar (was neu ist) auch als bereits bekannte Sängerin exilcubanische Sozialisten in Venezuela unterstützt hat.

Als sie nach der Revolution dann via Mexico in die USA ist, stand sie bis Mitte der 60er auf einer Blacklist und wurde nicht eingebürgert, weil man sie immer noch als Kommunistin betrachtete. Durch finanzielle Unterstützung von exilcubanischen antikommunistischen, sehr obscuren, Guerrilla Gruppierungen konnte sie ihre Weste scheinbar rein waschen.

Ich bin ma gespannt, was aus ihrem Leben noch alles so herauskommt, denn ihre Autobiographie verschweigt sämtliche unangenehme Kapitel. (Heute ist erwiesen dass sie Castro 2 mal persönlich getroffen hat, auch wenn sie es in vehement abgestritten hat)

Die Frau hatte so ein faszinierendes Leben, hoffentlich schreibt bald jemand ein ausführlicheres Buch über sie, das alle exilcubanischen Tabus bricht.

The year was 1955, Dwight D. Eisenhower was president, and Celia Cruz, 29, was a star on the stage and airwaves with Cuba's celebrated Sonora Matancera band. And, at the U.S. Embassy in Havana, she was banned from visiting the United States as a suspected communist.

In fact, the singer known affectionately as Celia to generations of Cuban exiles was at least twice refused an artist's visa to visit America in the 1950s, according to a recently declassified U.S. document that described her as a ``well-known communist singer and stage star.''

It was an era before Fidel Castro was in power, a time when McCarthyism and the Red scare bred a Hollywood blacklist. The U.S. Congress was consumed by communism, and federal agents were hunting communists, real and imagined, in government and show business.

The Herald discovered the previously unknown chapter of Cruz's life, the nearly decadelong struggle to clear her name, after receiving her once-classified FBI file through the Freedom of Information Act.

Her biographies do not mention the episode, and the people tending to her estate, including her husband of 41 years, said she never spoke of it.

''She never told me about that. She never talked about politics,'' said her widower Pedro Knight. The alleged activities predate their relationship, to a time in her teens and 20s.

''It would've been a hard thing because, especially afterward, she was identified so much as a symbol of anti-Castroism,'' said Alejandro de la Fuente, a history professor at the University of Pittsburgh who specializes in race relations in Cuba.

Back then, ''it was not unusual at all for artists and intellectuals to have some sort of contact with the Communist Party,'' he said. ``It was a progressive, liberal force at the time. There was nothing to be ashamed of at the time. That changed in the late 1940s, after the end of World War II.''

FILE FROM COLD WAR ERA

U.S. EMBASSY REPORTED

ON CRUZ'S BARRED ENTRY

At her death a year ago, Cruz, 77, was an anti-communist icon of the Cuban-American exile community.

But even as thousands mourned her in New York and Miami, her Foreign Counter Intelligence file sat at FBI headquarters. In it were 32 pages from the Cold War era when John Foster Dulles was secretary of state, J. Edgar Hoover was FBI director, and his agents kept files on everyone from Lucille Ball and Desi Arnaz to Marilyn Monroe.

The Cruz file obtained by The Herald is not complete. But the 18 pages released so far begin on July 23, 1955. Marked ''SECRET,'' an operations memorandum from the U.S. Embassy in Havana says the singer was refused entry into the United States under a provision of the Immigration and Nationality Act that weeds out suspected subversives.

The memo also says that Cruz was earlier refused a visa in May 1952. It quotes reports that claim she was among a group in 1951 that signed a letter published in the Communist Party newspaper, Hoy, that endorsed a Pro-Peace Congress, and was a member of Cuba's Socialist Youth movement, at age 20.

It also claims she met secretly at age 27 with Cuban Socialist Party Secretary General Blas Roca Calderío, and had used an October 1953 concert as cover to meet covertly with communists in Caracas, Venezuela.

None of the records released, however, provide proof of these claims.

Also of concern, according to more than one memo, was her work at the communist radio station Mil Diez, where she performed a decade earlier -- in 1944.

