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Macbeth and Faust reappear in Miami

miami protestas cubaU.S. imperialism devotes millions on attempts to discredit Cuba and recruiting cultural figures to join the effort is established practice. Some succumb to the siren song, but most do not care to live for crumbs, visas or legal residence, and perform in low-rent venues

Artists, when they are genuine and their projects are based on popular expression, do not easily succumb to the interests of third parties who often start out disguised as authentic, to later be exposed as vile posers.

Conducting a quick review of renowned names in universal art, we will notice that the most honorable have always acted in a principled manner, paying a significant political – and economic – price in their careers, but able to sleep with a clear conscience and peace of mind. Reading classics like Shakespeare and Goethe is enough to understand much of the wickedness that permeates the human psyche which these authors only portray in the shadows of some of their works, the inherent evil of those who, like Faust, sell their souls to the devil.

But we could ask ourselves just how expensive doing so can be, or not, and why some have preferred to choose the path of no return, knowing that like Goethe’s unfortunate character, they will never again be able to look back.

On the ever-changing battlefield of virtual warfare or cultural hyperconfrontation, to which we find ourselves obliged to respond, several individuals have achieved Pyrrhic victories and celebrate among their kind. But, to be honest, the taste of success is short-lived, since even if their deeds are considered accomplishments, they do not escape the aforementioned descriptor.

The empire devotes millions of dollars on attempts to make our culture invisible, and music is a top priority. Is not this industry one of the most profitable in recent years? Is it not one they depend on to keep us mesmerized like zombies?

Thus, the creation of negative values, the denial of talent and constant attacks on strong musical expressions have been – and are – key elements of the neoliberal strategy focused on destroying anything that smells of Revolution. A society created and sustained by pseudo musical values, in which rapacious consumption and the appropriation of codes of violence are increasingly profitable, is what they want to impose on those of us who resist the cultural hegemony created in laboratories and foundations with interventionist goals.

Unfortunately, some succumb to the unbridled song of sirens, while others -most – cover their ears like the wise Ulysses, not deceived like 21st century fools. They do not care to live for crumbs, for visas or legal residence, for small change to perform in low-rent venues.

What they get in return for this honorable position is a miserable media campaign to discredit them, internet lynchings and the dramatic hysteria of the sell-outs – some of whom go so far as to join calls for an invasion of Cuba, as if this were not an act of treason, annexationism and genocide. Some have exchanged giant stages for a dive bar where they waste away singing 45 minutes, for an audience of 150. These few are, no doubt, the Fausts and Macbeths of our times, the same demons that inspired Goethe and Shakespeare, who would not hesitate to murder those they once considered family.

(Taken from Granma)

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