It would be of the same rage … | Ceuta Television | Ceuta News

A cockfight does not have to be a practice, fortunately in disuse, in which bettors played the good quarters to see which of the animals destroyed the other first. It is also a beautiful musical showdown between rappers, one that wins as soon as your competitor is speechless. They test competitors’ versatility and creativity in seconds. Whether we like rap or not, it is always interesting to see how competitors are able to improvise a rhyme in a matter of seconds, according to pre-established metric rules.

Even, for almost twenty years, cockfighting has had a world championship, organized by an energy drink that will throw you at a guy from the stratosphere who buys you a team in the Bundesliga or wins Formula One world championships. But be careful. : the cockfight that most dances has awakened throughout time did not take place in this century. And his contestants weren’t wearing heavy neck chains or backwards baseball caps.

Quite the opposite. In 1938, Emiliano Zuleta and Lorenzo Morales challenge each other to a “piquería” duel, a kind of cockfight with vallenato as the background. The two compete to be the best accordionist in Colombia, and agree to face each other, face to face, in Urumita (department of César), a country that is divided between zuletistas Y moralists.

The rivalry between the two is not merely professional; It ends up crossing the limits of the personal to become not only a competition between musicians, but a fierce enmity. He begins by playing Zuleta, which is quickly acclaimed by the public. Morales is clear about the difficulty of the challenge and decides to put his feet in the dust. But kilometers later, he unburdens himself by uttering grave insults against the mother of his competitor and musical executioner.

To all this, a prison is essential: the one that according to Sara Vaquero – Zuleta’s mother, the one that Morales “talked about” – had been in the town of Tunja. Such a harsh prison whose prisoners were exposed to dampness and the cold drop.

A couple of years after that, in 1940, the story and the song fell into the hands of Guillermo Buitrago, “El Jilguero”: one of the most popular singers in Colombia who did not hesitate to record it. And the definitive popularity comes to the subject with a parliamentary debate: the future Foreign Minister, López Michelsen, uses the verses to respond to a contender in the regional parliament of El César.

More than half a century after that, a long-haired man named Carlos Vives records that song, and performs it on stage with a young woman who would later become the watchword of the Colombian song to the choirs and guitar: Amparo Sandino. This, despite the fact that Vivas himself recently pointed out that “when I made La Gota Fría, they wanted to shoot me.” It is the moment when the music of Colombia conquers the world: Vives and Sandino, yes, but from there Shakira, Juanes or Morat. That “Cold Drop” opens the way, in a way, for everyone. The 1993 version travels the whole planet, and millions of people dance it without knowing that it was a fight between two old accordionists. By the way: they both made peace and ended up being close friends until the moment Zuleta passed away in 2005 (on the right in the image). Morales did it in 2011; They say that he was imbued with a deep nostalgia and saddened by the loss of whoever was, first, his greatest adversary and then his great friend.