Blades's father is a percussionist-turned-detective and his mother was a singer and radio performer. His grandfather, Reuben Blades, was an English-speaking native of St. Lucia who came to work on the canal, as he tells in the song West Indian Man on the album Amor y Control ("That's where the Blades comes from.") (1992)
After obtaining degrees in political science and law at Panama's Universidad Nacional, Blades worked at the Bank of Panama as a lawyer. In 1974, Blades moved to the United States, staying temporarily with his exiled parents in Miami before moving to New York City. Blades began his musical career in New York writing songs while working in the mailroom at Fania Records, and soon was working with salseros Ray Barretto and Larry Harlow. Shortly thereafter Blades started collaborating with trombonist and band leader Willie Colón, and they recorded several albums together. Their album Siembra (1978) became the best-selling salsa record in history.
After 1980, Blades tried to terminate his contract with Fania, but he was contractually obliged to record several more albums. These are generally considered toss-offs and Blades himself told his fans to avoid them. When he was free of his contractual obligations, Blades signed with another label, Elektra, and assembled a top-notch band (known variously as Seis Del Solar or Son Del Solar) and recorded a number of albums with them.
In the early 1980s, Blades began his career in films as a composer of soundtracks.
In 1982, Blades got his first acting role in The Last Fight writing the title song as well as portraying a singer-turned-boxer vying for a championship against a fighter who was played by real life world champion boxer Salvador Sánchez.
In 1985, Blades gained widespread recognition as co-writer and star of the independent film Crossover Dreams as a New York salsa singer willing to do anything to break into the mainstream. This same year he earned a master's degree in international law from Harvard University. He was also the subject of Robert Mugge's documentary The Return of Ruben Blades, which debuted at that year's Denver Film Festival. During the 1990s, he acted in films, mounted his unsuccessful presidential bid, founding the party Movimiento Papa Egoró, and continued to make salsa records.
His many film appearances include The Milagro Beanfield War (1988), The Two Jakes (1990), Mo' Better Blues (1990), and Devil's Own (1997). In 1999, he played Mexican artist Diego Rivera in Tim Robbins' Cradle Will Rock.
In 1997, Blades headed the cast of singer/songwriter Paul Simon's first Broadway musical, The Capeman, based on a true story about a violent youth who becomes a poet in prison. In the 2003 film Once Upon a Time in Mexico, starring Johnny Depp, Antonio Banderas, and Willem Dafoe, he played the role of a retired FBI agent.
Blades' 1999 album Tiempos which he made with the 12-piece Costa Rican band Editus, represented a break from his salsa past and a rejection of commercial trends in Latin music.
Some might say that "his biggest mistake was releasing an English-language album in 1988 in the wake of his 1987 Grammy for Escenas" [sic] but in fact, he tends to avoid commercial choices. After winning his first Grammy for Escenas in 1986 he recorded the album Agua de Luna based on the short stories of Gabriel Garcia Marquez in 1987. The next year he released the English language collaboration with rock artists Sting, Elvis Costello, and Lou Reed the same year as Antecedente, another Grammy winner. In 2003 he followed the World Music Grammy winner Mundo with a web site free download project. As he said in 2005 when receiving the ASCAP Founders Award about his non-commercial choices, "That's the way I think."
In 2004 he put his artistic careers on hold when he began serving as Minister of Tourism of Panama.
Source: Wikipedia®
Según el Color
Rubén Blades Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que la cosa esta que arde
Dicen que la situación
No esta buena para nadie
Pero Pablo, Felipe y Simón
No salen de fiesta y baile
Y exclaman con emoción
Todo es según el color
Del cristal con que se mira
Unos tienen dinero a montón
Y otros sólo dolor en la vida
Todo es según el color
Del cristal con que se mira
Cuando es noche allá en el Japón
Por acá todavía es de día, señor
Todo es según el color
Del cristal con que se mira
Botaba un rico pan
El pan que no comía
Ese mismito pan
Que el de atrás recogía
Todo es según el color
Del cristal con que se mira
Todo es según el color
Del cristal con que se mira
Esta tierra esta llena de gente
Cada cual lleva un mundo en su mente
Todo es según el color
Del cristal con que se mira
Es por eso que te digo
Yo a nadie critico
Ay pero que echa pa' allá
Eh que no me digas na' señor
Todo es según el color
Del cristal con que se mira
Ay aprende mi filosofía
Que no hay más opinión que la mía
Todo es según el color
Del cristal con que se mira
Oh!
Todo es según el color
Del cristal con que se mira
Esta vida es como una pintura
Cada cual ve el color que la ayuda
Todo es según el color
Del cristal con que se mira
Para durar, mira calla y aprende
Que en el mundo hay mil lenguas
Y hay mil clases de gente
Todo es según el color
Del cristal con que se mira
En la vida todo es relativo
Para todo hay excusa y motivo
Amigo!
