+ Gadjo Dilo (1997)
I am obligated to do another Sílvia Pérez Cruz post because she spoke up for Cuba last Friday at the Hollywood Bowl at Gustavo Dudamel's last concert as LA Philharmonic director, and then on Sunday performed a free concert by candlelight in the 17th century Iglesia de San Francisco El Nuevo in Havana. In LA she performed two songs: Pequeño Vals Vienés and the Venezuelan classic Tonada de Luna Llena by Simón Díaz ("Yo vide una garza moro/ Dándole combate a un río").
The Sílvia song I seem to listen to most frequently is her Cucurrucucú paloma,
the Mexican song written in 1954 by Tomás Méndez for Pedro Infante to serenade in the 1955 comedy School for Tramps, then performed by Lola Beltrán in the movie named after the song,
and also performed by Caetano Veloso, Lila Downs, Natalia Lafourcade, and many others, imitating the call of the mourning dove.
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| Sole la muerte, 1936 |
The 90th anniversary of Lorca's murder shall be amongst other things an excuse to upload two covers of Leonard Cohen's adaptation of Pequeño vals vienés..
In Vienna there are four mirrors
in which your mouth and the echoes play.
There is a death for piano
that paints the little boys blue.
There are beggars on the roof.
There are fresh garlands of tears.
Aye, ay, ay,ay!
Take this waltz that dies in my arms.
Morente, born in Lorca's home town..
Sílvia of Palafrugell, who's touring now..A sharp escalation has hit southern Lebanon following a series of intense Israeli airstrikes targeting residential areas in towns including Ansar and Deir al-Zahrani. These attacks have resulted in at least 10 deaths, including three children.
— roqayah chamseddine (@roqchams) August 15, 2026
My brief report: pic.twitter.com/Vmrb2G1Lg3
Rooting for Spain now, I commend Belgium for memorializing Magritte on their jerseys but conjecture that the execution led to their demise. The significance of La Voix des airs
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| René Magritte, La Voix des airs, 1931, oil on canvas, 72.7 x 54.2 cm |
is specifically the detachment of the horse bells from the horses into the sky above the landscape grid. To reattach the bells to the body is to dress your side as horses, and you can't beat the Spaniards playing polo. Also writing Ceci n’est pas un maillot on the jerseys abandons La Trahison des images' commentary on representation by putting the phrase on an existing jersey and not a picture of the jersey, and you can't beat the Spaniards by confusing ontology and semiotics.
A source familiar with Belgian fashion design has revealed to Piri' Miri Muli' the artworks the next three Belgian World Cup teams will feature on their jerseys:
2030:
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| James Ensor, Demons Taunting Me, 1895, etching, 11.8 x 15.8 cm., Museum of Fine Arts, Ghent |
2034:
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| Paul Delvaux, La Ville lunaire, 1944, oil on canvas, 56 ¼ x 78 ¾ in. |
2038:
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| Marcel Broodthaers, Le Problème noir en Belgique, 1964, mixed media, 19 × 15 3/8 in., NY MoMA |
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| Rosa Loy, My Dear Chimera, 2020, Casein on canvas, 43 x 35 in. |
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| Farley Aguilar, The Meal, 2017, Oil on canvas, 57 x 80 inches |
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Jessie Makinson, The Chief Leaf, 2018, oil on canvas, 74 x 65 in.
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| Ophelia Arc, reaD into a loWly Key, (i hope you are doing well), 2025, mixed media, frame 20 x 16 1/2 x 4 inches |