🔴 EN VIVO: Poema a las Madres de Nicaragua | 30 de Mayo 2026 | Homenaje en Estilo Rubén Darío 📱

追加: 2026-06-07

[00:00:00]Al queen, Alen, [music] everyone is waiting. To the queen, to the queen, to the queen, to the queen, fancy coffee drinks [music] of the queen, of the queen, of the queen, of the queen, of the queen, of the queen, of the queen, of the queen, everyone wants to see the queen, of the queen [music] everyone wants to see the famous queen.

[00:00:15]This character is amazing. Everyone laughs [music] with the witch's satyr and without music, without further ado, uh well today as it is a special day, we are twice a day, May 30, Nicaraguan mothers' day.

[00:00:43]And well, yesterday, this morning when I did the program early, I didn't mention anything because I wanted to do a special program just for Nicaraguan mothers. What a liar. I cannot be a hypocrite. Double standards. I forgot. Yes, I did forget Mother's Day today.

[00:01:10]I'm not going to lie to you, because lying to you is the easiest way to keep evolving, so that life can keep shedding its loincloth, and so that science, religion, and politics can keep advancing. I could lie to you and say, "No, it's just that I preferred to leave it for a second program, a special program, but I can't lie to you." No, period.

[00:01:34]Because I don't want to, not because it suits me, because you lose when you don't lie, you lose. I don't want to live well, but I prefer to live badly. I love to be contrary. Then I forgot about it, but here I am. So how did I forget? I say, Mother's Day, May 30th, the mother of all marches.

[00:01:55]How is that possible? I'm going to do a special program and here I am. So I'm going to recite two poems to you. I'm not going to read you a poem I created with help, with the help of artificial intelligence, but I'm going to recite the one I've always recited to you, the one you know I've recited. I have n't read it with passion, I don't declaim it, because I'm not an expert declaimer, an expert poetic reciter, but I read the poem of the 200 pesos poem with passion.

[00:02:38]Who wants 200 pesos? By Jorge Calderón.

[00:02:44]Uh, I love it.

[00:02:50]So, I'm going to read it to you, of course, to bring a few tears to your eyes. It's a very beautiful poem, a poem that goes like this. I had a good mother, I had a saintly mother.

[00:03:13]The one who rocked me in the cradle and washed my white clothes at night in front of the moon.

[00:03:21]The one with tired eyes. Okay, I'll read it to you later. I'll read it to you later, okay, so we can both enjoy it, right? And while we're at it, let's talk about May 30, 2018, which is a very important date for all Nicaraguans.

[00:03:51]And let's remember what happened that day, how we got to that day.

[00:04:07]Oh, I'd forgotten.

[00:04:09]It was live, huh?

[00:04:10]Oh, oh, oh, what a little thing. I had forgotten that I was also on TikTok. Barbarity. And the camera is showing me my belly.

[00:04:19]The camera is crouched down. That's awful.

[00:04:22]a.

[00:04:23]So, if I remembered Mother's Day this morning, I didn't give that Maria Jose woman a good dressing-down for saying that thing about the girl on the bus route, because she's probably a mother and I was going to hold it against her, but thankfully I didn't remember.

[00:04:48]Okay. So, why, let's see, why isn't it showing me? I'm going to have to remember what I remember today. There are things I forget about the poem, so in order to read it properly. You're listening to me now, TikTok. Okay then, share with me now. Not like a damn cheapskate, a bad person, or envious. Since 50 people see me, nobody sees you, you don't want to share me.

[00:05:23]Let go of envy. Envy is bad, it's good. It's good that you're envious.

[00:05:30]Okay, I'm going to look for the poem. Let's see if this is it. Who wants 200 pesos? Hey, I had a good mother. The moon, with tired eyes, while sewing unraveled clothes, taught me what she piously taught me. Out of love, I had a good mother. I had a saintly mother, the one who made high school difficult. I still remember who. No, no, no, no, no, eh.

