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His breakthrough came with “¿Cómo Puedes Vivir Contigo Mismo? "], where he declared, “Only through being what I am do I understand what is real.” Its video paid tribute to the 1990 documentary Paris Is Burning.
“I spent the first six months of performing that album often crying onstage,” Anwandter says, laughing at himself.
No one thinks of themselves as homophobic, or that they discriminate, or that they’re sexist.
You have to provide a small universe for them to sympathize with whatever you wanna talk about.” Rather than a protest singer, then, Anwandter is a disco empath.
“And no one will care, because, oddly enough, it wasn’t as shocking as the other boy.” Zamudio’s death ushered in Chile’s first proper antidiscrimination bill and brought homophobic hate crimes to national attention, but it also became a limiting flashpoint.“I think it’s a very shy effort, and I’m being generous by calling it shy, in the way civil unions erase gay and queer and lesbians,” he says.These laws are just crumbs to him: His concern is that people are dying because of homophobia, but he’s aware that changing the country’s cultural makeup will take decades, and requires an empathetic rather than polemical approach.It’s the kind of thing you don’t unlearn.” to echo the record’s collective themes.
It’s also more lyrically up front than its predecessor: Lead single “Siempre Es Viernes en Mi Corazón” ["It’s Always Friday in My Heart"] scans as a party anthem but reveals deeper truths about Chilean working life and Catholicism’s vilification of the gay community.“People cannot allow the idea that there are other boys and girls suffering from this violence — that is the level of reluctance to discuss the ideas versus the specific gory violence that is attractive.” Along with the film, which is touring festivals before getting a theatrical release later this year, Anwandter has also just released his gorgeous second solo album, .