On December 1, 2006, a video-clip for the tecnofolclor song “Torres Gemelas” (“Twin Towers”), composed and performed by the hitherto virtually unknown Ecuadorian singer-songwriter Delfín Quishpe, was uploaded to YouTube by an anonymous internet user and became an instant hit. Its success was indeed so swift, and undoubtedly so unexpected, that it even took the artist by surprise, abruptly turning him into a web star of sorts. By February, 2007, the clip had been viewed more than one million times and had generated thousands of comments on YouTube, as well as innumerable entries in weblogs all over Latin America. In fact, due to its dissemination through and throughout the web, the video’s popularity had very quickly transcended national boundaries and given rise to a veritable following not only, and not even mainly, in the artist’s country of origin (where he was, in the beginning, ignored by all but a few believers), but in other regions of South America as well, and most especially –of all places, and for reasons unknown– among middle and high class young people in Chile. There, and within the very first days of 2007, fans of “Torres Gemelas” furthered Delfín’s momentum by creating his “official blog” (one which would reach one million visits by August of the same year), by covering and remixing his hit in different music genres or styles (say, hip-hop, hard-core, techno, punk, cumbia, etc.) and in turn posting the resulting versions on YouTube, and most decisively by inviting the Ecuadorian to perform live in several exclusive venues of Santiago de Chile, Valparaíso and Viña del Mar.
Thus having, in less than three months, become “the most famous Ecuadorian in cyberspace”, Delfín Quishpe returned to his country as a star, appearing in radio talk-shows, allowing the most popular television reporters to escort him in his daily life, and offering concerts in private night-clubs and discotheques of high-class neighborhoods of Quito, Guayaquil, and Cuenca, Ecuador’s three biggest cities, in which, just until that point, he had not been known at all. Even the “respectable” press of the country began dealing with the singer-songwriter’s success and with its possible meanings in diverse editorials, research articles and interviews with more or less famous cultural studies “experts”.
Those were the days, in short, of “el fenómeno Delfín”, as it was dubbed by both the press and the fans. It was a phenomenon, indeed, although, strangely enough, no one was sure of what exactly was the phenomenon: was it the unlikely –and phenomenal– transnational success of an Ecuadorian citizen itself, or was it the actual –phenomenal– person, Delfín Quishpe, an Indian from a small village of the highlands whose real name was the ridiculously sounding “Delfín” (literally, “dolphin”), due to the fact that he was his parents’ last child, hence “el del fin” (“the one at the end”)? After all, the only certain thing about the “phenomenon” was that everything related to “Torres Gemelas” and Delfín, everything related to all the concerts and debates and reportages that constituted the singer-songwriter’s proverbial fifteen minutes of fame, had occurred despite the video’s impressively cheap production values and despite the artist’s incredible lack of talent, or rather because of those factors combined, among others.
For both the video and the song are so utterly “bad”, so obviously “in bad taste”, that, much like an Ed Wood movie or The Shaggs’ album Philosophy of the World, one has to see it (or listen to it) in order to believe it. The ultimate cheesy experience, one that is so cheesy that it is cool, Delfín’s greatest hit excels in being “bad”, as well as in demonstrating how a convolute of heterogeneous musical and cultural elements, ostensibly intended as a solemn comment on the tragedy of September 11, 2001, can quite literally hit the aesthetic bottom and still (or of course?) become a hit.
By presenting the “Delfin phenomenon”, then, I am by no means trying to prove that he is a good singer or a good songwriter – it hurts indeed to even use the words singer-songwriter in relation to him. Nevertheless, I will argue that the video/song is a very interesting cultural artifact on several levels, and that not only the phenomenon’s popularity in spite of or because of its poor quality makes it relevant, but also the fact that we, the implied viewers/listeners, have not the slightest doubt to immediately mark it as a “bad” video/song. It is “bad”. It even is too “bad” to be true. It is self-evidently “bad”, in other words.
In fact, it is too self-evidently bad. This begs the question of what it means for something to be “bad”, especially in the context of a country that, like Ecuador, is clearly divided along class and ethnic lines. It begs the question, as well, of what we are to make of this video’s empirically attractive and popular “badness”, or of the fact that it is enthusiastically consumed by people from different social classes and of different ethnicities, and indeed by people of different nations. Thus, the analysis of this video, or rather of the whole phenomenon that surrounds it, opens possibilities for reflecting on the aesthetic values in tecnofolclor, a musical genre that, precisely because of its multiple connotations (cultural, racial, ethnic, etc.), has been historically despised as “bad” and derided as “ridiculous” in Ecuador and in other countries of the Andes.
An exercise in bad taste – “Torres Gemelas”
It is downright impossible to sum up the “cheesiness” of this by now classic video in a short paper, or even in a long one. Words simply cannot convey what the music, the lyrics (as sung by Delfín, that is, with his accent, with his intonation, and with the actual timbre of his voice) and the images, altogether, aesthetically amount to. As was already said, one has to see it to believe it, and even then, in fact, it is difficult to believe it. To put it in the words of Ricardo Silva Romero, an Ecuadorian journalist who writes for a magazine called Soho,
justo cuando uno cree que lo ha visto todo, justo cuando ya ha reconocido que venimos al mundo a dejar de ser las personas que somos, sucede algo que nunca antes había sucedido, aparece desde ninguna parte, por ejemplo, una persona aterradora que reúne todas las condiciones para ser llamado ‘un extraterrestre’, ‘un idiota que nos demuestra que más idiotas seremos nosotros’. Estoy pensando en Delfín Quishpe. En el cantante ecuatoriano Delfín Quishpe. (2007)
None the less, the following couple of pages will be an attempt to at least give a general idea of what kind of cultural artifact this clip is, as well as to accentuate some of the aspects that make it so scandalously “bad” in order to, in a second step, consider the meanings of that self-evident “badness”.
