When the cultural elite was scandalized because a popular idol sang “very well” for them
Imagine the scene: the sacred Palace of Fine Arts, that temple of “serious” culture where operas and symphonies normally resounded, was about to be desecrated by a man in extravagant suits who sang about forbidden loves and spite. Thus, with that dramatic tone of Greek tragedy, it was how certain sectors of Mexican high society in 1990 received the news that Juan Gabriel, no less, would perform with the National Symphony Orchestra.
Because of course, what could be more scandalous than an artist who really connected with the masses by stepping on the most exclusive marble in the city? The irony, dear readers, is that those same frowning personalities were the ones who later hummed “Dear” in the privacy of their mansions. El Divo de Juárez was about to give a cultural lesson that no one had asked of him, but that everyone needed.
The scandal that united politicians and bureaucrats in their selective indignation
The complaints and requests for cancellation poured in as if Mexico were facing a national crisis and not simply enjoying a concert. Politicians, bureaucrats and even cultural authorities of the INBA tore their clothes declaring the event as a “desecration” of the venue. Luckily, Víctor Flores Olea of Conaculta had a rare moment of lucidity and supported the presentation, although one suspects that the argument of allocating the profits to the National Symphony Orchestra was what really calmed things down. Apparently, folk art only becomes respectable when it comes with a check attached.
The result? Not only was the concert held, but the success was so resounding that it was extended to four consecutive nights from May 9 to 12, 1990. And here comes the most deliciously hypocritical thing: among the audience that packed the performances was none other than the then president Carlos Salinas de Gortari with his wife Cecilia Occelli. Because of course, protesting against the show was a civic duty, but missing the event of the year was simply unthinkable.
Historical revenge: 35 years later, the people reclaim their cultural heritage
Now, in a perfect karmic twist, that same controversial concert that some wanted to bury in oblivion returns as cultural heritage. On November 8, the Plaza de la Constitución in the Zócalo of the capital -yes, that space that literally belongs to the people- will host a special screening of the historical event. The Ministry of Culture of Mexico City, in alliance with Netflix, organizes this massive tribute where, ironies of fate, “popular” culture finally occupies the symbolic center of power.
The screening will include never before seen images that complement the historical record and that belong to the documentary series “Juan Gabriel: I must, I can and I want“, produced by Netflix under the direction of María José Cuevas. This documentary, which will premiere on October 30 on the platform, explores more than four decades of the life of Alberto Aguilera Valadez through material from the artist himself.
As if that were not enough, from October 27 we will be able to enjoy unpublished photographic material of the Divo at the Bellas Artes metro station (see how everything returns to the scene of the crime?), and from October 30 at the Ángel de la Independencia and the Diana the Huntress roundabout. It’s as if the entire city had agreed to say: “Yes, he was right.”
By beginning that historic concert with “Yo te perdono”, Juan Gabriel demonstrated not only his musical talent but also a social wisdom that escaped his critics. After three hours of the show, he declared: “Tonight I am happy and I would like to express my wish: that all popular artists have the opportunity to come here because this place was built with money from the people.” Prophetic words that today, 35 years later, resonate more strongly than ever as his image is projected precisely where the people gather.
So prepare yourselves for this act of musical poetic justice, where the artist who challenged the rigid protocols of official culture returns to reaffirm that true art knows no hierarchies or prejudices. Juan Gabriel, the same one who was once considered “unheard of” for Fine Arts, today becomes synonymous with Mexican culture in its most authentic and massive expression.
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