[00:06:05]No, no, no, no, no, I can't find it. I ca n't find it. It's cut off, it's not right, and it's hard to find. But anyway, I want to congratulate the mothers first.

[00:06:27]Uh, Yadira says, "You cut your hair a little, Yadira, I chopped it all off. Look, no, I look like Auntie Wigs from that Mexican show.

[00:06:41]I look like Auntie Wigs. Oh, hey, why? Why does Claudia Chan talk like that?

[00:06:48]And all the kids here, we're going to do the six-pack, but we're going to do it in Spanish.

[00:06:56]67.

[00:06:58]What's wrong with that lady? Very good.

[00:07:02]Okay. Greetings. She connects to us at this hour of the night. Today is the second program, right?

[00:07:09]Let's see. She's not looking for it.

[00:07:14]Ah, okay. Now then, uh, the one with tired eyes, the one who taught me piously. My childhood prayers. I had a good mother, clothes washed and ironed, and a secondary mommy. A memory that out of shame.

[00:07:26]Ah. Uh-huh. And I still remember that out of shame she delegated a [ __ ] the fact of accompanying me.

[00:07:34]Why? For dressing me not in clothes. That cheap room. The love said ran through her Mine.

[00:07:42]I had a good mother. I wanted to study medicine. The specialty I was looking for didn't exist in my country, and people were stubborn. " Go," she told me, "Go and finish your degree," and she sent me away. I was poor, but I never lacked anything. In my crowned career I triumphed brilliantly I had no. Yes, there it is, here it is, here it is. I eagerly listened to what the house had to say, who are they looking for? If this is it, this is it. I have it, we have it. We're going to read it and recite it, but right now I'm going to read you one that I created with, right? uh a dedication in the style of Rubén Darío. It has a mix of prose and rhyme, right? A mix of prose and rhyme.

[00:08:50]So, uh, we're going to read it, of course, we're going to read it, right?

[00:09:03]Okay.

[00:09:05]Oh, yeah, yeah.

[00:09:10]The image won't upload.

[00:09:15]Oh, okay. Now yes.

[00:09:24]There it is. There it is.

[00:09:29]A commotion was detected, Dad, I have him by my side, I'm worried about offending the dictatorship today. We're going to be, we're going to call it, we're going to be calm because we're going to dedicate it to the mothers.

[00:09:56]That's tough. And remembering since 1979 that the revolution has arrived and the one who has suffered the most is the mother. Well, the town has suffered, but the one who has suffered the most is the mother. Because in revolutions it is the young who die.

[00:10:12]As the young people die, the hardest blow is borne by the mother. Because remember, there is no greater pain than losing your mother.

[00:10:23]But even that doesn't compare to the pain a mother feels when she loses a child. It cannot even be called the greatest pain, because it is not pain, it goes beyond the limits of pain and therefore it cannot be the greatest pain, the loss of a child because it is beyond that. So I call the first death of a mother when she loses a child. That's where the mother dies.

[00:10:53]A mother dies there.

[00:10:56]It's because a child is everything to a mother.

[00:11:00]Speaking metaphorically, that's all. And thankfully, religion exists and God exists. No, speaking of the one, of the one, putting myself on the side of the believer, because the mother can take refuge in a supreme being in the face of the emptiness that may remain and the panic that she may suffer, the lack of control, the desire to live, she may lose her way, confusion and she may lose her balance. that in life she can lose her sanity completely, she can lose her consciousness, she can lose her awareness and she can become socially maladjusted and can regress, regress and fall into high levels of ignorance, but so strong, so strong, so strong that she can become schizophrenic, crazy, she can be called crazy.

[00:12:07]So, the Sandinista revolution has represented that pain mainly for mothers, hasn't it? While Chayo celebrates her 32nd grandchild and great-grandchildren—her 11th great-grandchild, I think, and she has 12 children—she washes away her malice over the mothers' pain, as if to say, "My family is whole and complete. Yours, right?"

