I Am Puerto Rico, So Are You

I Am Puerto Rico, So Are You
26 September 2017

The island of Puerto Rico has been destroyed by Hurricane Maria, and remains in ruins and with little outside assistance for about a weak now. What should be done?

The U.S. could (if it wanted to) send an aircraft carrier (or two or three) to Puerto Rico, and use its nuclear reactor as a power source for basic needs in San Juan (where it would most likely dock). It could offload mobile hospital units (MASH) and truck and/or helicopter such units to more remote locations; such units would include gasoline/diesel generators. Additionally, there are Marine units designed to set up helicopter landing zones and other forward bases (as in Vietnam), which today include the ability to set up some solar power systems (for very local electric power), as well as drone systems (for reconnaissance) to search for and locate places/people most in need of help. The US military also has hospital ships (as in Vietnam, during the US war), that could treat the most seriously injured, transported (by helicopter) from “the field.” The U.S. military, as well as the oil companies, have tankers that can bring in needed fuel (oil, gasoline). The US Corps of Engineers (basically the Army construction industry) can have units dispersed throughout the Island, to clear debris, repair and open up roads, and repair power lines. The combat engineers of the U.S. military (with the Navy, the famous Seabees) can also make amphibious landings and create temporary airfields and clear debris (they are intended to go into landing zones before the troops and clear mines and obstructions against amphibious assault).

One use of remote solar collector-to-electric power systems would be to power cell phone towers, and provide local cell-phone charging power outlets, so people isolated in the wrecked hinterlands can at least communicate, for both family/personal matters as well as financial matters. Establishing housing locations in sanitary conditions, with clean water and safe food available – “refugee camps” – can and should be established ASAP by combinations of the resources/forces I have mentioned. Basically, what is needed is the network of extended support services needed by US troops in a war zone – again, as in Vietnam during the US war there – only this time those being supported are Puerto Rico’s people, the victims of Hurricane Maria.

Had I been US President this would have been called into action as soon as Hurricane Maria’s winds had died down to below 60 mph at each locality on the Island. What we have now is that 6-7 days after the passing of the Mega-Weedwacker of Hurricane Maria, Trump has been prodded to make a speech – mainly to moan about the fact that bankrupt Puerto Rico “owes” billions to the vulture capitalists on Wall Street.

In my view, the abject failure to safeguard, or at least speed the rescue, of Hurricane Katrina victims in New Orleans during the administration of George W. Bush, and now particularly the case of Hurricane Maria devastation in Puerto Rico during the Trump Administration, is above the threshold of “high crimes and misdemeanors” for impeaching the Trump executive branch (too late for impeaching GWB, but not indicting him), and the congressional leadership, minimally of the Republican Party and probably also the Democratic Party. For Trump, I think such intentional negligence (how could it not be intentional?) rises to the point of being indictable for murder.

Would my emergency “invasion” of Puerto Rico by the US military cost money? Hell yes, a lot! But then there never seems to be a lack of billions and trillions to bomb dark-skinned people to smithereens all over the world for decades at a time. The Washington D.C. government is treating Puerto Rico like the Israelis treat the Palestinian Occupied Territories. Spanish is the primary language in Puerto Rico, and that island was conquered by the U.S. in 1898 (The Spanish American War). The residents of Puerto Rico were given US citizenship on March 2, 1917, and the U.S. (Wilson Administration) entered World War I on April 6, 1917; and men from Puerto Rico were drafted into the US military for that war and for every US war thereafter till the draft was replaced by voluntary induction in 1973. Tellingly, Puerto Rico was not given US statehood, nor allowed to have voting congressional representatives in the US government.

Realize what is happening here, the high rollers who have bought out the US government really only care about lining their pockets, and getting megalomaniacal orgasms from exercising power, and they really don’t care much about the well-being and security of the US population outside their class – the 1%, and also outside their clan-race affiliation (so Blacks, Muslims and Latinos are largely out of luck). Unless you are in one of the cared-for wealth classes, or favored “race” classes, you are only one hurricane, or tornado, or flood, or epidemic, or earthquake, or landslide, or fire away from ruin and very possibly survival.

So, instead of giving up and letting yourself end-it-all by instant gun-cop-shootout suicide, or not-so-fast suicide by opioids, or slow motion suicide by junk food, cigarettes and TV, wake up enough to find out who is actually worth voting for (let Bernie Sanders’s example be a template) and stop giving the usual pricks and prickesses your attention and ignorant support. If enough do this maybe in time we will see an improved people-oriented administration of the American Republic.