The video-clip “Torres Gemelas” begins with Delfín Quishpe, an “obvious” Indian from the Andes, in a poorly decorated living room, where he finds out, watching the news, that the World Trade Center in New York has been attacked. In an exaggerated performance that is reminiscent of the silent movies’ era, he acts surprised, throws the remote control away and, standing up, screams “no puede ser… ¡nooo!” This scream marks the beginning of the actual song, since there has only been a beat, until that point, as well as the voice of the news presenter, but no real melody at all. And what the viewer/listener gets now is by no means less exaggerated than what this introduction has already provided and, in a way, heralded.
Thus, the music that unfolds now is a bizarre mix of purely electronic instruments and unimaginative beats, synthesized Andean sounds and rhythmic patterns, and the main melodic line of Ennio Morricone’s soundtrack for the movie The Good, the Bad, and the Ugly. Needless to say, the mix is outrageous, and the recognizability of its different elements makes the maverick of actually having attempted to combine them look even more audacious or, to use a less generous word, dumb. Still, the result is catchy enough, and the transitions between the different parts of the song are good produced enough, to keep the listener interested, even though, by now, the main reason to remain interested is, most probably, an almost curiosity about how “bad” or incongruent the music can turn out to be.
Somehow disappointingly, the music itself does not get “worst”, for it is highly repetitive and follows the structure of the first minute of the song. The images of the video, however, are a different story. After realizing what happens at the World Trade Center and trying to make a phone-call, Delfín crosses himself and seems to begin to pray. Then, while his off-voice pseudo-journalistically describes the events (“Todo el planeta se conculsionó […] Las torres en llamas / lleno de humo negro), actual news-footage of September 11 is presented. We can see, of course, the buildings burning, but also the reactions of people on the streets and, most appallingly, some shots of persons shortly before they spring off the towers. Nevertheless, it is not a gratuitous image in the narrative sense, since it refers to the lyrics, in which Delfín shouts “y tú en ese lugar”. To make sure that no one misses the point of the person in the tower being Delfín’s interlocutor, the producers of the clip superimpose a gigantic Delfín on the shot of the building, and he directly points at the window off which we know someone is about to spring.
This is, without a doubt, one of the most dubious uses of montage ever used in the art of the commercial video-clip, and it precedes many other such superimposed images of the singer and the events. As if this was not enough “bad taste”, however, the producers of the video think that it is clever to blend the phone numbers one has to call to appoint Delfín for a concert over actual footage of the survivors of the attacks escaping Manhattan covered in dust and blood.
There is a reason for all this emphasis on the tragedy, though: as the lyrics tell us, the poetic persona has come to New York solely to be with “his love”, but fate has it that this “love” works in the buildings and dies, but not before calling him and saying “adiós, mi amor”. Understandably, the persona is shaken, and even begins to question what exactly has happened: “¿Quién sabe quién lo hizo / y por qué lo hizo?” The only possible way to try to cope with the catastrophe, or to live through it, seems to be to cry: “Sólo llorando podré olvidar”.
Later (the song lasts for more than four minutes), and on a different narrative level, as it were, Delfín himself, posing in front of an immense Ecuadorian flag, explicitly pays homage to all his compatriots who died on September 11 “por buscar un sueño Americano”. Likewise, he asks alls his “amigos en los Estados Unidos” (meaning either American people or migrants from Ecuador who live in the United States, or most probably both) to listen to his song and to his message “con fuerza”. In a meta-lyrical twist very typical of the genre of tecnofolclor, among others, he ends everything by addressing his audience directly and, rather colloquially, bidding farewell: “Nos vemos… ¡chao!”
A sick joke or an homage? Migrant sensibilities in “Torres Gemelas”
Apart from its being hopelessly “bad”, the most obvious feature of the video is that it is a product of its times. It deals, for instance, with September 11, 2001, a tragedy that physically took place in New York but had political and military repercussions all over the world. Moreover, it is a tragedy that directly touched the people of Ecuador –and, of course, of other Latin American countries and of other continents as well–, if only for the fact that Ecuadorian citizens were among the terrorists’ victims. In fact, due to migrational processes that began decades ago but significantly intensified in the last ten years, and which have severely affected nearly every Ecuadorian family –and especially the poor ones–, New York City is, in terms of its population, the fourth largest city of Ecuador, since more than 120,000 nationals of the country live there legally. In other words, except for Guayaquil, Quito and Madrid (!), no other city in the world is as densely populated by Ecuadorians as the Big Apple is.