Mil Diez emphasized entertainment over politics, had the fourth-largest audience in Havana, and carried a daily quiz on Marxist theory and application. The station was also a popular 1940s venue for emerging musicians to perform.

At the time, these activities were legal in Cuba. But U.S. immigration law forbade entry to foreigners found to have communist affiliations or anti-government sympathies.

Both the CIA and the FBI had agents in Havana, and it was embassy policy to submit each visa applicant to a political activity background check.

According to the documents, FBI headquarters in Washington did at least nine file background checks over several years -- looking through case files for references to Cruz, some explicitly for links to subversives.

An American who worked at the embassy then, and spoke with The Herald on the condition that he not be identified, said Cruz's 1955 visa application would have been rejected automatically -- because of government guidelines and the fact that she had already been rejected in 1952.

A few years later, the former embassy official said, U.S. policy would change as Cubans started to flee the island in earnest. People found to have flirted with communism were then given free passage from Castro's revolution.

But, given U.S. regulations and an internal report that called the entertainer a ''well-known communist singer and stage artist,'' 1955 America was off limits to Cruz.

Still, Cruz was also a celebrity among the 400 to 500 people who lined up each day to apply for visas at the U.S. Embassy. So American Vice Consul George Thigpen explained why her visa request was spurned -- in a two-page memo that went to Washington by diplomatic pouch.

It was part of a paper trail between Havana, the State Department and Hoover's FBI.

Today, at 81, Thigpen is retired in Virginia and says he does not recall the episode. ''I'm a great admirer of Celia Cruz, through her music,'' he said. ``She was just a very simpatico person.''

Thigpen said he thought he had seen Cruz only on television -- until a Herald reporter read him the memo by telephone.

PERMISSION IS GRANTED

SINGER VISITS U.S.

AND LATER GETS ASYLUM

Cruz would get permission to visit the United States two years later, in 1957. She traveled to New York again in 1960, to perform.

But the once classified documents reveal a nearly decadelong struggle to overcome the government's communist suspicions -- until she finally was granted asylum in 1961.

In America, Cruz appeared largely apolitical -- aside from very personal jabs at Castro, whom she blamed for making it impossible to return to Cuba in 1962 for her mother's funeral.

''She was anti-Castro. In all the interviews of her life, she told everybody that she was not going back to Cuba until Castro was out,'' said Cristóbal Díaz Ayala, 74, a Cuban music historian who lives in Puerto Rico and grew up near Cruz's family.

Yet she never mentioned her early blacklisting. Rather, says Díaz Ayala, she chose to portray her life story as sweet, like the sugar she took in coffee, not bitter. She grew up in a solar, a communal home for impoverished people, said Díaz Ayala, and ``Negro performers did not have the same opportunities as white entertainers in Cuba. But she never mentioned that. Not in Cuba. Not in exile. She was kind of a lady.

``She created her own world -- of things she wanted to forget, and things she wanted to remember.''

In her memoirs, written after her death from taped interviews, Cruz describes the 1950s as a halcyon time of chauffeurs and club dates, shimmering successes that made her seem transcendent, such a huge star that her race was inconsequential.

But at the U.S. Embassy in Cuba, diplomats noted her race -- with interest.

In an urgent April 1957 telegram from Havana to headquarters, which characterized Cruz as a ''colored Cuban entertainer,'' an embassy official pleaded her case for a visa to perform in New York for the first time.

The telegram grappled with the question of whether she had been a member of the Popular Socialist Party, or PSP:

``Seven days signing (sic) engagement Puerto Rico Theater Bronx. Will receive gold record as recording artist from Sidney Siegel President of SEECO Records Company. Applicant continues denying PSP affiliation. Claims probable involuntary affiliation during employment at Radio Mil Diez.''

The cable urged reconsideration of her visa request, closing with ``Collect telephone reply requested.''

It was signed by U.S. Ambassador Arthur Gardner and addressed to the secretary of state. Gardner was an outspoken anti-communist envoy who went on to blame State Department careerists for Cuban President Fulgencio Batista's 1959 fall.