Look at the photos and news videos from Puerto Rico after Hurricane Maria, and sear this thought in your mind: I am only a 24-hour catastrophe away from those people, I am on hold to be the next destroyed Puerto Rico, we are all Americans, therefore I AM Puerto Rico.

Now, focus your outrage where it will do some good for us all.

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25 September 2017

The devastation caused in Puerto Rico by Hurricane Maria is shown in a series of photographs published by The Atlantic. As a matter of Constitutional duty, and simple human decency, it is essential that the Trump Administration move its ass and get assistance to the Island, much more and much faster. There are still people living in wreckage who have not been contacted since the Category 5 hurricane hit the Island about 5 days ago. The suffering and privation are universal (or almost nearly so), unsanitary conditions will spawn diseases for many if too little is done to late, and there could easily still be isolated injured and trapped people whose lives hang in the balance. Here is a clear emergency that requires a US President to act presidential, and an American government to actually demonstrate it is “exceptional.” The US news media has focused its sympathy and coverage of hurricane victims to Texas, Florida and the US Virgin Islands, and much less on Puerto Rico – where English is the second language. I see many parallels with the Palestinian Territories under Israeli Occupation. I would like it if the US Government acted so as to dispel that image from my mind.

https://www.theatlantic.com/photo/2017/09/disconnected-by-disasterphotos-from-a-battered-puerto-rico/540975/

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I Am Puerto Rico, So Are You
27 September 2017
https://dissidentvoice.org/2017/09/i-am-puerto-rico-so-are-you/

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Bajo El Sol — Español-English

Bajo El Sol is a song published in 2016 by Diana Gameros, a Mexican woman presently living in the San Francisco Bay Area of California, USA. Diana Gameros is an independent musical artist (she produces her own recordings), who accompanies her singing with her classical guitar. This song is a nice example of Diana Gameros’s style of music and performance, which I would classify as trova mexicana (Mexican troubadour). Diana Gameros’s published comments about this song are as follows:

“A love letter to the homeland. A song dedicated to all those who have left their country of origin and who, despite of how dark things can be back home, are counting the days until they can see it again.”

“I miss you. I know your body is gray but I can see the little light that still shines on, my dear and wounded lightning bug. I am coming to you soon and when I do, we will help each other heal our wounds, we will bathe in the sun of your truth”

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Bajo El Sol
Diana Gameros
https://youtu.be/b_VE8N46LC8

entre nosotros hay un río
y novecientos días más
de mi memoria el olvido
quiere arrancarte
pero no podrá
quiere arrancarte
pero no podrá

traigo debajo del brazo
un libro llenito de historias
te las ofrezco toditas, todas!
hoy que la vida no sobra (*)

traigo debajo del brazo
un libro llenito de historias
buenas, malas, largas, cortas
te las ofrezco toditas
gritan mi pena y mi gloria
hoy te las canto toditas, todas!
hoy que la vida nos sobra
bajo el sol de tu verdad

quiero en mis ojos recuerdos
que me hablen de tu querer
mares y valles de sobra
y yo sin poderlos ver

quiero en mi oído un susurro
vientos que vengan de Uxmal
cantos de aves al aire, libres
que no he podido escuchar
bajo el sol de tu verdad

ni todas las flores marchitas
que abundan en tu jardín
ni el rojo de tu piel quemándose viva
harán que me olvide de ti

y aunque tu cuerpo sea gris
mis ojos distinguen tu luz
tierna luciérnaga herida
quiero brillar donde brillas tu

y aunque tu cuerpo sea gris
mis ojos distinguen la luz que te queda
tierna luciérnaga mía
juntas nos curaremos la vida
bajo el sol de tu verdad

bajo el sol de tu verdad
bajo el sol de tu verdad

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(Lyrics above as posted by Diana Gameros on her YouTube page for “Bajo El Sol.”)

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Under Your Sun
(“Bajo el Sol” by Diana Gameros, English translation by MG,Jr.)

A river flows between us two
streaming past nine hundred days
of memories holding you
that forgetfulness wants to yank
but won’t be able,
that forgetfulness wants to yank
but won’t be able.