[00:12:43]And then the opposition's politics, the resistance's politics, have also made mistakes in trying to bring a little justice to the mothers, but they've only caused them more pain.

[00:12:57]Because on May 30th, the protests were motivated by the demand for justice on May 30, 2018, right? The mothers were going to the streets in search of justice.

[00:13:10]However, instead of finding justice, they found more pain, because right there in front of them, their children were killed on May 30th, shot at from the Nismoncadal stadium—I think that's the name of that stadium. I don't know what they named the stadium that Taiwan donated. Taiwan, yes, Taiwan.

[00:13:39]Which later divorced Taiwan and married China [music], and from there they shot the young men until... From the university to the Catholic Church, the cathedral.

[00:13:50]More pain. So, the Sandinista Front has traded power for the pain of mothers. In the end, it's the people who suffer because the people remain poor.

[00:14:00]The Sandinista still lives on the 250-peso bus fare. The Sandinista lives on the minimum wage. The opposition lives on the minimum wage. Most people don't have decent living conditions. They think they have good conditions. Many people live in the middle class in Nicaragua, and relatively speaking, if you move them to a nearby country on the continent, they're the poorest here. Let's say, from Mexico onward. They might be the poorest of the middle class.

[00:14:29]If I were to transfer my purchasing power from Nicaragua, I would live very, very, very poor here, right? I'm not far from there, but that's the middle class in Nicaragua; it's extreme poverty in the United States, relatively speaking.

[00:14:46]So, those who have maintained power are the Sandinista Front, a clique with its businesses. They've grown, they've become the new rich, and they distribute a portion. Of course, the Sandinista Front distributes, it distributes. It has to be said, the Sandinista Front is generous in terms of material resources; it's selfless. You ca n't deny that, and anyone who tries to deny it is just lying to you and deceiving you. They say the Sandinista Front gives things away, but they don't give from their own pockets, of course not, because they don't understand the meaning of giving and giving. They think everyone is like Russia, that they give away buses, that everyone is like China, and they also distribute things—they distribute other people's land, they distribute what they own, they distribute what they take, they grant debt forgiveness, they distribute land that belongs to others, properties that belong to others, they give out titles to land, large estates that they've taken from people who had power and land, from landowners, from private businessmen, from millionaires. They take it from them and distribute it. That's undeniable; they distribute. In the end, many of the people who receive these plots of land, these houses, in the end, still have to change the life of a child in these 46 years of revolution. They have to change the life of a child for that plot of land. They owe allegiance, they owe loyalty to the Sandinista Front.

[00:16:15]In exchange for that little plot of land, that little house. Therefore, when this family turns against the Sandinista Front, they could possibly lose a child, or part of the family could go into exile. Part of the family goes into exile, and you don't even have to oppose them.

[00:16:35]And I'll give you an example from my own family. In my house, they aren't in the opposition. My mother, even until 2020, I think, was loving towards her partner. She has been, she was a staunch Sandinista, and she isn't in the opposition, of course she is n't. She just needs to stop being a little fanatical. Well, she never was, but she just needs to participate less in certain activities so that they'll see her in a different light. That happens to thousands of Nicaraguan mothers who saw their children grow up during the revolution and who aren't in the opposition, but they aren't so flattering anymore, they are n't "my commander," "my partner" anymore. And Then they go on to see their children go into exile.

[00:17:26]Half of my mother's children are already in exile. Half of the children—out of a battalion of 10, five are gone, right?

[00:17:38]Exiled, refugees from this round, half.

[00:17:44]So they carry that pain, that frustration.

[00:17:50]It's forbidden in the Sandinista Front to discontinue that affection and that fanaticism.

