What hides the “coffee” of “Morena mía” and what other lovers Miguel Bosé sang

Love, sex, the weight of a castrating paternity, anti-war and even the Ayurvedic diet have been some of the great sources of inspiration in the career of Miguel Boséwho in his latest book poses the challenge of uncovering what motivated some of his most famous themes.

Among them is “Morenamia”included in his album “Sereno” (2001), “possibly the song with the highest erotic charge” in his repertoire, about a torrid encounter with a “inspiring muse with name and surname” whose identity does not agree to reveal.

In the pages of the just published “Bose. secret history of my songs” (Espasa) does discover the role played by “coffee” as the main motif in this “almost porn” song, an acronym -he confesses- of “C for fucking, A for loving, F for fucking and E for impaling” .

As it appears in these almost 400 pages, sex has been the recurring motor of many of his musical themes, in which he has often addressed personal experiences, such as in the bolero “Lento” or in “Bambú”, which talks about how encouraged and consummated a fiery sexual encounter with a married woman and unknown just a few meters from the room occupied by her husband.

This theme, although from an outside perspective, is also the center of “Salamandra”, which he composed based on an autobiographical story by the German Wilhelmine Schröder-Devrient that Luis García Berlanga passed on to him and which talks about an opera singer who drinks semen as balm for his voice and who indulges in masochistic practices.

his great loves

Sex is intermingled with feelings in “Nena”, which she confesses is about a “steamy” relationship with a Costa Rican girlfriend. She does not provide more information in this work, but according to statements made to the Italian newspaper Corriere Della Sera, it is about the actress Giannina Facio, whom she referred to as the love of her life.

In fact, in “Secret history of my best songs” it stands out that the protagonist of this song marked “the yardstick” with which she measured the rest of her lovers. “They were the most pleasant, most harmonious years of my life”, he writes next, before concluding with the following message: “I miss you, Baby… I don’t forget you.”

It is one of the great revelations of the book, in which despite its opening words – “Enter the wonderful world of my labyrinths and reveal what nobody knows” – it offers few specific details of the muses of its songs, especially women in the happiest or most satisfying episodes according to a quick count of the 60 tracks analyzed, from “Mi libertad” (1977) to “Estaré” (2016).

He does not discover, for example, to whom he wrote the letter “Te amaré”, nor “Morir de amor”, although in this case he does accompany the text of an image with the dancer Nacho Duato. “These were not good times for my heart,” he says of the moment in which he leaves that story of love and youth in Manhattan.

He does confess that he was unfaithful when analyzing “I can’t find a moment to forget”, which “is born from the forced farewell of a love story that began long before another”. “I overlapped two relationships”, he admits before considering that breaking the first one, “the one with more rights”, was “a bad decision”.

Coupled with her, almost at the end, she addresses the reasons for “Libre ya de amores”, in which she refers to the breakup with her last partner Nacho Palau. She does not give names, but the dates leave no room for doubt. “It tells exactly and with a lot of irony the liberation I had the day I finished the longest story of my life. An indescribable joy,” she indicates about the reasons for this cut.

“I kept thinking about how much it was postponed, which spoiled the little beauty that I could remember,” he adds in this regard, before moving on to the last song published, “I will be”, which is dedicated to his children Tadeo and Diego, “when you discover that (they) are your true love”.

the weight of his father

In the book there are still some more curiosities, such as that “Don Diablo” wrote it to explain to his little niece Bimba who the devil was and that in “Super-Superman” he already sang about homosexuality. “I got tired of explaining it, but nobody paid attention…”, ensures.

He returned to it in “The son of Captain Thunder”, in which he speaks of his taste “for earrings and rings, which raises suspicions in relation to his sexuality” and in which he alludes, through a siren, “a being mythological figure who is neither male nor female”, to his loss of virginity to Amanda Lear, Dalí’s muse.

The song, which served as the title for his previous autobiographical work, is actually about the decisive influence that his father had on him, something that he had already dealt with in “The boys don’t cry” or “If you don’t come back”, which imagines the pain in the face of his eventual death, a supervening fantasy about the loss suffered by a friend, but that he ended up living in his own flesh shortly after.

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