Beneath my arm I’m bringing you
a book full to brimming with stories.
I offer every one to you, all yours!,
today with no living to spare. (*)

Beneath my arm I’m bringing you
a book full to brimming with stories,
good ones, bad ones, long ones, short ones,
I offer every one to you, all yours!
They cry out my pains and my glories.
Today I will sing them all to you,
today we have living to spare
under the sun of your truth.

In my eyes I want remembrances
that speak to me of your caring
with oceans and valleys to spare
that now I’ll not be seeing.

In my ear I want to have whispers
of breezes that come from Uxmal,
of songs by birds on the wing, and free,
as I’ve not been able to listen
under the sun of your truth.

Neither all of the faded flowers
that mound up in your garden,
nor your reddening skin burning itself alive,
are able to make me forget you.

And even if your body were gray
my eyes could distinguish your light
you tender and wounded firefly.
I want to shine wherever you’re bright.

And even if your body were gray
my eyes could distinguish your light remaining,
my tender firefly, shining.
Together, we’ll cure ourselves living
under the sun of your truth.

Under the sun of your truth,
under the sun of your truth.

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(*) If the “no” in “hoy que la vida no sobra” was actually supposed to be “nos”, then the English translation should read: “today we have living to spare.”

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Juramento — Español-English

Juramento
[Miguel Matamoros, 1894-1971 (Cuba)]

(Introducción)

Si el amor hace sentir hondos dolores
y condena vivir entre miserias,
yo te diera mi bien por tus amores
hasta la sangre que hierve en mis arterias,
hasta la sangre que hierve en mis arterias.

(Interludio como la introducción)

Si el amor hace sentir hondos dolores
y condena vivir entre miserias,
yo te diera mi bien por tus amores
hasta la sangre que hierve en mis arterias,
hasta la sangre que hierve en mis arterias.

Si es surtidor de místicos pesares
y hace al hombre arrastrar largas cadenas,
yo te juro arrastrarlas por los mares
infinitos y negros de mis penas,
infinitos y negros de mis penas.

(Interludio como la introducción)

Si es surtidor de místicos pesares
y hace al hombre arrastrar largas cadenas,
yo te juro arrastrarlas por los mares
infinitos y negros de mis penas,
infinitos y negros de mis penas.

(Acordes final).

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Oath of Love

(Introduction)

To be in love can make you feel such deep sorrows
and condemn you to live with many miseries;
and I swear I would give my all for your loving
even the blood from my arteries that is boiling,
even the blood from my arteries that is boiling.

(Interlude, like introduction)

To be in love can make you feel such deep sorrows
and condemn you to live with many miseries;
and I swear I would give my all for your loving
even the blood from my arteries that is boiling,
even the blood from my arteries that is boiling.

I’m pumping out streams of mystical grieving,
and made to drag those weights behind with long chains binding;
and I swear I would drag them through the oceans,
infinite and black with disappointments,
infinite and black with disappointments.

(Interlude, like introduction)

I’m pumping out streams of mystical grieving,
and made to drag those weights behind with long chains binding
and I swear I would drag them through the oceans,
infinite and black with disappointments,
infinite and black with disappointments.

(Final chords)

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LITERAL:

Juramento
Oath

(Introduction)

Si el amor hace () sentir hondos dolores
If the love makes (one) feel deep pains

y condena vivir entre miserias,
and condemns to-live within miseries

yo te diera mi bien por tus amores
I to-you would-give my good for your loves

hasta la sangre que hierve en mis arterias,
up-to the blood that boils in my arteries

hasta la sangre que hierve en mis arterias.
up-to the blood that boils in my arteries

(Interlude)

[repeat first stanza]

Si es surtidor de místicos pesares
If it-is pump of mystical griefs

y hace al hombre arrastrar largas cadenas,
and makes the man drag long chains

yo te juro arrastrarlas por los mares
I to-you swear drag-them through the seas

infinitos y negros de mis penas,
infinite and black from my hardships/sorrows/“shames”-(as plural noun)

infinitos y negros de mis penas.
infinite and black from my hardships/sorrows/“shames”-(as plural noun).