As incredibly as it may appear to the first-time-viewer, then, it is very unlikely that “Torres Gemelas” was meant to mock the people who died at the World Trade Center or to show disregard for the tragic character of the event. This is, however, the way this clip is frequently interpreted, and Delfín has been in fact often accused of exploiting September 11, in the best case, or even of making outright fun of it, in the worst. One comment on YouTube, for instance, which was obviously posted by a Peruvian user (kemadito), says: “menos mal que no eres peruano boliviano cagon, como te aprovechas de la gente que murio en ese atentado,mejjor saca este video de la web porq da rabia y pena ver esta webada [sic]”. The user yomero1, for his/her part, is not sure of the artist’s intention, but the analysis of the lyrics leads him to think that the song is a joke: “se supone q se murio tu ‘amorcito’ no deveria ser una cancion mas triste para mi que lo tomaste como burla [sic]”. Rather interestingly, the user mmiieeaa paraphrases Delfín to attempt a joke about the supposed joke: “dios ayudameeeee saca a este huevon lo que tiene en el cerebro, que porqueria parece que es de broma [sic]”. Finally, wmosk69 compares the song to the terrorista attacks themselves and advocates censorship: “verguenza ajena… debe ser de ‘al qaeda’ esta quemado del cerebro… la gente de youtube deberia banear esta basura… [sic]”
Of course, the song’s dance music and illogical lyrics, let alone Delfín’s appearance and the aforementioned montage, may seem funny to viewers who are not familiar with Ecuadorian demographics or who, to put it bluntly, simply do not care about them. But it is a safe bet to assert that, for Delfín and for the poor, indigenous people of his community who already knew him before he was on YouTube, as well as for many poor indigenous and/or migrant people who either live in the highlands of Ecuador or in New York, Madrid, and London, it is an homage to the dead. “La mayoría de los miembros de los estratos populares entienden, en efecto, que ‘Torres Gemelas’ no es otra cosa que la triste historia de la un compatriota migrante”, as Xavier Flores Aguirre writes in his article “El símbolo Delfín” (2007). To put it somehow differently, for the people who actually listen to tecnnofolclor, the video is very serious matter, indeed.
Transculturation – musical migrations and transnational songs
In a way, to say that “Torres Gemelas” is a product of its times and a result of migration amounts to say that it is a product of transculturation, and an almost quintessential transcultured product at that. Following Ángel Rama (1982), and for the purposes of this paper, I will define transculturation as the process by which elements of different cultures –some hegemonic, some peripheral– meet and are articulated into something new. It is different, thus, from acculturation, which would imply the peripheral culture’s complete acceptance of the hegemonic one, or its thorough assimilation into it. Transculturation is multilateral rather than unilateral; it means encounter, hybridization and the creation of new, unique cultural expressions. Perhaps more importantly, it means the creation of cultural artifacts so “bizarre” that they are not necessarily legible by readers trained in the appreciation of classical, hegemonic aesthetic values.
It is quite obvious how this video, in particular, and the musical genre it belongs to, in general, are the results of transculturation. The term tecnofolclor itself conveys the sense of at least two different cultural systems being combined. “Torres Gemelas” is by no means a copy or a passive assimilation of a hegemonic Anglo-Saxon culture by someone from the periphery (in this case, Ecuador), or vice versa, but rather a fusion and transmutation of elements from both the hegemonic and the peripheral culture, which are then more or less consciously processed and end up being something new. For instance, this song displays electronic instruments and Andean melody, as well as a pseudo-cumbia rhythm coupled with a sample from a spaghetti western’s soundtrack. It is a distinctly “Andean” song without even one traditional Andean element in it that has not already been touched and changed by the encounter with other cultural imports or “musical migrations”. And, of course, it is a distinctly “Andean” song that is flexible enough to be covered in other genres, as was mentioned before, without losing its distinct properties.
Needless to say, this concrete transcultural product would not have been possible, or at least its massive popularity would not have been possible, had it not been for the internet, a medium that not only has worldwide scope, but –and in this case much more decisively– one that is easy and cheap to use. Nothing like the Delfin phenomenon could have existed before the internet. In fact, nothing like the Delfin phenomenon could have existed only, say, eight years ago, before the advent of Web 2.0 pages like YouTube, as well as of technologies that allow poor people to even begin using the resources of the web without having to pay a lot of money to do it. Stripped of all its cheesiness and “badness”, Delfín’s story is, to say the least, one impressive example of the kind of DIY strategies that have been important for the musical scene since the times of punk, and which, thanks to the internet and globalization, have increased exponentially in range and relevance in the last ten years.
In other words, the fact that a marginal artist like Delfín could become internationally famous over the internet –and without even having uploaded the video himself in the first place– shows how even very local artifacts or products, expressly manufactured for a community-based audience, can become transnational in very short periods of time. Further, it shows how even local artifacts and products are, in a globalized world in which the internet is widely accessible, even in the peripheries, almost by definition always already transcultural.
Transculturation within “a” culture – Class and ethnicity in “Torres Gemelas”
The most interesting transcultural aspect in this video, however, is not necessarily related to national borders, but to boundaries between different social classes and ethnic populations that coexist, more or less pacifically and more or less tolerantly, within nations.
Let us point out an “obvious” fact: at least for a Latin American viewer, Delfin is clearly indigenous and very clearly low class – two terms that, alas, almost by default go hand in hand in virtually the whole of Latin America. Delfin certainly looks indigenous (he looks the way Indians are supposed to look like), and his last name, Quishpe, literally denotes indigenous roots.
Moreover, his whole habitus is low-class and “Indian”: his “silly” white cowboy clothes, for instance, as well as his ineptness to even begin to try to be a “good actor” in his clip, show us that he does not have a formal education, that he does not really master the sign system of the hegemonic Western culture or, to put it in as plump a way as many Latin Americans would put it, that he does not even know what “culture” is, etc.
