La creación incidental para la publicidad española en los años 40zona transfronteriza entre la frontera real "nacional" y las fronteras imaginarias americanas

  1. Matilde María Olarte Martínez
Fronteras reales, fronteras imaginadas
  1. José A. Bornay Llinares (coord.)
  2. Francisco Javier Romero Naranjo (coord.)
  3. Vicente J. Ruiz Antón (coord.)
  4. Jenaro Vera Guarinos (coord.)

Publisher: Letra de Palo

ISBN: 978-84-15794-23-3

Year of publication: 2015

Pages: 193-209

Type: Book chapter


with the Francoism dictatorialship just after the end of our Spanish Civil War, the historic closure of our frontiers with Europe and the rest of the world brought us to a cultural isolation, which has had different interpretations from the musicological point of view. Analyzing the music of the jingles and the advertising songs that served to attract consumers from the early radio years of the 40s until the first television commercial of full developmentalism �60s, we can see how the incidental creation for advertising culturally opened the real boundaries in which we were closed towards the opening to other musical stydles that approached us to imaginary boundaries that, apparently, separated us from the international isolation of the 40s. The radio commercial songs could combine compositions apparently looked at our inner and real frontiers; many of these compositions used melodies from genero chico and popular duets (like the bleach La Clarita, the razor blades Iberia or the bedsteads Numancia); also many others repeated the military hymns that silenced the voices of censorship (as in the adversiments of Cortefiel tailor or Orion insenticide); others used other songs where the melody responded to international standards that could represent our external borders to Latin America, and so they used rhythms as Mexican corridos, polkas, meringues, boleros or salsas (as in advertisements of Dyes Iberia, ribbons Kores for typewriting or Flan Mandarin). The attraction of the musical numbers in the films of Hollywood of those years is reflected in the songs that promise a life given away to potential buyers of some products (such as metal cleaners Netol), ensuring the escape into these unattainable borders to the Spanish woman of those years. The arrival of fashion ye-yé materializes in jingles that are, in themselves, a boundary between the traditional and the modern, as we can see the popular Spanish singer Carmen Sevilla acting for the TV commercia for electrodomestics Philips: «I am a flamenco ye-yé».