(Interlude, like introduction)

[repeat second stanza]

(Final chords)

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Trío Matamoros: Juramento – (letra y acordes)
https://www.youtube.com/watch?v=H0kecq3u4Rg

Juramento — Eva Griñán & Gabino Jardines
https://www.youtube.com/watch?v=7e3reT8epms

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En el juego de la vida — Español-English

EN EL JUEGO DE LA VIDA
Daniel Santos (1916-1992) with Sonora Matancera (1948)

En el juego de la vida
juega el grande y juega el chico,
juega el blanco y juega el negro,
juega el pobre y juega el rico.

En el juego de la vida
nada te vale la suerte
porque al fin de la partida
gana el albur de la muerte.

Juega con tus cartas limpias
en el juego de la vida,
al morír nada te llevas,
viva y deja que otros vivan.

Cuatro puertas hay abiertas
al que no tiene dinero:
el hospitál y la carcel,
la iglesia y el cementerio.

IN THE GAME OF LIFE

In the game of life you’ll find that
play the big guys and the little fish,
play the white and play the black,
play the poor and play the rich.

In the game of life you’ll find that
all your luck will have been worthless
because at every game’s end
the only pot to win are death’s chips.

With unmarked cards keep playing
in the gamble of your lifetime
for at death you will take nothing,
so just live and then let live.

Fours doors are always open
to those who have no money:
the hospital and jailhouse,
the church and cemetery.

DANIEL SANTOS – EN EL JUEGO DE LA VIDA
https://youtu.be/QCeQ07TXTsI

Dos Gardenias — Español-English

Red Rose White Rose

Dos Gardenias is a bolero written by the Cuban composer Isolina Carrillo Estrada (1907-1996) in 1947. Dos Gardenias is a timeless song, inspiring performers, recording artists and audiences to this day.

Isolina Carrillo (1907-1996)
http://www.ecured.cu/Isolina_Carrillo

Dos Gardenias
(Isolina Carrillo)

Dos gardenias para ti
con ellas quiero decir
te quiero,
te adoro,
mi vida
ponles toda tu atención
porque son tu corazón
y el mío

Dos gardenias para ti
que tendrán todo el calor
de un beso
de esos besos que te di
y que jamás encontrarás
en el calor de otro querer

A tu lado vivirán
y te hablarán
como cuando estás conmigo
y hasta creerás
que te dirán
te quiero

Pero si un atardecer
las gardenias de mi amor
se mueren
es porque han adivinado
que tu amor me ha traicionado
porque existe otro querer.

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Two Gardenias
(Isolina Carrillo)

Two gardenias here for you
with them I’m trying to say
I love you,
adore you,
my darling
guard them very carefully
because they are your heart
and my heart.

Two gardenias here for you
that hold all of the warmth
of love’s kiss,
of those kisses that I gave you
and of which you’ll never find in
passion’s heat from other loves.

By your side these blooms will live
and speak to you
just as when you’re with me,
and you’ll even believe
they are saying:
I love you.

But if some darkening day
the gardenias of my love
should fall dead
it will be because they sensed
that I have been betrayed
and you have another love.

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Daniel Santos – Dos Gardenias
https://www.youtube.com/watch?v=XlW-v_8Int4
[1940s-1990s, defining, the timelessly sexy Daniel Santos at his best]

Ibrahim Ferrer – Dos Gardenias
https://www.youtube.com/watch?v=S4ZqO5Zq9QY
[1997, soulful, nostalgic, sparked the revival]

Antonio Machín – Dos Gardenias
https://www.youtube.com/watch?v=SGTvQusUIyU
[1950s-1970s, such a fluid velvety sound, with such clear diction]

Lucrecia – Dos Gardenias
https://www.youtube.com/watch?v=zgoEHFgwGes
[1996, sultry Cuban jazz version, then a montuno!, soul with youthful energy]

Leo Marini – Dos Gardenias
https://www.youtube.com/watch?v=q0uHtj5ayw8
[1940s-1980s, a tango-flavored version with an Argentine singer]

Sole Giménez – Dos Gardenias
https://www.youtube.com/watch?v=GyhYhMsUyzE
[2012, pure smooth jazz night club version, agile singing and swinging cats playing]

Isabel Pantoja – Dos Gardenias
https://www.youtube.com/watch?v=lr-mfrQ2G7M
[2013, a smokey torch-song version, with jazz combo and strings, as if back in Rick’s Café Americain in Casablanca in 1942]

Victoria Sur – Dos Gardenias
https://www.youtube.com/watch?v=uD6X5-Uuq1M
[2013, lovely voice, excellent band, but I dislike the combination of the traditional ballad-style singing with the modern-spacey-electronic-jazz-rock band music. For me, there is too much music-school technique for show and not enough in service to the spirit of the song. But, all the ingredients here are of high quality, and of youthful vigor, so many should enjoy this, and these musicians certainly have the stuff of making long and artful careers. Finally, I appreciate that they published the lyrics in the notes accompanying the music video.]