Besides, and as if more proof of his low-class status –and, in the Latin American context, of his ethnicity– was needed, he is utterly incapable to pronounce his words “as they are supposed to be pronounced”. Take the names of the places he sings about: he says “Nueva Yor”, instead of “Nueva York”, and he does not even use the article “las” when mentioning the “Torres Gemelas”, which in this case constitutes, without a doubt, a mistake in terms of the official language. Furthermore, he seems not to have the least idea of what rhyme is supposed to be, let alone of the most basic Spanish syntax. The following part of the lyrics, for example, is still object of much dispute as to what he actually is talking about, due to the fact that it simply, and at the level of the most fundamental Spanish grammar, does not make any sense at all: “Un mal momento / yo lo viví / los terroristas / lo exterminaron”. As a benevolent but obviously culturally elitist user named veronica commented in a blog (Errepece) related to Latin American themes, “para mí, [ese es] el momento poético culminante […] Los pronombres esos abren posibilidades de interpretación I-M-P-E-N-S-A-B-L-E-S [sic]”. For his/her part, LukePro, a definitely less benevolent user of YouTube, was disgusted enough by the lyrics to quote them in extenso:
Todos los que piensan que escriben y se expresan tan bien, analizen las siguientes oraciones que extraigo de la canción: ‘Trabajaba en torres gemelas’, ‘En los escombros de torres gemelas’ (el articulo ‘las’ es tácito?); ‘Nueva YoRRRRRR’, ‘un mal recuerdo, yo LA viví’, ‘nunca pensaba q VAS a morir’. Nada más que acotar, gente linda [sic].
And finally, the Latin American or –in this case more concretely– the Ecuadorian viewer wonders, why does Delfín have to display the Ecuadorian flag as prominently as he does in his video? “No uses nuestra bandera para tu entretenimiento personal”, one user of YouTube demands. He/she adds: “Espero que te cierren la cuenta en youtube [sic]”.
In short, and to return to the initial question of this work: why does it all have to be in such a self-evident “bad taste”?
These signs of “bad taste” are, once again, the ones that a Latin American viewer instantly sees, without even having to think about them. But that is not really precise. It is rather what a middle-class or high-class Latin American viewer instantly sees, a viewer, precisely, who has a formal education, and one whose whole cultural background not only includes the Anglo-Saxon references used by Delfin in his song (among many other –and certainly much more “high culture”– ones), but also excludes, or at least tries to exclude, any specific “Andean” aspects that could lead to the assumption that he/she, too, could have something to do at all with “shameful” indigenous/low class traits or values like the ones so explicitly portrayed by “Torres Gemelas”.
It is not, then, that Delfín’s “bad taste” is obviously “bad” for everyone. Rather, viewers who belong to the middle class or high class, and who think of themselves as being ethnically “whiter” than the singer-songwriter and the people of his community, mark everything related to this transcultural, hybrid artifact as “bad”, in the same way that the fact that some viewers think the song is funny and/or disrespecting does not mean that people who really are into tecnofolclor read it as, or mean it to be, funny and/or disrespecting.
In other words, we are talking about at least two different cultures that coexist within one country, two almost completely different cultures that belong, both, to the social construction called “Ecuador” (or, to put it more generally, “Latin America”), but do not really understand each other, let alone like each other or consider each other equally worthy. As Xavier Flores Aguirre writes in the conclusion of his afore quoted article,
[el fenómeno Delfín] nos pone de manifiesto un hecho capital, esto es, que somos un país esencialmente fragmentado, en el que las clases medias y las élites usualmente no entendemos ni queremos entender el imaginario y la estética de los miembros de los estratos populares […] Delín Quishpe, entonces, se revela como un claro símbolo de las severas averías existenciales que supone la ecuatorianidad y del hecho triste y cierto de que ser ecuatoriano constituye un mero acto de fe en un país de no creyentes.
Racism and ironic mimicry – Two faces of the same coin?
Having established that the reading and the aesthetic judgement of “Torres Gemelas” fundamentally differs, depending on to which culture within Ecuador or a given Latin American country the viewer belongs, it must be said that, of course, is “a fact of life”, or rather an expression of the prevalent power relations, that the culture that most emphatically disrespects the other culture (the culture of the Other), that marks it as being a culture of kitsch, in the best case, or as no culture at all, in the worst, and that mobilizes its whole discursive power (its schools, its churches, its newspapers and its TV stations) to make clear just how ridiculous transcultural artifacts like “Torres Gemelas” are, is of course the culture of the middle class and of the high class. It may be that the low class culture also derides the –in the context of a peripheral country– hegemonic one (in fact, it most surely is that way, at least to a certain degree), but it is the middle class and the high class which possess the means to openly, and massively, express its contempt, to create its own aesthetic values and criteria, and to posit them, beyond reasonable doubt, as the truth.
