Formed, in 1978, with Charly … Read Full Bio ↴Born in Buenos Aires, Argentina, 1959.
Formed, in 1978, with Charly García, David Lebón and Oscar Moro, the group Serú Girán, considered by audiences and critics alike to be a landmark in Argentine Rock music, which left a legacy of 10 albums, attendance records and an influence that transcends generations.
In 1983 he joined the Pat Metheny Group as multi-instrumentalist and vocalist. This line-up of the acclaimed group performed around the world and won three Grammy Awards for "First Circle" (1984),"Letter from Home" (1989) and "The Road to You" (1993).
Wrote the scores for the following films:
- "Hombre mirando al sudeste" (1987)("Man Facing Southeast")
- "Ultimas imágenes del naufragio" (1990)("Last Images of the Shipwreck")
- "El camino de los sueños" (1993)("The Path of Dreams")
- "No te mueras sin decirme adónde vas" (1995)("Don't Die Without Telling Me Where You're Going")
- "El mundo contra mí" (1996) ("The World Against Me")
- "Buenos Aires, 2067" (Stunt show) (1997)
- "Cómplices" (1998)("Accomplices")
- "Indocumentados" (2004)
- "Un buda" (2005)
Works as producer, composer, arranger, instrumentalist and singer on recordings and on stage with some of the most prominent artists of Argentina and the world.
Gives lectures and clinics on recording, mixing and record production, as well as artistic creativity.
Published in 1992 his poetry book "Pruebas de Fuego", re-released in 2005 by Longseller.
Leads his own group since 1993, with which he explores the roots of Argentine and Latin American popular music, imparting to it a unique and personal contemporary feel contributed, in equal measure, by his ample experience in other styles such as Rock and Jazz, his constant openness to new tendencies as well as his investigation of old traditions.
Has released eleven solo albums:
- "Pedro Aznar" (1982)
- "Contemplación" (1985)
- "Fotos de Tokyo" (1986)
- "David y Goliath" (1995)
- "Cuerpo y alma" (1998)
- "Caja de música" (2000)(Songs on poems by Jorge Luis Borges)
- "Huellas en la luz" (2001)(Music for Films)
- "Parte de volar" (2002)
- "En Vivo" (2002)
- "Mudras-Duets" (2003)
- "Aznar canta Brasil" (2005) (on CD and DVD)
and over eighty with other artists.
Muñequitos de Papel
Pedro Aznar Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Quien les puso el cascabel vino a ver, bailen bien
Testaferros del poder, sin querer
Cancerberos del querer sin poder
Muñequitos de papel sin laurel, sin laurel
En la fiesta de Babel nada es fiel, nadie es fiel
Quién se lleva este pastel y el mantel, y el mantel?
El color de subsistir no es vivir
Muñequitos de papel y oropel, y oropel
En un tren fuera de riel, barco sin timonel
Las promesas del ayer, leche y miel, leche y miel
Si la historia ha de atenuar su traición
Cuántas vidas de pesar pesan hoy?
Muñequitos de papel sorda piel, sorda piel
Muñequitos de papel, mazapán y cordel
Cuando se largue a llover quién los va a guarecer?
Testaferros del poder, sin querer
Cancerberos del querer sin poder
Muñequitos de papel sin laurel, sin laurel
The lyrics of Pedro Aznar's song "Muñequitos de Papel" describe the vulnerability and powerlessness of the common people ("muñequitos de papel") in a world run by those in power ("testaferros del poder, cancerberos del querer sin poder"). The use of the term "muñequitos de papel" suggests the fragility and disposability of the people in this world. The imagery of "mazapán y cordel" (marzipan and string) adds to the picture of the people as objects, easily manipulated and controlled by those in power.
The lyrics also speak to a sense of disillusionment and despair. The reference to the "fiesta de Babel" suggests a chaotic and confusing world in which nothing is as it seems. The line "Qué ha quedado del país? Este gris" (What has become of the country? This grey) conveys a sense of hopelessness and monotony. The final lines, "Cuántas vidas de pesar pesan hoy? Muñequitos de papel sorda piel" (How many lives of sorrow weigh today? Paper dolls with deaf skin) reinforce the idea of the people as disposable and unheard in a harsh and oppressive world.
Overall, the lyrics of "Muñequitos de Papel" offer a powerful critique of social and political injustice and the systemic oppression of the common people.
Line by Line Meaning
Muñequitos de papel, mazapán y cordel
Fragile and insignificant beings made of paper, marzipan, and string
Quien les puso el cascabel vino a ver, bailen bien
Those who control them came to see them dance and obey their orders
Testaferros del poder, sin querer
Puppets of power, unwillingly manipulated by those in control
Cancerberos del querer sin poder
Guardians of desires, but lacking the power to achieve them
Muñequitos de papel sin laurel, sin laurel
Insignificant beings with no achievements or laurels to show for themselves
En la fiesta de Babel nada es fiel, nadie es fiel
In the chaos of Babel's party, nothing is true, and no one is trustworthy
Quién se lleva este pastel y el mantel, y el mantel?
Who will take the cake and the tablecloth, and the tablecloth?
Qué ha quedado del país? Este gris
What is left of the country? This grayness
El color de subsistir no es vivir
The color of surviving is not living
Muñequitos de papel y oropel, y oropel
Insignificant beings with superficial ornaments and decorations
En un tren fuera de riel, barco sin timonel
Like a train off the rails, or a boat without a captain
Las promesas del ayer, leche y miel, leche y miel
Yesterday's promises were sweet and creamy, like milk and honey
Si la historia ha de atenuar su traición
If history is to lessen its betrayal
Cuántas vidas de pesar pesan hoy?
How many lives today are weighed down with sadness?
Muñequitos de papel sorda piel, sorda piel
Insignificant beings with deaf skin, unable to hear their own cries of pain
Cuando se largue a llover quién los va a guarecer?
When it starts to rain, who will shelter them?
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@christianfernandez7661
yo lo he visto cantar con solo el alma y un kultrun canciones de violeta parra en Valparaiso... debe ser el mejor interprete de America... lejos...
@samuelfuzati
This video changed my life completely. There was a TV show in Brazil called "Alto Falante" - mainly a rock program. I was just a teen and it shocked me so much. This atmosphere, this melody, wow! So beautiful. I still have the same feeling every time I listen to it. What an artist!
@venrria
Esto es tener pasión infinita por la música, así se expresa el maestro Aznar🎶🎵🎼👌🖖💪🤘🙌
@LordCargena
hay veces que me pregunto que le pasa a la gente por la cabeza cuando toca los bajos con destornilladores. jaja, que tipo genio
@paradoxolli3010
Lo vi en vivo hace una semana, me voló la cabeza
@marcdertrainer6107
Estas locuras y otras como ponerle un pañal cerca del puente, para que suene tipo "muting", son cosas de otro fuera de serie: Tony Levin. Qué bajista no le copió cosas.
A Pedrito le debo el hecho de ser bajista y en su homenaje, así bautizamos a nuestro hijo más pequeño. Gracias eternas Maestro Aznar!
@ALEX-fl3sn
Este video lo ví en la época que salió en canal á. Cuando lo vi tocando el bajo con un destronillador y de este modo me reventó la cabeza para siempre.
@detodounpoco37
Que simbólico el uso del destornillador. Genio Pedro.
@lsantos65
Un fuerte aplauso para este genio de la música, por favor...
@richardo156
Como suena de bien este vídeo, no hay presentación que lo supere, hasta hoy 2023.