The cable also offered a curious incentive to approve her visa: ``In addition to public and press interest case is also matter of racial interest here.''

Fifties Havana was a color-conscious culture, with an unofficial but widely understood system of segregation, said de la Fuente, author of A Nation for All: Race, Inequality, and Politics in Twentieth-Century Cuba.

Black people were ''colored'' then, and while Cruz was a star, he said, she likely played at venues where black patrons did not go.

At the U.S. Embassy, in the years before Castro, American officials monitoring the island's communist movements saw the Popular Socialist Party as particularly attractive to blacks because it spoke of empowering the underclass.

So, by the 1940s, U.S. diplomats were trying to woo Cuba's black community -- inviting Afro-Cubans to embassy social events and pointedly visiting black clubs. Vouching for Cruz's visa made sense, de la Fuente said.

''They were trying to break a tight link between communism and Afro-Cubans,'' he said. "If they thought she was not a hard-core communist, I can see that they would see some advantage in trying to help her. That would fit with some sort of effort to court some support among Afro-Cubans.''

SINGER KEPT A SECRET

SHE SETTLED IN N.Y.

AND FOCUSED ON MUSIC

But throughout her life, Cruz kept that chapter secret. Even as late as 1961, six months after the ill-fated Bay of Pigs invasion, Cruz was aware of her record. In Mexico with Sonora Matancera, she sought a U.S. visa to play the Hollywood Palladium.

''SUBJECT EXPRESSED DESIRE CLEAR NAME,'' said a confidential Oct. 11, 1961, telegram from the U.S. Embassy in Mexico City. ``PLEASE FORWARD ANY DEROGATORY INFORMATION DEPARTMENT MAY HAVE SO EMBASSY CAN INITIATE DEFECTOR STATUS ACTION.''

A security source, cited by the embassy, ``BELIEVES SUBJECT COMPLETELY ANTI-COMMUNIST AND ENDORSES REQUEST.''

In exile, Cruz settled in the New York City area -- never moving to politically volatile Miami. She married her Sonora trumpeter, Knight, and reinvented herself from La Guarachera de Cuba to The Queen of Salsa, symbolizing her wider Latino appeal.

She recorded and toured relentlessly. She appeared in American films and Mexican soap operas, once as a santera, and for 20 years made an annual pilgrimage to Miami to sing on a Spanish-language TV telethon for the League Against Cancer, the disease that killed her last year.

When she worked on her memoirs, said co-writer Ana Cristina Reymundo, 'she never wanted to discuss politics. She would say, `I am an artist. And whenever politics comes in, art goes out the window. I learned that a long time ago.' ''

Files show how Celia overcame 1960s blacklist

A new batch of federal documents showed that salsa queen Celia Cruz received permission to stay in the United States because she publicly crusaded against communism.

The U.S. government took famed salsa singer Celia Cruz off its blacklist of suspected communists in 1965 because, while in exile, she performed and raised money for anti-Fidel Castro causes, according to newly released records obtained by The Herald.

Cruz had kept her decade-plus struggle with J. Edgar Hoover-era suspicions a secret, which the Cuban-American icon took to her grave at age 77 a year ago.

The documents show that she was finally granted permission to stay in

the United States in 1965, ending a string of visa rejections in U.S. consulates from Mexico City to Montreal to Havana that started in 1952.

''The record indicates that in July 1960 she fled as a defector from the Communist regime of Cuba,'' according to an Oct. 28, 1965, immigration service memorandum recently obtained by The Herald. ``Since that time she has actively cooperated with anti-Communist, anti-Castro organizations through artistic performances and by campaigning for funds for those organizations.''

Cruz even got anti-communists to vouch for her in the bid to win permanent residence in the United States. The same memo said, ``She has presented statements from a number of responsible persons attesting to her active opposition to Communism for at least the past five years.''

They are not named in documents.

The Herald discovered Cruz's secret U.S. government blacklisting this summer after receiving her FBI counterintelligence file through the Freedom of Information Act. The documents reflect a time when U.S. agents and Congress were hunting communists in U.S. society and were particularly interested in the entertainment industry.

