If you are lucky enough to land vigo On the left side of the plane, and especially if you are lucky because the day has turned clear, you will see the entire mouth of the river through the window. It’s a captivating picture stretching out from Isla de San Simón, a small, beautiful island that has more historical awe than any 1990s football president. If you look out on the horizon, you’ll also see Randy’s Bridge, whose structure legend has it that treasures are hidden, and flanked by dozens of trays of mussels. And at sunset on the Rhea, you will see its guardian and guardian: the Cies Islands. For a person from Vigo or a next-door neighbour, watching the estuary from an airplane window means immediately returning to his mother’s bed. Rhea hugs us like sleeping and dying babies.
in The olive tree is a hundred years oldhe Celta Centenary Anthem produced by C. TanganaIt all begins and ends at the estuary, from which, from rafts, walls, and shores, misty, petrified figures emerge out to sea. Is it possible to compose a football anthem without a single image or reference to a stadium, ball or goal? It is possible if you talk about what really connects a fan to a team: its land, its idiosyncrasies, its people.
Author Marta Sanz told me in an interview that we now live in an era of neoclassicism. For example, if you go to central Beijing, you can sit in a coffee shop, complete with chairs, cups, and signature flavours, and connect to Wi-Fi with your computer or mobile phone, just as you would in any city or coffee franchise in the world. Sanz told me: “If you feel good everywhere, like at home, it reduces your ability to perceive contradictions and problems.” As it happens with music. Each finished track is made by an army of producers and technicians with the goal of creating a track that is totally innocuous and awesome He hits.
In Galicia, women have always played and played music for dancing at parties, using shells, but above all tambourines and banderos. And they gave not only the music, but also the voice, always in the choir, and not as a soloist. Some of these women were illiterate, but created poetry without realizing it. They all belong to a line of subtle female voices who somehow sing of their liberation. C. Tangana’s voice does not appear in The olive tree is a hundred years old. The artist gives prominence to the Casablanca Choir in Vigo, the female vocal ensemble of Lagarteras tambourines and the Celta Troupas de Breugán rock. So in Celta’s centenary anthem, the tambourine sounds and the dizzying voice, those piercing shrieks that come from below the women’s bones as a sign of enjoyment in parties and foliage. The anthem escapes from the era of improved techniques (in football, from the classic lololoísimo) and shows that it is possible to create a football composition assuming local folklore and sounds.
in Oliveira dos Sin Años Another essential thing emerges: the shadows of those who were there and are no longer there, those figures who turn towards the Ría de Vigo from a distance. Because that’s what football is all about: an inherited passion. Those who are no longer here but were the links that unite words in the formation of emotions. If football makes us happy, it is because someone smiled on a field in front of us and transmitted that joy to us. We love them, and collect the fruits of those who pushed the silver roots.
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