Three Latin American Music Legends Protecting the Past To Secure the Future

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Luzmila Carpio, Polibio Mayorga, and Enerolisa Nuñez reflect on generational memory, disruptive originality, and why young people are the future of Black and indigenous liberation

grandparents, or any nearby elder, and they’ll tell you that though the world has changed since their youth, many of the fights have not. Debates over racism, LGTBQ rights, and gender inequality rage today as if they were brand-new — and that means ancestors and veterans of past struggles can often offer lessons for grappling with an uncertain future.venerates its musical legends. Just look to social media’s obsession with Mexican balladeer Paquita la del Barrio, merengue típico meme queen.

Carpio settled in Paris, becoming an essential mouthpiece for the plight of indigenous people and a beacon of Andean music and culture on the global stage. She collaborated with a plethora of international musicians on nearly a dozen albums, and was even appointed as‘s ambassador to France in 2006. Nearly a decade later, a new generation discovered her evocative storytelling through the reissued, released by French label Almost Musique. This put her on the radar of U.S.

“I didn’t understand why we had to keep playing other people’s songs,” Mayorga says. “I’ve always been interested in what’s new, so I was the first one to bring the Moog, the Mellotron, and vocoder to Quito. I popularized the Hammond organ, and I composed many hit songs on the accordion. I never felt alone [as an innovator], but I also never kept the company of people who opposed my curiosity.

 

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