RB

Ruben Blades

67quotes

Ruben Blades: A Legendary Voice of Social Justice


Full Name and Common Aliases


Rubén Blades Estévez is the full name of this renowned Panamanian singer-songwriter, musician, actor, and politician. He is commonly known as "El Maestro" (The Master) due to his exceptional talent and influence on Latin American music.

Birth and Death Dates


Born on July 16, 1948, in Panama City, Panama, Rubén Blades is still active in the entertainment industry, making him one of the most enduring figures in Panamanian culture. Unfortunately, there is no need for a death date section.

Nationality and Profession(s)


Rubén Blades is a Panamanian national, and his professions include singer-songwriter, musician, actor, and politician. He has worked extensively in music, film, and television, using his talents to raise awareness about social justice issues affecting Latin America.

Early Life and Background


Growing up in Panama City, Rubén Blades was exposed to a rich cultural heritage that would later shape his artistic expression. His father, Rubén Estévez, was a well-known musician who introduced Blades to the world of music at an early age. This exposure sparked Blades' passion for percussion and singing, which he pursued throughout his childhood.

Blades' family moved frequently during his youth due to his father's work as a radio host and producer. These experiences instilled in him a sense of social awareness and fueled his desire to use art as a means of expressing the struggles and aspirations of the common people.

Major Accomplishments


Rubén Blades is a multi-talented artist with numerous accomplishments across various disciplines:

Music: He has released over 20 albums, blending traditional Panamanian rhythms with jazz, rock, and pop influences. His iconic song "Pedro Navaja" (1978) became an anthem for social justice in Latin America.
 Acting: Blades' breakthrough role came in 1982 with the film _Sangre de Campeón_ , which showcased his talent as a screen actor.
Politics: In the 2000s, he successfully ran for mayor of Panama City and later became the Minister of Tourism.

Notable Works or Actions


Some notable works and actions that highlight Rubén Blades' commitment to social justice include:

The song "Plástico" (1976), which critiques consumerism and its impact on society.
His film collaborations, such as _Sangre de Campeón_ and _La Mula_ , which address issues of poverty, inequality, and corruption in Panama.
 His role in promoting Panamanian culture through his music and performances.

Impact and Legacy


Rubén Blades has left an indelible mark on Latin American culture. His innovative blend of traditional rhythms with modern styles has inspired generations of musicians. His commitment to social justice issues has raised awareness about the struggles faced by marginalized communities.

As a politician, he brought attention to the importance of cultural preservation and sustainable tourism practices in Panama. Through his work as an actor, he continues to raise awareness about critical social issues affecting Latin America.

Why They Are Widely Quoted or Remembered


Rubén Blades is widely quoted or remembered for several reasons:

His advocacy for social justice through music, acting, and politics has made him a respected figure in the region.
 His innovative approach to traditional Panamanian rhythms, which has influenced many musicians worldwide.
* His commitment to preserving Panamanian culture and promoting sustainable tourism practices.

This legendary artist continues to inspire new generations with his passion for social justice, cultural preservation, and artistic innovation.

Quotes by Ruben Blades

Tortured characters are, I think, an actor's dream.
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Tortured characters are, I think, an actor's dream.
RB
Basically, I would like to be considered for roles that are well-written. I think that part of the problem that we've had as actors is that they insist on looking at us as Latino actors and not as actors, period.
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Basically, I would like to be considered for roles that are well-written. I think that part of the problem that we've had as actors is that they insist on looking at us as Latino actors and not as actors, period.
RB
I don't accept ideologies that are not a product of consensus. I don't have an ideology, but I do have a sense of what's right and what's wrong.
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I don't accept ideologies that are not a product of consensus. I don't have an ideology, but I do have a sense of what's right and what's wrong.
RB
At a certain point, people in Panama thought that everything was going to be solved as soon as Noriega was gone. Of course, the disappointment was huge.
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At a certain point, people in Panama thought that everything was going to be solved as soon as Noriega was gone. Of course, the disappointment was huge.
RB
To fix Panama, you need more than charisma and records: you need a program of action.
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To fix Panama, you need more than charisma and records: you need a program of action.
RB
I was always interested in trying to find how different genres would affect the lyrics that I'd written. Salsa is where most of my songs have been recorded, the genre of salsa. It's very frenetic, fast-paced. And I felt that the lyrics sometimes were being lost.
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I was always interested in trying to find how different genres would affect the lyrics that I'd written. Salsa is where most of my songs have been recorded, the genre of salsa. It's very frenetic, fast-paced. And I felt that the lyrics sometimes were being lost.
RB
The first time I played was in Buenos Aires - was in 1983. The dictatorship was in position.
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The first time I played was in Buenos Aires - was in 1983. The dictatorship was in position.
RB
I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.
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I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.
RB
Tango was very popular in Panama at the time when I was growing up. In the Fifties in Panama, the radio stations played all types of music.
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Tango was very popular in Panama at the time when I was growing up. In the Fifties in Panama, the radio stations played all types of music.
RB
Not everybody goes to government to serve themselves and not their country.
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Not everybody goes to government to serve themselves and not their country.
RB
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