[00:18:00]Many mothers in the marginalized neighborhoods have seen how, without needing to be in the opposition or coup plotters, they are treated differently, right? I give you the example because even before 2018, they wouldn't have visited my mother; they only visited her because of my videos. So, this shows you what the Sandinista Front is like, the claws of the Sandinista Front. And the one who has suffered the pain of the Sandinista Front is the mother.

[00:18:39]I told you recently that my uncle's wife, who was disappeared, died. She lived 45 years waiting with the hope of justice, and He never saw her.

[00:18:53]I continue for her. Here I am, insisting every day. I won't tire.

[00:19:00]Someone else from the family will continue this for another 500 years. No problem. We'll leave things there, a little bit set up so that someone else can continue it.

[00:19:18]So, this poem, right? It's a piece written for Nicaraguan mothers. May 30, 2026. Let's read it to you. It's a piece I just wrote, summarizing what happened in 2018, but I can share it with you so you can see it. Well, it's on Facebook. I'm going to share the image that I created for me, and it looks beautiful.

[00:19:59]And I'm going to read this dedication.

[00:20:03]To the mothers, says Pablo Cortés, "Greetings from Jalapa, Nuevas." Oh, how beautiful. Speaking of Jalapa, right?

[00:20:13]Speaking of mothers, Jalapa has been one of the municipalities that has suffered the most from the Pain.

[00:20:19]Well, he suffered, the mothers suffered during Somosa's time. There was a morgue in Jalapa where the National Guard was in charge.

[00:20:29]I've never spoken about this before, and it's what I know best. I visited the morgue in 1989 with my father. We happened to be in Jalapa, and my father told me the story very well. And the people of Jalapa remember that the National Guard also had a famous morgue there in their time, which was like a burial ground; it wasn't even clandestine, but they literally came there to bury anyone who showed displeasure, opposition, or criticism of the National Guard at that time, right?

[00:21:08]Coincidentally, my father had several confrontations with the National Guard and was imprisoned, and perhaps that's why he was a Sandinista, right? You can't hide that famous morgue.

[00:21:21]You can be in the opposition today, and you can't defend the National Guard at those levels and in that specific area.

[00:21:29]You can defend certain things the National Guard did, especially the protection, the encirclement. From protecting the economy, right? Jalapa was the breadbasket of Nicaragua.

[00:21:37]Jalapa supplied food to all of Nicaragua, even Chinandega, all of it.

[00:21:42]Jalapa had it.

[00:21:44]And that's where my story comes from, about my grandparents' properties in El Coyol. Cultural change, and those we're not going to recover, I think, never, I don't think so, no, I don't expect it. There's still part of the family wanting to see even one acre of those lands. There were 120 acres.

[00:22:05]We have the original deeds in hand, of course, but we couldn't do anything to recover the properties in El Coyol. So, I send greetings to Paulo Cortés in Jalapa, one of the most productive and most suffering municipalities per capita and per area in Nicaragua, right? That's where my parents are from, in Jalapa.

[00:22:31]Very well, then I'll read you the writing dedicated to the mothers, to the mothers of Nicaragua. May 30, 2026. Mother of Nicaragua, on this May 30th that hurts like an open wound in the Heart of the homeland. I speak to you with the respect of one who has seen their own people weep. You who have carried the heaviest burden that exists in the land of lakes and volcanoes.

[00:23:06]You who have seen your children torn from you for 46 years, since that '60, since that '79, which promised redemption and only brought blood and more blood until today. Your boys, the sons of the homeland, fallen in the fields, in the protests, in the prisons, in exile.

[00:23:33]May 30, 2018.

[00:23:36]What a cursed date, my God. The marches for Mother's Day were stained red in the streets of Managua.

[00:23:46]The roses you carried in your hands became funeral wreaths.

[00:23:52]Your tears mingled with the smoke of bullets and the cry for freedom that the regime drowned with lead.

[00:24:03]But look how you resist, like the momotombo tree that holds fire within, even though the earth trembles, you hold a strength that not even the Neither time nor dictatorship can break them.