As has already been shown, the reactions to this video have been diverse, and some of them have been quite passionate, to put it in a neutral way. In fact, of the thousands of comments on YouTube, there are hundreds of blatantly racist ones, in which Delfin is accused of giving Ecuador a bad name, as it were, and of offering, by his sheer “stupidity”, a living proof of the supposed inferiority of indigenous peoples and, by extension, of Ecuador and the whole of Latin America when compared to Europe or to the United States, and as long as Latin American culture –so the argument goes– remains heavily influenced by the Indian population. User Maurus01, for example, thinks that Delfín’s very existence is a shame for his country: “quien puto es este maricon? que no tiene nada mejor que hacer con su tiempo que verguenza para los ecuatorianos [sic]”. More particularly, user dgflores27 is concerned about the highlands’ reputation: “lo[n]go hijo de puta… mente obsoleta..indio de a verga..estos indios son los que hacen quedar mal a la sierra… [sic]”. User cobisky, for his/her part, shows disdain not merely for the artist but also for his “amorcito” (the woman who dies, according to the lyrics), based on the suspicion that she, as many other immigrants, was low class: “seguro tu puta novia trabajaba limpiando letrinas en la torres k bueno k la chingaron”. Finally, user fabiansantillan soberly warns against thinking that Delfín represents Ecuador in any significant way: “Sería muy ignorante pensar que Ecuador es solamente Delfín y los conejitos [another tecnofolclor act], todos sabemos que no es así”. He goes on, however, ranting against indigenous people and rather explicitly and articulately distancing himself, as an Ecuadorian, from Indians:
Indios, primero son horribles, sus mujeres indias ni se diga, tienen la espalda de cargador y no tienen culo, apestan a suciedad, indios asquerosos. Cuando se ven en aprietos lo único que atinan a hacer es reírse y bajar la cabeza […].Para los ignorantes que hablan mierda de Ecuador, en nuestro país hay gente decente que por suerte no tenemos sangre india en nuestras venas, los usamos como burros de de carga en los mercados.
Of course, the fact that the song deals with a tragedy, to go back to an issue that was discussed above, is also considered in “bad taste”, as user cristian13081982 deplores: “Oh Dios!!! Cómo puede exi[s]tir alguien tan idiota para componer una canción con ritmo de fiesta sobre un hecho tan desastroso [sic]”. And user intoxicadornr, just like many other users of YouTube, seems to favor radical means to get rid of this “national shame”: “por favor una silla electrica para ecuadorrr [sic]”.
In short, for this kind of commentators the fact that Delfín is an Indian should preclude him from speaking on such a subject in such a way, or in any way at all, to be honest, since the point is, even if not said in as many words, that is in bad taste for an Indian to speak about anything at all and, perhaps even more fundamentally, to be doing it on a massive, free and international platform like YouTube at that, “damaging” the country’s image in the process.
This racist reaction, then, is typical of middle class or high class viewers of such a transcultural product like Delfín’s video, but, as his popularity indeed demonstrates, it is not the only reaction possible, and probably not even the most widespread one. In fact, apart from the very local and numerically insignificant fan-base Delfín has had since years in his hometown and the villages of the area –and which, as has already been noted, did not even extend to any Ecuadorian big cities–, the fans of “Torres Gemelas”, both in Ecuador and in Chile, are middle class at least, and high class or even very high class in many cases, which is why his concerts in both countries took place in exclusive discotheques and clubs where he, had he not be the star he is, would not even be admitted to enter, because of his obvious indigenous roots.
Delfín’s middle class and high class fans, of course, are “not really” his fans at all. Just like the racist users of YouTube quoted before, they too think that he represents or personifies “bad taste”, that his song is utterly stupid, and that he is dumb and they are not. That is, in fact, the whole point of their fandom: instead of insulting him like the racists, but judging him using the exact same racist criteria, Delfín’s middle class and high class fans are permanently mocking him, laughing at him, and consuming his product just because it is too bad to be true, or just because it is so bad that it is cool. The drive to fandom, in this case, is then the flipside of the racist comments mentioned above. User lubetosc, for instance, ironically writes: “La verdad delfin eres grande, no cualquier hombre tiene el talento de poder componer y mucho menos de poder expresar sentimientos como tu los hiciste en la cancion de las torres gemelas [sic]”. And user MagentaSonora adds a surreal touch to the whole phenomenon by hyperbolically –and without a doubt ironically– comparing the Ecuadorian artist with Bob Dylan: “Delfín es el nuevo gurú de la “CANCIÓN”; así con mayúsculas y con todas las letras… El día que Bob Dylan busque un sucesor, lo va a encontrar en Ecuador. Y el nuevo grito de batalla de nuestra generacíon:Delfín hasta el fín! [sic]”
In “the official blog of Delfín Quishpe”, itself a product of this ironic attitude of mimicking fandom, a user called pancho recalls his experience at one of Delfín’s concerts in Santiago: “Estaba adelante, me saque una foto con el maestro después del recital e incluso me paso el microfono para cantar Torres Gemelas, notable Delfín [sic]”. And indeed the best example of this curious “illustrated fandom” that is, arguably, no fandom at all, is the blog itself, with its multiple posts highlighting all possible aspects of Delfín’s life and career, as well as with its thorough compilation of different cover versions of “Torres Gemelas”. In the introduction to one of those versions, for instance, the makers of the blog display the ironic hyperbolic language that characterizes Delfín’s fans:
Kraftwerk para algunos los inventores de la música electrónica, tienen que estar de muy mal humor, este remix de esta dupla de españoles es infinitamente superior a ese grupillo Alemán de culto. A ellos les tiene que haber pasado lo mismo que a mi, cuando entro Delfín en sus vidas la luz les permitió abandonar una seria de ídolos que despuŽés de Delfín son sólo parte del pasado [sic].
But for how long can one keep an attitude of ironic fandom before it is fandom period? For how long can one laugh at Delfín, invite him to perform in crowded clubs where everyone in the audience knows “Torres Gemelas”’ lyrics by heart, and spend time on commenting his video in the internet, before it is fandom period? For how long can one actually pay the artist to perform and make him so famous that he now appears on television before it is fandom period?
