By John Hartin; Texas Music and Video (Firm)
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There was this one big dude, bigger than me, who used to dance for Yemayá. When you would see him coming you’d have to get ready, because he took all day to get mounted. They called him the fan man (abaniquito a real) because he always danced with a little ten-cent fan. You would keep your eye on him throughout the whole party. When he started to gesture with the fan is when you knew he was close. The singer has to do the same thing. Hunt the santeros. Because this is a contraversia, a clash. You give something, I take it, and give back.
And they’re not even from Matanzas; they’ve spent only a few days there. . I don’t know how to play Matanzas style. ” No disrespect, but to hell with Matanzas! ) They have their gifts and so do we in Havana. Te achi ng There are different kinds of students. There are students who get frustrated and angry with themselves when they can’t get something. There are other students who don’t learn because they don’t study; they’d rather hang out and play around. These last ones I cut off. “Don’t bother to come back, chico,” I tell them.
But there is not that strong sense of identification with the different batteries: “I am a drummer of so-andso” (fulano). Let’s study, Umi. I’ll teach you what Jesús taught me. Let’s go. But it’s not that I want you to fight with anyone or separate yourself. . for you to use now, in your own way, in these circumstances. Tomorrow, as omo Añá, anywhere you go out there, they will ask who taught you. And I’m not the best. But I am a drummer, yo sí soy tambolero. I sacrificed a lot (me jodí mucho).