Now, 11 more declassified documents received from the immigration division of the Department of Homeland Security describe Cruz's effort to stay permanently in the United States after she fled Castro's revolution for Mexico City in 1960 with the Sonora Matancera band.

ACTION AND REACTION

They reflect internal U.S. government debate each time she sought to play a concert -- sometimes in Puerto Rico, at times in Hollywood, Miami and New York -- over whether she should be granted a waiver and allowed to perform. U.S. bureaucrats branded her a communist for her 1940s work at a pre-Castro Cuban communist radio station, and membership in the Popular Socialist Party.

Cruz's last manager, Omer Pardillo, said in an interview that he did not know what proof she provided.

But he dug through her personal papers recently and found three certificates from an anti-Castro guerrilla group.

Each one represented a receipt for $92, and declared that she donated the money to the Junta Revolucionaria Cubana to buy three rifles in January 1964, a year before she was finally cleared.

The group was formed after the ill-fated Bay of Pigs invasion of Cuba, and the receipt declared the donation of a rifle ``for the war against communist tyranny.''

Reached by telephone in San Juan, Puerto Rico, the man who led the movement at the time, Manuel Ray, said he did not recall Cruz telling him of her communist blacklisting.

But ''at that time, the CIA was very discriminatory,'' he said. ``I would've helped her in any way possible. I had a high regard for her.''

The latest batch of documents also reveals an interesting twist: In the first year of Castro's revolution, Cruz was among some entertainers who sought to play in Miami and New York to raise money for an island rebuilding project in the aftermath of the guerrilla fight that toppled former Cuban strongman Fulgencio Batista.

FBI EVALUATION

''Subject is inadmissible to the United States because of her affiliation with the Cuban Communist youth organization and the Communist Party of Cuba,'' said an FBI memo, dated Sept. 3, 1959.

``She is a popular Cuban singer, and was seeking to enter the U.S. for about two days as a member of a group sponsored by the Cuban Tourist Commission, to make appearances at Miami and New York to raise funds for the restoration of a Cuban city devastated during the recent hostilities there.''

Cruz's husband, Pedro Knight, said in an interview this summer that he was unaware of his late wife's U.S. visa troubles. The couple wed in Connecticut in 1962, while Cruz was splitting her time between New York and Mexico, where she had sought U.S. waivers to perform in the United States.

http://www.latinamericanstudies.org/cuba.htm

Zwei sehr interessante Artikel, besonders ihr Satz:

I am an artist. And whenever politics comes in, art goes out the window. I learned that a long time ago.

[Diego]

Celia würde sich im Grab umdrehen, aber jetzt kommt in Mexico eine überarbeite Auflage ihre Biografie raus, in der NICHTS ausgelassen und zensiert ist aus Furcht Probleme mit Miami zu kriegen.

Auch ihre anfängliche Zuneigung zur Revolution, u.a. in ihrem Lied Guajiro llegó tu día und den Auftritten in kommunistischen Radiosendern (sogar vor Castro persönlich) mit burunganda (lol sowat wie der offizielle Song zum Kampf in der Sierra ) wird nicht mehr bestritten und weggelassen.

Man muss aber zu Celias Verteidigung sagen, dass es anfangs der Revolution kaum jemand farbigen auf Cuba gegeben hat, der die Revolution nicht begrüsst hat...

Notimex.-Una nueva y corregida edición de "Azúcar", la polémica biografía de la fallecida cantante cubana Celia Cruz, saldrá en diciembre próximo con el texto de una canción de elogio al presidente Fidel Castro, anunció el autor del libro.

El escritor colombiano Eduardo Márceles Daconte dijo a periodistas que "el libro saldrá con un cintillo que dice: Edición corregida y sin censura", y la nueva edición saldrá a la venta para México y el resto de Latinoamérica.

El investigador recordó que la primera edición de "Azúcar", una

semblanza de la reina de la salsa de 320 páginas y 40 fotografías, fue editada en junio de este año con 25 mil ejemplares por el sello estadounidense Reed Press.