[00:24:18]Their breasts have been held high. Their breasts have been both altar and tomb.

[00:24:24]Their empty arms have embraced only the memory of each lost child.

[00:24:31]There are Nicaraguan mothers, my sisters.

[00:24:35]Their spirit does not break, even though the world turns its back on them. Every tear that falls is a seed of justice.

[00:24:45]Every name they whisper is a verse that Darío himself would have written with tears of blue. On this day, as the sun sets behind Lake Solotlán, I tell you with all the heart of a poet who loves his people: Your children did not leave in vain. They live on in every protest, in every song, in every heart that still beats for a free and dignified Nicaragua.

[00:25:17]Brave mothers, eternal mothers, may the land you have watered so much with your pain one day give you the fruit of the peace you so richly deserve. Glory to you, mothers, glory to the children who were taken from you.

[00:25:36]Nicaragua carries you in its soul forever.

[00:25:42]There it is, isn't it? I wanted to dedicate this verse, this writing, to the Moms.

[00:25:54]Um, in the end I'm going to recite the poem about the 200 pesos for mothers.

[00:25:59]It's a very powerful poem, written by the poet from Ocotal, Jorge Calderón Gutiérrez.

[00:26:19]A very local poem, very powerful, and very real in many, many homes, right?

[00:26:30]So, I don't want to go on any longer, I do n't want to make this monologue too long, and I want to go straight to reading you the poem about the 200 pesos. Let's see, let's test the sound so you can hear it.

[00:26:56]Um, too bad I don't have any. What do you mean, I think I have some sentimental background music. Let's see. Um, let's see, music, background music here. Let's see. This [music] is n't very bad. It's too much music. Let's see if we can find something softer. Let's see.

[00:27:55]No, no, no, no, no. Not this one.

[00:28:06]This one doesn't work for me.

[00:28:33]No, no, no. Let's go Let's see this.

[00:28:47]No, no, I know. I'll get some music from here. There's plenty here. Uh, let's find some music.

[00:29:05]No, no, no, no. Let's see, uh.

[00:29:14]Ah, no, no, no.

[00:29:24]Okay, here we go, here's one.

[00:29:31]Let's find some sentimental music.

[00:29:53]No, no, no, no.

[00:29:55]Uh, romantic, but for poetry.

[00:30:33]No.

[00:30:43]No, no, no.

[00:30:55]Mood, love. Anger.

[00:31:03]Okay. There isn't this one.

[00:31:34]Okay, this one won't let me download it.

[00:31:54]N, let's see, in the end I can't download music, then.

[00:32:03]Okay, here it is.

[00:32:07]M, let's see.

[00:32:29]No, no, no.

[00:32:32]H, one will do to make it romantic.

[00:32:50]Play romantic.

[00:32:53]Okay, let's see everything.

[00:33:07]Okay, here it is. Duration, Length, PM, Vocals, Mood, Genre, Ambient, Classical, Hip Hop, Jazz, Piano, uh, Mood. Let's see.

[00:33:44]There it is. There it is. There it is. I've got it. I'm going.

[00:33:56]Let's cry a For a while, obviously, because this poem makes you cry.

[00:34:05]Of course you cry. It's hard not to tear up.

[00:34:11]Those who have heard me cry out know what's going to happen. Those who have n't heard me yet don't know the surprise they're in for.

[00:34:29]Okay.

[00:34:31]Uh, here's the poem.

[00:34:35]Who wants 200 pesos from Jorge Calderón Gutiérrez, right?

[00:34:51]Poet from Ocotal.

[00:34:55]Let's see. Do we have sound? Yes, we have sound, and yes, with this we'll say goodbye, right?

[00:35:02]Who wants 200 pesos?

[00:35:07]Jorge Calderón Gutiérrez, Ocotal, Nueva Segovia, Nicaragua.

[00:35:13]I had a good mother, I had a saintly mother, the one who rocked me in the cradle and washed my white clothes at night in front of the moon.