The middle class and high class fans of Delfín, in other words, exemplify with their own ironic detachment that mimics fandom the way in which nothing can stay completely “pure” in the face of transcultural artifacts like “Torres Gemelas”. For regardless how ironic and ethno-centric these audiences’ approach to the Delfín phenomenon is, the fact is that the constant performing of something (in this case, of fandom) ends up creating a “real” condition. To put it differently, the fact is that this illegible transcultural artifact is read and consumed, for whatever reasons it may be read and consumed, and that its readers and consumers, by involving themselves in a dialogue with the music and aesthetics of this very low class, and very explicitly Indian, musical genre, end up being touched by it and becoming, in the process, something else from what they were before – in a word, fans.
Besides, and after all, while Delfín’s followers are sure of being the ones in control, the ones who “actually” know that he has no talent whatsoever, and the ones who laugh at him because of that, the real question that arises when seeing pictures of elitist persons proud to get a photograph of them and this indigenous artist taken is, in the end, who is laughing at whom?
Works used
Arcos Cabrera, Carlos. “La historia de Delfín Q.” Hoy February 22, 2007. April 21, 2008 <http:// www.hoy.com.ec/NoticiaNue.asp?row_id=259521>.
– “Delfín, hasta el fin”. Hoy March 1, 2007. April 21, 2008 <http:// www.hoy.com.ec/NoticiaNue.asp?row_id=260077>.
Aguirre, Xavier A. “El símbolo Delfín”. El Universo March 24, 2007. April 21, 2008 <http://www. eluniverso.com/2007/03/24/0001/21/88C4482419DB4BDAB4AE07A106D6827E.aspx>.
Cruz, Margot. “Delfín y su ‘boom’ en Internet”. El Universo February 4, 2007. April 21, 2008 <http://www.eluniverso.com/2007/02/04/0001/259/97A0A85292464BE59DF0E57831599497.aspx>.
Dunn, John. “Artistas Ecuatorianos: Meet the Enemy!” Ladrillazos (blog) February 13, 2007. April 21, 2008 <http://ladrillazos.blogspot.com/2007/02/artistas-ecuatorianos-meet-enemy.html>.
Espinosa B., Christian. “¿Cómo le fue a Delfín ‘YouTube’ en Chile? Ver la euforia del concierto en vivo…” Cobertura digital (blog) February 25, 2007. April 21, 2008 <http://www. coberturadigital.com/2007/02/25/%C2%BFcomo-le-fue-a-delfin-you-tube-en-chile-ver-la-eufora-del-concierto-en-vivo/>.
Ponce-Cordero, Rafael. “Defín hasta el fin” Errepece (blog) February 20, 2007. April 21, 2008 <http://errepece.blogspot.com/2007/02/delfn-hasta-el-fin.html>.
Rama, Ángel. Transculturación narrativa en América Latina. México DF: Fundación Ángel Rama, 1982.
Silva Romero, Ricardo. “Celebrar lo malo”. Soho No date mentioned. April 21, 2008 <http:// soho.com.co/wf_InfoArticulo.aspx?IdArt=5509>.
Sobrevilla, David. “Transculturación y heterogeneidad: Avatares de dos categorías literarias en América Latina”. Revista de Crítica Literaria Latinoamericana Fall 2001, 54, 21-33.
Trigo, Abril. “De la transculturación (a/en) lo transnacional”. En Moraña, Mabel (ed.). Ángel Rama y los estudios latinoamericanos. Pittsburgh: Instituto Internacional de Literatura Iberoamericana, 1997, 147-172.
Links
http://es.youtube.com/watch?v=OoCR3_6xrXw (March 26, 2007. “Torres Gemelas” video in relatively good quality – as viewed on April 21, 2008).
http://delfinhastaelfin.blogspot.com/ (the “official” blog of Delfín Quishpe – as viewed on April 21, 2008).
http://www.youtube.com/watch?v=NecoBo0BhEk (December 18, 2008. “Torres Gemelas” video with the user comments quoted in the text – as viewed on April 21, 2008).
(Crédito de imagen de thumbnail: https://twitter.com/delfin_quishpe. Crédito de imagen de inicio de post: https://elmomentoinutil.wordpress.com/2014/10/07/musica-desde-el-vertedero-7102014-el-delfin-quishpe-canta-torres-gemelas/).
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I want to share a message that has been spreading all over the internet that concerns the times we are living in. Whether you believe in God or not, this is a must read message!
We can see throughout time how we have been slowly conditioned to come to this point where we are on the verge of a cashless society. Would it surprise you to know that the Bible foretold of this event? Don’t believe me? This may be the most imporant message you will read in these times…please do not ignore this!
This messsage reveals what the Mark of the Beast is, and the meaning behind counting a number people have been pondering for centuries, 666. This message also shares why Barack Obama will be the Antichrist. This is truly a message from God!
In the Revelation of Jesus Christ given to the apostle John, we read:
“He (the false prophet who deceives many by his miracles) causes all, both small and great, rich and poor, free and slave, to receive a mark on their right hand or on their foreheads, and that no one may buy or sell except one who has the mark or the name of the beast, or the number of his name.
Here is wisdom. Let him who has understanding calculate the number of the beast, for it is the number of a man: His number is 666” (Revelation 13:16-18 NKJV).
Referring to the last generation, this could only be speaking of a cashless money society, which we have yet to see, but are heading towards. Why? Revelation 13:17 tells us that we cannot buy or sell unless we receive the mark of the beast in our right-hand or forehead. We could still buy or sell among one another without receiving the mark if physical money was still currency. It logically deduces itself to this reason.
