just visited David Bisbal ‘El hormiguero’ (A-3 TV) and apart from the presentation and advertising support of the new album that has just been released – which is what this program is about – has told something worthy of analysis.
Pablo Motos He asked him if it was true that when he was the vocalist of a modest village orchestra, and performed at local festivals, it turned out that he had a very bad time and even vomited before going out to perform. Bisbal He didn’t shy away from the topic. She remembered those years when he worked in a nursery in Almería, with the idea of becoming a forest guard, and music was a weekend activity with the Orquesta Expresiones, a traveling group. «I was very embarrassed –he warned sincerely–. I had to do some choreography…! What if ‘Mambo number 8’, what if ‘Paquito the chocolatier’. And my bastard friends followed me to laugh at me and laugh at me.
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While Bisbal remembered all this, on Movistar Plus+, in the ironic program ‘Ilustres ignorantes’, the comedian Ricardo Castella He also talked about those humble musical combos. He warned: «They used to be very good. But any good moment is before October 22, 2001, which is when Bisbal appears for the first time on TV, in ‘OT’. From then on, a radical change occurred in all those town orchestras.». Ah! The theory of Castella is that the modest combos came to the conclusion that their concerts were actually castings, with the audience full of scouts sent by the TV producers, and that what they had to do, to make them like it, were capers and jumps. “They began to believe that they would go from performing in Villanueva de La Serena to fabulous tours throughout Latin America.”
Man, this portrait is cruelly sarcasm. Even unfair. It is not the case of Bisbal. But it harbors a meditative reflection. When an incipient, unconsolidated singer, who doesn’t even know if he wants to be a singer, immerses himself in television to be transformed into a star, the television machinery molds him according to two parameters: the audiovisual ‘show’ and the commercial trend. In Miami there live a couple of producers who manage and influence such a number of stages, sets, and record companies, that they create ‘stars’ following predetermined schemes. The euphoric, uncritical, global infantilization of the clientele staff helps a lot.