Having a somewhat relevant blog allows you to virtually “meet” the people you most admire. Totally showing off here, but I once exchanged a couple emails with Shakira. In times where having a strong virtual presence transfers as currency, it’s interesting how Cristobal Briceño has maintained a distance from social media. As we know, he rather keeps an omnipresence through his several bands: Los Mil Jinetes, Las Chaquetas Amarillas, and of course, his magnum opus, Ases Falsos. The sixth episode of Onda Temporal gets close into the personal space of Briceño and (part of) his band. Shot at the corner of Tijuana’s Latinoamericana (in the border of Mexico and the U.S.), we hear Ases Falsos deploy the melody of “Simetría” to bare bones. The warm and circular movement of Matsuo’s camera (capturing the beach, the sunlight and the border) enhances the themes of “Simetría” (form, depth, human welfare), and juxtaposes it (without scandalization) with the politics of the border. Also included in this episode, is a second part featuring an acoustic version of Juventud Americana's “Misterios del Perú,” as well as a lovely flirtation of Briceño looking straight into the camera singing “La Gran Curva.”
Onda Temporal, Episodio Seis: Ases Falsos
Having a somewhat relevant blog allows you to virtually “meet” the people you most admire. Totally showing off here, but I once exchanged a couple emails with Shakira. In times where having a strong virtual presence transfers as currency, it’s interesting how Cristobal Briceño has maintained a distance from social media. As we know, he rather keeps an omnipresence through his several bands: Los Mil Jinetes, Las Chaquetas Amarillas, and of course, his magnum opus, Ases Falsos. The sixth episode of Onda Temporal gets close into the personal space of Briceño and (part of) his band. Shot at the corner of Tijuana’s Latinoamericana (in the border of Mexico and the U.S.), we hear Ases Falsos deploy the melody of “Simetría” to bare bones. The warm and circular movement of Matsuo’s camera (capturing the beach, the sunlight and the border) enhances the themes of “Simetría” (form, depth, human welfare), and juxtaposes it (without scandalization) with the politics of the border. Also included in this episode, is a second part featuring an acoustic version of Juventud Americana's “Misterios del Perú,” as well as a lovely flirtation of Briceño looking straight into the camera singing “La Gran Curva.”