[00:35:27]The one who, with tired eyes, watched over my sick little cradle, while her kind hands sewed tattered clothes.

[00:35:38]The one who taught me my pious prayers as a child and helped me in school, mostly out of love.

[00:35:48]I had a mother Well, I had a saintly mother.

[00:35:54]How much hardship the poor woman endured to pay for my primary education.

[00:36:01]How much laundry she washed and ironed to pay for my secondary school. I still remember that out of pity, she delegated to a niece the task of accompanying me across the stage to receive my official high school diploma.

[00:36:21]Because to dress me well in expensive clothes, she, poor thing, wore cheap fabric and I remember her tucked away in the back of the room. And while everyone applauded with joy at her sweet and kind face, tears of love and happiness ran down her cheeks.

[00:36:49]I had a good mother.

[00:36:52]I had a saintly mother. I wanted to study medicine.

[00:36:58]The specialty I sought didn't exist in my country, and I studied it in a foreign country because of her insistence. " Go," she told me. "Go and finish your degree. Even if I leave life's scraps behind, I swear money will come to you every day."

[00:37:21]And she sent it to me. I was poor, yet I never lacked anything. And for five For many years her sacrificial hands made it possible for me to see my career crowned.

[00:37:37]I triumphed, and I obtained such brilliant grades that, as payment and reward, they gave me the highest diploma one can receive, along with my return ticket. I flew and flew with a mad eagerness to deliver that diploma to the one who most deserved it, to place it in her hands and shout at the top of my lungs that it was hers more than mine. I arrived home delirious with happiness and joy.

[00:38:12]And when I knocked on the window, because the door wouldn't open, a neighbor across the street asked me, "Who are you looking for?"

[00:38:21]"My mother," I answered, very proudly.

[00:38:25]"The old lady who washed floors night and day." "Yes," I said. "That's my mother, the best in the world, you know?"

[00:38:36]And how could I not know, that neighbor told me, if she died washing floors the day before yesterday and yesterday when we buried her, when we opened her hands which were clenched, I found 200 pesos, the last she earned, to send to her son so that he could return to her side as soon as possible.

[00:39:05]Take them, here they are.

[00:39:08]It's well-earned money and I wasn't going to do it. And I wasn't going to do it. I told him, "Here's 200 pesos that are tired.

[00:39:19]Someone wants them, I'm giving them away.

[00:39:22]Take them, for God's sake, they're burning my hands."

[00:39:32]Thank you.

[00:39:37]Oh, but what a lovely [music]. How cute, what a lovely little thing.

[00:39:42]Queen, we're going with satire. What did you say? Everyone wants to see the queen, the one who [music] queen, the queen, the queen, the queen. Everyone is watching. To the queen, to the queen, to the queen, to the queen, to the queen, to the queen.

[00:39:53]Pijazos de café [music] of the queen, of the queen, of the queen, of the queen, of what everyone wants to see of the queen,... [music] This character is tremendous there. All Nicaraguans laugh at the satire of the witch and the minimum. You can follow him on all the [music] networks, I recommend it, you'll have fun in a few moments and he'll transmit a cappella pijazo. I'll send you the links.

[00:40:17]Improvising [music] we go with the savagery of the politicians and the problems. We didn't enjoy it, no matter the theme. We set it up here without needing practice. [music] A little walk to get serious, a little coffee as a snack straight to the cemetery.

[00:40:31][music] For the pair of monkeys who remain in captivity. The time has come, we are now active on YouTube, on Facebook, everything is connected. I give greetings to the outstanding [music] fans. A slap in the face to those who are out of control. I've got him dizzy, they're stressed, they can't because I've got him [music] detected. A lot of noise for a word, I have it next to me.

[00:40:47]Everything to see it counted. Everyone wants to see the one who alienates, that everyone [music] is watching. Queen, ali, ali, ali, ali, ali.

[00:40:58][music]