La primera edición fue censurada por el sello editorial por

temor que la comunidad cubana en Estados Unidos quemara los libros o que la familia de Celia Cruz demandara a Reed Press, por no estar de acuerdo con que se revelera que la artista le cantó a Castro.

El tema "Guajiro llegó tu día" es una "alabanza a la revolución,

un canto a Fidel Castro, donde le da gracias a Dios que llegó Fidel.

Es una canción en la que Celia le da la bienvenida a la reforma

agraria", explicó Márceles Daconte.

Sostuvo que la canción es una "serie de cosas a favor de la

revolución y eso ha creado que los cubanos en el exilio, no acepten que Celia haya cantado esa alabanza".

Para el autor de "Azúcar", Celia Cruz es para los cubanos en el

exilio "como un icono, como una Santa", pero aseguró que su

investigación estableció que la artista sí le canto a Castro en los inicios de la revolución cubana.

Para escribir el libro, Márceles Daconte investigó la vida de la

guarachera en Cuba, México, Nueva York, Miami, Los Angeles y en

Colombia, donde tuvo la oportunidad de entrevistar a las personas que estuvieron cerca de la artista durante su carrera.

Anotó que en su trabajo de investigación constató que la reina

de la rumba adoraba México, porque fue en ese país donde le abrieron las puertas cuando llegó en difíciles condiciones con la orquesta "Sonora Matancera".

"Fue el tradicional Teatro Blanquita de la ciudad de México, la

institución que le abrió las puertas a Celia Cruz, cuando llegó en condiciones muy difíciles. Ella empezó a surgir allí y por eso ella siempre estuvo muy agradecida con el Teatro Blanquita", subrayó.

Aseguró que "ella era muy amiga de Toña la Negra, de casi todos

los cantantes mexicanos del momento, la querían y la quieren mucho en México, por eso es que la nueva edición circulará en México".

La artista cubana salió de México para Nueva York por

invitación de Jerry Masucci, de las Estrellas de Fania, pero lo que quedó probado en la investigación es que "ella siempre quería a México".

El escritor colombiano destacó además la "humildad, carisma y

profesionalismo de Celia Cruz. Era muy profesional por encima de

todo.

Siempre estaba dispuesta a participar en los conciertos a los

que era invitada, asistía temprano a los ensayos, no consumía licor".

quelle

die Hauptaussage vom Text ist oben eigentlich schon zusammengefasst

edit: das lied ist auf keiner einzigen Celia Discografie zu finden hehe aber ich hab den Text gefunden und najaaaa, sie bezieht schon sehr sehr deutlich Stellung lol das Lied sollte man in Miami mal im Radio spielen, das wäre zu witzig, besonders "dios mandó a Fidel" aus dem Mund von Celia Cruz

Guajiro, ya llegó tu día

Guajiro, ya llegó tu día

Dura es la vida del campo

trabajar de sol a sol

para ganar tres pesetas

y para comprar fríjol

Reforma Agraria es el grito

que Fidel lanzó en la Sierra

que estremece a Cuba entera

y a la América también

Guajiro, ya llegó tu día

Guajiro, ya llegó tu día

Para qué tantos con tanto

y por qué tantos sin nada

si esta es la tierra sagrada

porque Dios mandó a Fidel

Reforma Agraria es el grito

de todo el pueblo de Cuba

si todos somos hermanos

para cooperar con Fidel.