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The photos are actually of roses. Gardenias look similar.

Veinte Años — Español-English

Young Woman, Windblown

Veinte Años is an habanera style song written and premiered in 1935 by María Teresa Vera (1895-1965), with lyrics by Guillermina Aramburu. It is one of the eternal classics of Cuban music, being specifically a work of trova, which is troubadour music written for guitar and voice, and originally performed by duos, trios and small ensembles. Veinte Años has been very widely performed and recorded since 1935, no doubt because the song is so beautiful that it perennially inspires people all over the world.

María Teresa Vera (1895-1965)
http://www.ecured.cu/Mar%C3%ADa_Teresa_Vera

Maria Teresa Vera – Veinte Años
https://www.youtube.com/watch?v=Ja0HBp2hL-Q
[habanera, con letra de Guillermina Aramburu, 1935]

Veinte Años

Qué te importa que te ame
si tú no me quieres ya.
El amor que ya ha pasado
no se debe recordar.

Fui la ilusión de tu vida
un día lejano ya,
hoy represento el pasado,
no me puedo conformar.

Si las cosas que uno quiere
se pudieran alcanzar
tú me quisieras lo mismo
que veinte años atrás.

Con qué tristeza miramos
un amor que se nos va,
es un pedazo del alma
que se arranca sin piedad.

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Twenty Years

What’s it matter that I love you
if you no longer care for me.
The love that passed between us
is a long lost memory.

It was me that you once lived for
in distant yesterdays.
I’m your forgotten past now,
it can be no other way.

If the things that one could wish for
were all possible to know,
you would still love me the same as
you did twenty years ago.

With what sadness we look back on
hopes of love never to be,
it is a piece of my heart that’s
been ripped out so piteously.

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Veinte años (Twenty Years) – María Teresa Vera (Subt. en Español & English)
https://www.youtube.com/watch?v=a603B8G5ppw
[subtitles in both Spanish and English, same recording as one above]

El Trovador Codina – Veinte Años
https://www.youtube.com/watch?v=kZ5p8fDUGMc
[1930s-1940s]

Barbarito Díez – Veinte años
https://www.youtube.com/watch?v=Ufr21-4WuGk
[1940s-1950s]

Los Guaracheros de Oriente – Veinte años
https://www.youtube.com/watch?v=DJx9F9myTIw
[1960s-1970s]

Irene Atienza e Douglas Lora (Veinte Años) no Programa Casa do Som
https://www.youtube.com/watch?v=ryLp-Otci-o
[From Brazil, 2016, very sweet guitar playing, very rich dusky singing.]

Veinte Años (Live, CA)
https://www.youtube.com/watch?v=tHx4KluuiGs
[From California, 2015, very delicate and tasteful recreation of 1930’s feeling by a trio]

Veinte Años: Jorge & Marc (gonzj49 & dartfrog99)
https://www.youtube.com/watch?v=bc-3t9BDs2Y
[From USA, 2010, beautiful guitar duet with voice; an internet combo.]

Maykel’s Quartet – Veinte años (Variaciones 24-09-2011)
https://www.youtube.com/watch?v=zcKjYHN7ack
[virtuoso variations on a tres]

Veinte años [todos!]
https://www.youtube.com/watch?v=bUiolZzqGOs
[public singing!]

Buena Vista Social Club – Veinte Años (La Habana)
https://www.youtube.com/watch?v=O6Z-sDhzq-k
[1997, Omara Portuondo and Compay Segundo sing, Eliades Ochoa first guitar]

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El Que Siembra Su Maíz — Español-English

“El Que Siembra Su Maíz” is a Cuban country-troubadour (trova) song from 1925, composed by Miguel Matamoros, and first recorded by the Trio Matamoros. It was a hit, and remains a perennial classic. For much more about Trio Matamoros, see https://manuelgarciajr.com/2015/10/04/trio-matamoros-old-and-new/

The chorus of this song: “el que siembra su maíz, que se coma su pinol,” might have a very rough Old English equivalent of “the man who plants his corn gets to sit and drink his mead,” or a very rough Tennessee equivalent of “the man who plants his corn gets to sit and drink his bourbon,” since bourbon is a corn-mash alcoholic beverage.

