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The Cuban singer-songwriter Francisco “Pancho” Céspedes shared a powerful reflection on the distribution that is gaining more ground both inside and outside of Cuba on his social media. In his post, Céspedes celebrated its international growth but made a strong call to elevate the lyrical quality of the genre and to banish vulgar language from its lyrics.
This new Cuban musical subgenre is becoming internationalized, and I find that fantastic, wrote the artist. For him, the style is “a sort of guaguancó with an inverted clave that can turn into a great everyday amusement, but decent or, rather, more formally educated.”
With a straightforward tone, Céspedes made his rejection of profanity in music clear: “I cannot tolerate profanity mixed with music; they seem incompatible to me.” He offered strong advice to the artists in the industry: “What I suggest to creators is to stretch their minds and invoke inspiration.”
The singer criticized the ease with which some performers resort to profanity as a creative tool: “It’s very easy to fill your mental gaps with bad words; any indecent person can do that.” Instead, he suggested a more thoughtful approach: “Start by thinking, and then check how many words in Spanish you master. If your vocabulary is limited due to lack of instruction and/or interest, look up a dictionary; you can find them online.”
Céspedes emphasized the power of language: “Every word has its meaning, its weight, and it influences the world,” and shared a family anecdote with his characteristic humor: “As my mom used to say: ‘Speak nicely or I’ll knock out a tooth.’ She never hit me, but I knew she was never lying, haha. The teeth I’m missing, I lost when I got older.”
The post concludes with a sentence that summarizes its view on the phenomenon: “Long live a well-distributed sharing!”
Applause, reflection, and some disagreement
The post generated dozens of favorable reactions on social media, where followers praised its tone, clarity, and commitment to music. Comments like "Absolutely agree," "Language defines us," and "An amazing piece of advice" were common. Others applauded the artist's style and the respect with which they approached the topic: "That's why you are the poet that you are," wrote a fan.
Among the few critical responses, the musician Osamu Menéndez stood out, who wrote: “Forgive my disagreement, maestro. I don't like the lyrics of the reparteros. I don't like the way the reparteros sing, I don't find it harmonious, and I’m not fond of the sound of the machines, in other words… I can’t see how to distribute it well. As for the personality and demeanor of the reparteros, I’d rather not talk about it. In any case, every rule has its exception, but the truth is beyond my knowledge. I apologize once again.”
Céspedes replied warmly: “It's good that you disagree because in that cordial confrontation, life has always taken qualitative leaps forward. Although I believe you are talking about the reparters and I about the distribution. I love you, aserecó.”
An open debate
The words of Pancho Céspedes contribute to a national conversation about the place of the "reparto" in Cuban culture. Critics like Guille Vilar have acknowledged its evolution and defended each generation's right to have its own music. In contrast, musicians such as Yulien Oviedo and Manolín El Médico de la Salsa have criticized the genre from different angles: one for its lack of technical demand and the other for not recognizing its foundational influence.
Meanwhile, the ruling party has begun to praise it as an expression of "rhythmic richness and authenticity," after years of censorship. Media outlets like Cubadebate and programs like Mesa Redonda have approached the phenomenon in an institutional context, trying to integrate it into their narrative.
Amid divided opinions, Pancho Céspedes offers a conciliatory yet demanding perspective. He acknowledges the value and social impact of the distribution, while at the same time urging its creators to elevate the content, to be mindful of their words, and to use language as a tool of art.
Frequently Asked Questions about the Cuban Musical Cast and the Reflections of Pancho Céspedes
What does Pancho Céspedes think about the use of vulgar language in Cuban entertainment?
Pancho Céspedes criticizes the use of vulgar language in the music industry. The Cuban singer-songwriter believes that music can be a great daily enjoyment if the lyrical level is raised and vulgar language in the lyrics is banished. Céspedes suggests that artists in the industry should strive to be more creative and thoughtful with their lyrics.
Why is the distribution gaining popularity in Cuba and internationally?
The group is gaining popularity for its ability to connect with young audiences, both within and outside of Cuba. This Cuban musical subgenre, a kind of guaguancó with an inverted clave, is becoming internationalized and is celebrated for its rhythmic richness and authenticity. However, the discussion regarding its lyrical content remains ongoing, with divided opinions on the use of vulgar language.
What did Pancho Céspedes suggest to the songwriters to improve their lyrics?
Pancho Céspedes suggests that songwriters seek inspiration and broaden their vocabulary. The singer advises them to strive for creative thinking and assess how many words in Spanish they master. He recommends using online dictionaries to enrich their lyrics and to avoid resorting to inappropriate language as a creative tool.
How has the public reacted to Pancho Céspedes' statements about the cast?
The majority of reactions to Pancho Céspedes' statements have been positive. Many followers praised his clarity and commitment to music, expressing their agreement with the need to be mindful of language in lyrics. However, there were also some criticisms, such as from musician Osamu Menéndez, who voiced his disagreement with Céspedes' perspective on the distribution.
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