Edited August 27, 2005 by Diego

[Lil'Shakira]

lol, Diego also das in Miami... tz.. willst du ärger machen lol

Das mit der Biografie hört sich sehr interessant an... die würd ich mir dann sogar noch durchlesen

[Diego]

lol, Diego also das in Miami... tz.. willst du ärger machen lol

Das mit der Biografie hört sich sehr interessant an... die würd ich mir dann sogar noch durchlesen

die normale biografie is nich sooo interessant, weil alles unangenehme einfach weggelassen is, aber die neue will ich unbedingt haben..

lol das lied is zu geil, das muss ich irgendwo auftreiben. Zum Glück liegt sie in der Bronx begraben und nich in Miami

[Lil'Shakira]

lol.... du diego, wir suchen das ding und fliegen ne woche rüber, schmeißen die scheibe in den ghetto-blaster und dann ab durch die straßen Miami's lol

[Diego]

lol dann brauchen wa aber nur nen Hinflug nehmen, weil lebend kommen wa da nie wieder raus meinungsfreiheit a lo cubano lol

[Lil'Shakira]

lol, ach diego, die seele lebt weiter

[Diego]

heut abend kommt 23.55 auf mdr ein Film mit Celia Cruz. Celia spielt darin in einer Nebenrolle die Santera Luz Paz in einem Flüchtlingslager in Miami. Der Film is ganz unterhaltsam, aber man darf natürlich die Fakten nich wirklich glauben . Außer Mambo Kings mit Antonio Banders is das der einzige Celia Film, den es soweit ich weiß in deutsch gibt:

Wiedersehen in Miami

Der kubanische Plantagenbesitzer Juan Raul Perez hat Anfang der Sechzigerjahre seine Zuckerrohrfelder abgebrannt, um zu verhindern, dass sein Eigentum verstaatlicht wird. Als politisch Verfolgter wird er inhaftiert. Sein großspuriger Schwager Angel schickt aus Miami regelmäßig Bestechungsgelder, mit denen er jedoch nicht erreicht, dass Juan Raul freikommt. Denn die Kubaner sehen in diesen Zahlungen eine willkommene Einkommensquelle, die möglichst nicht versiegen darf und verlängern seine Haft. So wird er erst 20 Jahre später, zu Beginn der 80er Jahre, im Zuge einer Generalamnestie aus dem Gefängnis entlassen. Die USA gewähren ihm politisches Asyl.

Aber aufgrund einer dummen Verwechslung wartet Juan Raul in Miami vergebens auf seine Frau Carmela, die ihn nun für endgültig verschollen hält. Juan Raul seinerseits weiß nicht, wo seine Frau lebt und kann ohne Papiere auch nicht glaubhaft machen, dass er verheiratet ist. Da das strenge US-Einwanderungsgesetz unverheirateten Personen die Einbürgerung erheblich erschwert, lässt er sich von der ebenfalls alleinstehenden Ex-Prostituierten Dottie dazu überreden, sich als ihr Ehemann auszugeben. Als er wider Erwarten Gefühle für die attraktive Dottie entwickelt und bald darauf durch Zufall seiner Frau begegnet, die sich ihrerseits in einen anderen Mann verliebt hat, kommt es zu einigen Turbulenzen ...

Vor dem malerischen Hintergrund von Miamis "Little Havanna" entfaltet die indische Regisseurin Mira Nair eine Familiengeschichte kubanischer Emigranten um große Hoffnungen, bittere Enttäuschungen, verpasste Chancen und neues Glück. Sie hat bereits mit ihrem in Cannes mit der "Camera d'or" ausgezeichneten Kinofilm "Salaam Bombay" und in "Mississippi Masala" ihr Talent für ethnische Themen eindrucksvoll unter Beweis gestellt. "Wiedersehen in Miami" ist eine gelungene Gratwanderung zwischen einem Flüchtlingsdrama und einer leichtfüßig inszenierten Latino-Komödie.

Regie: Mira Nair

Drehbuch: Robin Swicord nach einem Roman von Christine Bell

Musik: Alan Silvestri und Arturo Sandoval

Kamera: Stuart Dryburgh

Dottie Perez - Marisa Tomei

Juan Raul Perez - Alfred Molina

Carmela Perez - Anjelica Huston

Officer Pirelli - Chazz Palminteri

Teresa Perez - Trini Alvarado

Luz Paz - Celia Cruz

Angel Diaz - Diego Wallraff

Indischer Beamter - Ranjit Chowdhry

Flavia - Angela Lanza

Officer Rhoades - Ellen Cleghorne

u.a.