Todo es según el color
Del cristal con que se mira
Lo que a ti te parece bonito
Para otro es una porquería
Todo es según el color
Del cristal con que se mira
En la vida encuentro tipos
Que creen que todo lo saben
Y no encuentran cerradura
Donde meter una llave
Todo es según el color
Del cristal con que se mira
Esta tierra esta llena de gente
Cada cual lleva un mundo en su mente, diferente
Todo es según el color
Del cristal con que se mira
Para unos la vida es un sueño
Para otros una pesadilla
Todo es según el color
Del cristal con que se mira
In the lyrics to Rubén Blades's song "Según el Color," the various characters Chucho, Jacinto, Ramón, Pablo, Felipe, and Simón present differing perspectives on the current state of affairs. Some believe that things are getting worse, while others feel that they are improving. The chorus emphasizes the idea that everything is subjective and depends on one's perspective, comparing it to looking through colored glass. This metaphor is used to illustrate how people's individual experiences and viewpoints shape their understanding of the world.
The song discusses disparities in wealth and circumstances, highlighting how some have abundance while others only have pain in their lives. The lyrics point out the contrast between those who live in luxury and those who struggle to survive, underscoring the inequality that exists in society. The idea that one's perception of reality is influenced by their own situation and background is a central theme in the song.
The lyrics also touch on cultural differences and time zones, drawing a comparison between nightfall in Japan and daytime elsewhere. This serves as a reminder that perspectives can vary greatly depending on one's location and context. By acknowledging the diversity of experiences and perspectives in the world, the song encourages listeners to consider the complexity of human existence and understanding.
Ultimately, "Según el Color" conveys a message of tolerance and acceptance, urging listeners to respect and appreciate the diversity of opinions and viewpoints. The song suggests that there is no absolute truth or universal perspective, but rather a multiplicity of individual realities. Through its poignant lyrics and powerful imagery, the song encourages listeners to reflect on the nuances of perception and the importance of embracing different ways of seeing the world.
Line by Line Meaning
Dicen Chucho, Jacinto y Ramón Que la cosa esta que arde
Chucho, Jacinto, and Ramón say that things are heating up, implying that the situation is getting intense or dangerous.
Dicen que la situación No esta buena para nadie
They say that the situation is not good for anyone, indicating that it is unfavorable for everyone involved.
Pero Pablo, Felipe y Simón No salen de fiesta y baile Y exclaman con emoción La cosa esta mejor que antes
However, Pablo, Felipe, and Simón, who do not go out partying, express with excitement that things are better than before, suggesting that their perspective differs from others.
Todo es según el color Del cristal con que se mira
Everything is based on how one perceives things, emphasizing that perspective influences interpretation of situations.
Unos tienen dinero a montón Y otros sólo dolor en la vida
Some have a lot of money while others only have pain in life, highlighting the contrast in circumstances experienced by different individuals.
Cuando es noche allá en el Japón Por acá todavía es de día, señor
While it may be nighttime in Japan, over here it is still daytime, emphasizing the concept of time zones and the different experiences happening simultaneously around the world.
Botaba un rico pan El pan que no comía Ese mismito pan Que el de atrás recogía
A rich person would throw away bread that they didn't eat, which someone behind them would pick up, illustrating the wastefulness and disparity in access to resources.
Esta tierra esta llena de gente Cada cual lleva un mundo en su mente
The world is full of people, each with their own unique perspective and experiences, highlighting the diversity of thoughts and beliefs.
Es por eso que te digo Yo a nadie critico Ay pero que echa pa' allá Eh que no me digas na' señor
That's why I tell you, I don't criticize anyone, but please don't judge me, indicating a refusal to pass judgment and a plea for understanding.
Esta vida es como una pintura Cada cual ve el color que la ayuda
Life is like a painting, where each person sees the color that resonates with them, emphasizing individual perspectives and interpretations.
Para durar, mira calla y aprende Que en el mundo hay mil lenguas Y hay mil clases de gente
To endure, observe, be silent, and learn that the world is diverse with many languages and types of people, advocating for open-mindedness and cultural awareness.
En la vida todo es relativo Para todo hay excusa y motivo Amigo!
In life, everything is relative, and there is always an excuse or reason for everything, concluding with a friendly reminder about the complexity of human experiences.
Lo que a ti te parece bonito Para otro es una porquería
What appears beautiful to you may be considered garbage by someone else, showcasing the subjectivity of aesthetic preferences.
En la vida encuentro tipos Que creen que todo lo saben Y no encuentran cerradura Donde meter una llave
In life, there are people who believe they know everything but struggle to find a lock to fit their key, illustrating that knowledge is limited and humility is essential.
Para unos la vida es un sueño Para otros una pesadilla
For some, life is a dream, while for others, it is a nightmare, highlighting the contrasting perspectives and experiences individuals may have.
Lyrics © O/B/O APRA AMCOS
Written by: FELIX HERNANDEZ
Lyrics Licensed & Provided by LyricFind