These verses could not be referring to something spiritual because the word references two different physical locations (our right-hand or forehead) stating the mark will be on one “OR” the other. It once again logically deduces itself to this reason.
Here is where it really starts to come together. It is shocking how accurate the Bible is concerning the RFID microchip. These are notes from a man named Carl Sanders who worked with a team of engineers to help develop this microchip in the late 1960’s.
“Carl Sanders sat in seventeen New World Order meetings with heads-of-state officials such as Henry Kissinger and Bob Gates of the C.I.A. to discuss plans on how to bring about a one-world system. The government commissioned Carl Sanders to design a microchip for identifying and controlling the peoples of the world—a microchip that could be inserted under the skin with a hypodermic needle (a quick, convenient method that would be gradually accepted by society).
Carl Sanders, with a team of engineers behind him, with U.S. grant monies supplied by tax dollars, took on this project and designed a microchip that is powered by a lithium battery, rechargeable through the temperature changes in our skin. Without the knowledge of the Bible (Brother Sanders was not a Christian at the time), these engineers spent one-and-a-half-million dollars doing research on the best and most convenient place to have the microchip inserted.
Guess what? These researchers found that the forehead and the back of the hand (the two places Revelation says the mark will go) are not just the most convenient places, but are also the only viable places for rapid, consistent temperature changes in the skin to recharge the lithium battery. The microchip is approximately seven millimeters in length, .75 millimeters in diameter, about the size of a grain of rice. It is capable of storing pages upon pages of information about you. All your general history, work history, crime record, health history, and financial data can be stored on this chip.
Brother Sanders believes that this microchip, which he regretfully helped design, is the “mark” spoken about in Revelation 13:16-18. The original Greek word for “mark” is “charagma,” which means a “scratch or etching.” It is also interesting to note that the number 666 is actually a word in the original Greek. The word is “chi xi stigma,” with the last part, “stigma,” also meaning “to stick or prick.” Carl believes this refers to a hypodermic needle (see photo).
Mr. Sanders asked a Boston Medical Center doctor what would happen if the lithium contained within the RFID microchip leaked into the body. The doctor responded that if the microchip broke inside a human body, the lithium would cause a severe and painful wound filled with pus. This is what the book of Revelation says:
“And the first (angel) went, and poured out his vial on the earth; and there fell a noisome and grievous sore on the men which had the mark of the beast, and on them which worshipped his image” (Revelation 16:2).
THE HIDDEN MEANING BEHIND THE NUMBER 666 REVEALED!
What I first want to mention, before I share what the Holy Spirit has revealed to me concerning the number of the beast, is that God confirms in threes. We can see this throughout scripture:
“For there are three that bear witness in heaven: the Father, the Word, and the Holy Spirit; and these three are one” (1 John 5:7 NKJV).
“and that He was buried, and that He rose again the third day according to the Scriptures” (1 Corinthians 15:4 NKJV).
“…Holy, holy, holy, Lord God Almighty, Who was and is and is to come!” (Revelation 4:8 NKJV).
There are many more examples, but I thought I would just share three of them to make the point.
Examining Revelation 13:16,17,18, the first group of three I would like to point out is that the mark of the beast is described in three separate verses, 16, 17 and 18.
The next three I see is in verse 16, “He causes all…” is followed by three contrasting categories of people,
1 – “both small and great,
2 – rich and poor,
3 – free and slave…”.
Then unto verse 17, it opens with, “and that no one may buy or sell except one who has…”, followed by three explanations of what one must have to buy or sell,
1 – “…the mark
2 – or the name of the beast,
3 – or the number of his name”.
Now unto verse 18, we read “Let him who has understanding calculate…”, which is followed by,
1 – “the number of the beast,
2 – for it is the number of a man:
3 – His number is 666”.
The last three I see is the number “6” being used three times in a row. The reason I’m making this point about God confirming in three is because it is the key to unlocking how to calculate the number 666.
Throughout the centuries there have been people trying to calculate numbers based on titles and names that come up to the number 666 to identify one person, the Antichrist; but from Revelation 13:18, I do not see where God is telling us to count up to 666, but rather to count the number of the beast. This number is identified as 666. So the verse is telling us to count the number 666.
What does it mean to count? It means to add up. So how could we add up 666? Remember my previous point about God confirming in threes is key to unlocking the number 666. So logically, what would be the best way to count the number 666? To count it equally by using the rule of three based off the number.
We cannot count it equally as 600+60+6, this would also bring us back to the start.
We cannot count it as 600+600+600, or 60+60+60 because there are no zeroes in between or at the end of 666.
The only logical option is 6+6+6=18.
What is interesting is that the verse that reveals for us to count the number itself is verse 18 (there a total of 18 verses in Revelation Chapter 13), being the third verse out of the three verses that describe the mark of the beast in Revelation 13:16,17,18. What is 18 divided by 3? 6. So 3×6=18, or 6+6+6=18.
Another interesting point is the only two other combinations (making a total of three possible combinations) for placing a “+” symbol in between 666 are:
66+6=72 and 6+66=72.
Add both 72’s together and you get 144.
Why the number 144 is worth our attention is because the verse following Revelation 13:18 is the first time in the Bible where the 144,000 are being described in detail:
“Then I looked, and behold, a Lamb standing on Mount Zion, and with Him one hundred and forty-four thousand, having His Father’s name written on their foreheads…” (Revelation 14:1).
