A scathing song by Carlos Vives about García Márquez sparks debate.

Carlos Vives, in a video that was shared on social networks, may be heard singing the song “Aracataca waits.” Armando Zabaleta, who passed away, was the composer of the song. In it, he expressed his disapproval of Gabriel García Márquez’s decision to depart his birthplace of Aracataca, which he thought to go against his beliefs. Numerous perspectives on the subject have been formulated as a result of the fact. According to the Colombian singer-songwriter, this is how the song should be read.

This essay focuses on the role that García Márquez played in establishing the canonic legitimacy of vallenato as a folk form from the Colombian Caribbean. More specifically, the paper examines the function that macondismo had as an ideology. Some people consider the chronicles written by García Marquez during the early 1950s to be foundational works on the aesthetics and value of vallenato. These texts have a significant impact on later writings that are related to the subject matter. The manner in which these writings acquire canonic validity as a result of the successful publication of One Hundred Years of Solitude is one of the primary subjects that is investigated.

Then, macondismo, which is a celebration of magical realism that is prevalent in Latin American culture, becomes an interpretive metaphor for Colombia, and vallenato music becomes the sonorous emblem of this metaphor. García Marquez’s books, his numerous participation in Colombian vallenato festivals, and the manner in which vallenato is subsequently interpreted by a journalistic elite of the country as a representation of a macondian sonorous paradigm are the means by which this occurs. The purpose of this essay is to investigate the ways in which these many components come together to form a genealogy of aurality for vallenato. It does so by establishing the parameters of its interpretive relevance through a variety of folklorization processes of the genre.

It is an international multi-disciplinary journal that covers all aspects of the subject, from the construction of social group identities through popular music to the workings of the global music industry or how specific pieces of music are put together. Popular Music is a journal that covers all aspects of the subject.

In relation to any type of popular music, ranging from the commercial sphere on a worldwide scale to local folk or traditional music from any historical era or geographical area, the journal publishes articles written by academics who have a wide range of perspectives. Reviews of a wide variety of books are included in each issue, in addition to shorter pieces that are more topical in nature and contain important, authoritative, and influential essays. The most recent topics of discussion include those pertaining to gender, sexuality, and popular music, as well as songs and television.

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At the residence of Silvestre Dangond, Carlos Vives may be seen singing Aracataca. This image was sent by
There is a video that has gone popular on social networks that shows the singer Carlos Vives performing at the residence of Silvestre Dangond in Valledupar. According to the video, the Samarion can be heard reading certain words against Gabriel García Márquez, who is a writer who has won the Nobel Prize.

Some individuals on the sites welcomed the singer’s statements, while others opposed them for the way he depicted the writer Magdalena, who was born in Aracataca. The footage created contradictory viewpoints on the networks.

It is a fact that the song is not new, nor is it a work by Samario; however, it was sung for the first time in the voice of Armando Zabaleta with the title Aracataca waits. This was done in order to demonstrate his dissatisfaction with the author of One Hundred Years of Solitude.

The video provides a glimpse into the manner in which Carlos Vives resurrects the song, which reveals García Márquez’s abandonment and lack of support for his city.

“It is imperative that we make it clear to the writer García Márquez that it is imperative for him to have a deep affection for the land in which he was born, and that he should not behave in the same manner that he did when his people abandoned him and allowed the house in which he was born to fall.”

The decision was made by Samario to perform Aracataca Espera in order to bring the criticism of the writer back to life. Theresa Arias/Infobae Juan He was singled out for not even helping to establish a school for Aracataca after achieving worldwide fame as one of the best writers on the planet in 1982. Carlos Vives continued to sing the verses of the song in a loud and resounding manner, which prompted the writer to become annoyed at the time.

“The writer García Márquez has been presented with two awards, and for some reason, he has been unable to recall his hometown of Aracata. Instead of providing him with a school, which is something that his land requires, he has chosen to present him with an award that he has won in Venezuela.”

In the song, García Márquez is also likened to the boxer Antonio Cervantes, also known as Kid Pambele. After achieving prominence in the sport of boxing, he approached President Misael Pastrana Borrero for assistance in order to ensure that San Bacilio de Palenque, his village, was provided with access to electricity.

It is widely acknowledged that Kid Pambelé is among the most accomplished boxers in the annals of Colombian history. “Kid Pambelé with San Basilio de Palenque could have done better if he had not been an eminent man, who, as soon as he became influential and started making money, spoke with the president and gave light to his people,” said the author.

You can read statements supportive of Vives’ performance at the residence of fellow singer Silvestre Dangond among the comments that the song has generated on social networks. You can also read messages that are critical of the performance.

The composition was a lyrical protest against the Colombian Nobel Prize, as it reflected the musician’s discontent with García Márquez’s decision to donate the prize Romulo Gallego, which was valued at one hundred thousand dollars, to the socialist movement rather than contributing to the development of his hometown. Armando Zabaleta was the one who composed it.

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