Pinol: maíz molido con azúcar y un poquito de canela.
Pinol: corn, ground with sugar and a little bit of cinnamon.

Pinol, in:
1. Costa Rica, Cuba, Ecuador, Honduras and Nicaragua: toasted corn flour.
2. Costa Rico and Nicaragua: “pinolillo” is pinol with cacao (chocolate).
3. Ecuador and Guatemala: sweetened corn flour.
4. Bolivia, Ecuador, Peru: pinol as “máchica,” flour made from ground toasted barley or other toasted grains.

“Mead is an alcoholic beverage created by fermenting honey with water, sometimes with various fruits, spices, grains, or hops. The alcoholic content ranges from about 8% to more than 20%. The defining characteristic of mead is that the majority of the beverage’s fermentable sugar is derived from honey. It may be still, carbonated, or naturally sparkling; dry, semi-sweet, or sweet.” https://en.wikipedia.org/wiki/Mead

With all their sugar cane, I find it impossible to imagine the Cubans not having had a mead-like equivalent made from pinol and rum, or pinol and fermented guarapo (sugar cane juice).

Pinol would certainly be used to make all the cornbread, corn cakes, hushpuppy and corn mush equivalents familiar to Americans from their southern states. Now, to the song.

El que siembra su maíz
[Miguel Matamoros, 1925]

Huye, huye
dónde está Mayor?
dónde está?

Ya no vende por las calles
ya no pregona en la esquina
ya no quiere trabajar.

Huye, huye
dónde está Mayor?
dónde está?

Ya no vende por las calles
ya no pregona en la esquina
ya no quiere trabajar

El que siembra su maíz
(que se coma su pinol)
que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)

La mujer en el amor (¡sí señor!)
se parece a la gallina (¡como no!)
la mujer en el amor (¡sí señor!)
se parece a la gallina (¡como no!)
que cuando se muere el gallo (¡sí señor!)
a cualquier pollo se arrima (¡como no!)

El que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)
que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)

Muchacha, dice tu abuela (¡sí señor!)
que te mete en la cocina (¡como no!)
muchacha, dice tu abuela (¡sí señor!)
que te mete en la cocina (¡como no!)
que el que tiene gasolina (¡sí señor!)
no ha de jugar con candela (¡como no!)

El que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)
que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)

No te parece Rufina (¡sí señor!)
mirar en el farallón, (¡como no!)
no te parece Rufina (¡sí señor!)
mirar en el farallón, (¡como no!) (1)
ni ver redundar el trombón (¡sí señor!)
hasta que se desafina (¡como no!)

El que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)
que siembra su maíz
(que se coma su pinol)
el que siembra su maíz
(que se coma su pinol)…
(El) que siembra su maíz…

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The One Who Plants Her Corn
[Miguel Matamoros, 1925; translation-paraphrase by Manuel García, Jr.]

Gone now, gone now
Where has Mayór gone?
Where’s she gone?

She’s not selling in the streets now,
she’s not hawking at the corner,
she no longer wants to work.

Gone now, gone now
Where has Mayór gone?
Where’s she gone?

She’s not selling in the streets now,
she’s not hawking at the corner,
she no longer wants to work.

The one who plants her corn
(gets to eat up her pinol)
the one who plants her corn
(gets to eat up her pinol)
The one who plants her corn
(gets to eat up her pinol).

A woman who’s in love (oh yeah!)
is just like a barnyard chicken (you bet!)
a woman who’s in love (oh yeah!)
is just like a barnyard chicken (you bet!)
when old red rooster croaks (oh yeah!)
next to any old hen she’s nuzzlin’ (you bet!).

The one who plants her corn
(gets to eat up her pinol)
the one who plants her corn
(gets to eat up her pinol)
The one who plants her corn
(gets to eat up her pinol).
The one who plants her corn
(gets to eat up her pinol).

Honey, your grandma says (oh yeah!)
get yourself into the kitchen (you bet!)
honey, your grandma says (oh yeah!)
get yourself into the kitchen (you bet!)
for who lugs cans of gasoline ‘round (oh yeah!)
shouldn’t play at flaming things now (you bet!).