Now if you add up all three numbers from counting 666 by moving the “+” symbol around, it would be 72+72+18=162. What is compelling about the number 162, is, if you divide 144,000 by 162, you get 888. The name of Jesus in Greek gematria adds up to 888. The New Testament was originally written in the Greek language. Revelation 14:1 not only mentions the 144,000, but also the Lamb who is Jesus.
Now what is interesting about the number for Jesus, 888, is that if you apply the same formula that was used to count 666, you get 8+8+8=24. Why the number 24? Revelation chapter 4 tells us there are 24 elders seated around the throne of God. This is the same throne where Jesus sits.
Now if you take:
8+8+8=24
8+88=96
88+8=96
you get 24+96+96=216.
Take 144,000 divided by 216 and you get 666.
Remember that this was the same exact formula we used to count the number 666 that ultimately brought forth the number 888.
Here is a quick recap to demonstrate how this formula confirms itself as being the true way to count 666:
1: 6+6+6=18 > 66+6=72 > 6+66=72 > 18+72+72=162
2: 144,000 divided by 162=888
3: 8+8+8=24 > 88+8=96 > 8+88=96 > 24+96+96=216
4: 144,000 divided by 216=666
1: 6+6+6=18 > 66+6=72…
As you can see, it is perpetual. And remember that we consistently used a formula that worked in threes being the number that God uses for confirmation.
So what could this mean? Well we know in this world we are identified by numbers in various forms. From our birth certificate to social security, as well as our drivers license; being identified based on a system of ruler ship. So it is possible that this RFID microchip will contain a new identification that has a total of 18 characters (6+6+6).
“here the wisdom is, the one having the mind let him calculate the number of the wild beast, number for “of human” it is, and the number of it 666″ (Revelation 13:1, Greek Translation).
The Greek word “anthrÅpos” being used in verse 18 where it says “of human” is the Greek strongs concordance G444. The first two definitions of the word are “a human being, whether male or female”, and, “generically, to include all human individuals”. Could the number of the beast apply to all mankind?
In the Greek (the New Testament was originally written in the Greek language), and other translations, you will notice the beast is described as an “it”, instead of “him”. The reason I’m making this point is because when a translation says “His number is 666”, this would imply a singular person, the Antichrist. But by saying “the number of it 666”, implies that it is of the beast system as a whole.
We can know the number of the beast cannot be to identify products (like a new barcode) to buy or sell because scripture says we cannot buy or sell without the number of the beast. What am I getting at? There will be instances where you could buy something someone made themselves and it wouldn’t have a store branded identification on it. But for this number to be in our chips, that is where it must be to conclude ultimately that we cannot buy or sell without having the number of the beast. As previously mentioned in Revelation 13:18, the number of the beast (6+6+6=18) is a “human number”, definition “generically, to include all human individuals”.
Go to: http://voice-truth.org to see all the proof!
Is your name written in the Lamb’s book of life? Jesus says that we must be born again to enter the kingdom of God in the Gospel of John chapter 3.
“Then a third angel followed them, saying with a loud voice, “If anyone worships the beast and his image, and receives his mark on his forehead or on his hand, he himself shall also drink of the wine of the wrath of God, which is poured out full strength into the cup of His indignation. He shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment ascends forever and ever; and they have no rest day or night, who worship the beast and his image, and whoever receives the mark of his name” (Revelation 14:9-11).
BARACK OBAMA IS THE ANTICHRIST:
In the Islamic religion they have man called the Mahdi who is known as their messiah of whom they are waiting to take the stage. There are many testimonies from people online who believe this man will be Barack Obama who is to be the biblical Antichrist based off dreams they have received. I myself have had strange dreams about him like no other person. So much so that I decided to share this information.
He came on stage claiming to be a Christian with no affiliation to the Muslim faith…
“In our lives, Michelle and I have been strengthened by our Christian faith. But there have been times where my faith has been questioned — by people who don’t know me — or they’ve said that I adhere to a different religion, as if that were somehow a bad thing,” – Barack Obama
…but was later revealed by his own family members that he indeed is a devout Muslim.
So what’s in the name? The meaning of someones name can say a lot about a person. God throughout history has given names to people that have a specific meaning tied to their lives. How about the name Barack Obama? Let us take a look at what may be hiding beneath the surface…
“And He (Jesus) said to them (His disciples), ‘I saw Satan fall like lightning from heaven'” (Luke 10:18).
In the Hebrew language we can uncover the meaning behind the name Barack Obama.
Barack, also transliterated as Baraq, in Hebrew is: lightning
baraq – Biblical definition:
From Strongs H1299; lightning; by analogy a gleam; concretely a flashing sword: – bright, glitter (-ing, sword), lightning. (Strongs Hebrew word H1300 baraq baw-rawk’)
Barak ‘O’bamah, The use of bamah is used to refer to the “heights” of Heaven.
bamah – Biblical definition:
From an unused root (meaning to be high); an elevation: – height, high place, wave. (Strongs Hebrew word H1116 bamah baw-maw’)
The day following the election of Barack Obama (11/04/08), the winning pick 3 lotto numbers in Illinois (Obama’s home state) for 11/5/08 were 666.
Obama was a U.S. senator for Illinois, and his zip code was 60606.
Seek Jesus while He may be found…repent, confess and forsake your sins and trust in the savior! Jesus says we must be born again by His Holy Spirit to enter the kingdom of God…God bless!
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