The one who plants her corn
(gets to eat up her pinol)
the one who plants her corn
(gets to eat up her pinol)
The one who plants her corn
(gets to eat up her pinol).
The one who plants her corn
(gets to eat up her pinol).

Don’t even try, Rufína (oh yeah!)
staring in the lighthouse beam (you bet!)
Don’t even try, Rufína (oh yeah!)
staring in the lighthouse beam (you bet!) (1)
Nor look in the trombone’s bell (oh yeah!)
until it shakes itself off key (you bet!).

The one who plants her corn
(gets to eat up her pinol)
the one who plants her corn
(gets to eat up her pinol)
The one who plants her corn
(gets to eat up her pinol).
The one who plants her corn
(gets to eat up her pinol).
The one who pants her corn…

(1) farallón = cliff, farol = lantern, faro = lighthouse. I chose to use the lighthouse image (faro -> lighthouse) instead of using the cliff image (farallón -> cliff, Matamoros’ actual word), because I thought it more vivid, for my English version, as something fatiguing to stare uselessly into.

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A much looser variation of the lyrics, in American English, is as follows.

The Girl Who Plants Her Corn
[a paraphrase of El Que Siembra Su Maíz, in American English, by MG,Jr.]

Gone now, gone now
Margie’s cart is gone.
Where’s she gone?

She’s not selling in the streets now,
she’s not hawking at the corner,
she no longer wants to work.

Gone now, gone now
Margie’s cart is gone.
Where’s she gone?

She’s not selling in the streets now,
she’s not hawking at the corner,
she no longer wants to work.

The one who plants her corn
(drinks her bourbon eats her grits)
the one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits).

A woman who’s in love (oh yeah!)
is just like a barnyard chicken (you bet!)
a woman who’s in love (oh yeah!)
is just like a barnyard chicken (you bet!)
when old red rooster croaks (oh yeah!)
nuzzled up to any ol’ hen she’s sticking (you bet!).

The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits).

Honey, your grandma says (oh yeah!)
get yourself into the kitchen (you bet!)
Honey, your grandma says (oh yeah!)
get yourself into the kitchen (you bet!)
for who lugs gasoline up ’n down (oh yeah!)
with flames shouldn’t be playin’ around (you bet!)

The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits).

Don’t even try, Rufeena (oh yeah!)
staring through a cliff to see (you bet!)
Don’t even try, Rufeena (oh yeah!)
staring through a cliff to see (you bet!)
Nor in the trombone’s bell (oh yeah!)
till it shakes itself off key (you bet!).

The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits)
The one who plants her corn
(drinks her bourbon eats her grits).
The one – who – plants – her – c-o-r-n…

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El Que Siembra Su Maíz
[Trio Matamoros, with (I think) Los Guaracheros de Oriente (my favorites). Matamoros sings.]
https://www.youtube.com/watch?v=zV5QRjmfqcI

Trio Matamoros – El que siembra su maíz
(2nd original recording – unequaled)
[2:55]
https://www.youtube.com/watch?v=KVU5ThBYe5w

Trio Matamoros – El que siembra su maíz
https://www.youtube.com/watch?v=7on8TFN0Hxs
[1931, from collector’s CD, 1st original recording]

El que siembra su maiz (el montuno) – Oscar D´Leon, Hector Lavoe y Lalo Rodriguez
(Tres grandes de la salsa juntos en una presentación en New York para que lo disfruten; el audio no es muy bueno pero igual se goza)
https://www.youtube.com/watch?v=5TmcVMvfv9M
[Salsa jam (1982) on “El Que Siembra Su Maíz” (the montuno part, 11 minutes out of 15) by Miguel Matamoros (Cubano), who wrote the orignal song in 1925! Héctor Lavoe (Puerto Rico), Oscar D’Leon (Venezuela), Lalo Rodríguez (Puerto Rico) sing.]

El que siembra su maíz — Trio Matamoros
https://www.youtube.com/watch?v=2wi-XnsQWso
[Trio Matamors, old, rough and beautiful; just themselves live and free.]

El que siembra su maíz — Los Guaracheros de Oriente
https://www.youtube.com/watch?v=pImyQwLZ16s
[such crisp and polished performers]

El que siembra su maíz — Gema 4 
https://www.youtube.com/watch?v=tfVDEAOOKco
[female a cappella quartet]

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