{"id":9608,"date":"2026-09-19T23:25:45","date_gmt":"2026-09-19T21:25:45","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/chic-the-locked-grin-of-the-groove-2\/"},"modified":"2026-09-19T23:25:45","modified_gmt":"2026-09-19T21:25:45","slug":"chic-the-locked-grin-of-the-groove-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/chic-the-locked-grin-of-the-groove-2\/","title":{"rendered":"Chic &#8211; La sonrisa cerrada del groove"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Un bajo que rechaz\u00f3 la puerta<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Nochevieja de 1977, la puerta del Studio 54. Nile Rodgers y Bernard Edwards est\u00e1n en la lista, invitados por Grace Jones, y la lista no ha llegado al hombre de la cuerda. Los echan. De camino a casa el insulto se vuelve un canto, y el canto, limpiado lo justo para ser un disco, se vuelve <em>Le Freak<\/em>. La historia es casi demasiado pulcra, que es a menudo el modo de Chic: un hecho social, una l\u00ednea de bajo, una guitarra que se niega a sudar, y una canci\u00f3n que entra en la cultura de traje. Atlantic la publica en 1978 en <em>C&#8217;est Chic<\/em>. Es n\u00famero uno. La puerta que no se abr\u00eda ha sido reemplazada por un groove que no se cierra.<\/p>\n<p style=\"text-align: justify;\">Rodgers y Edwards se rondan desde 1970, un guitarrista y un bajista que oyen el pocket como otros oyen la melod\u00eda. Con el bater\u00eda Tony Thompson dejan de ser una banda de refuerzo y se convierten en un estudio de dise\u00f1o. El primer nombre, Big Apple Band, cede el sitio a Chic en 1976. El primer \u00e1lbum, <em>Chic<\/em>, llega en 1977 con <em>Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)<\/em>, cuerdas seg\u00fan su propia l\u00f3gica, voces que se deslizan en lugar de suplicar. Canta Norma Jean Wright, luego Alfa Anderson y Luci Martin pasan al frente. El look es caro. La secci\u00f3n r\u00edtmica es el verdadero lujo. La bater\u00eda de Thompson es seca y enorme. El bajo de Edwards es una frase sin palabra in\u00fatil. La guitarra de Rodgers es un instrumento r\u00edtmico incapaz de tocar una nota fea.<\/p>\n<p style=\"text-align: justify;\"><em>I Want Your Love<\/em> muestra la otra cara: una balada que sigue bailando, armon\u00edas apiladas hasta que el deseo suena a cromo. Luego <em>Risqu\u00e9<\/em> en 1979, y <em>Good Times<\/em>. La l\u00ednea de bajo es tan inevitable que <em>Rapper&#8217;s Delight<\/em> de Sugarhill Gang construye un g\u00e9nero nuevo encima. Los abogados acaban poniendo a Edwards y Rodgers donde el sample ya los hab\u00eda puesto: en la ra\u00edz. Chic no hace campa\u00f1a para ser los padres del hip-hop. El disco hace la campa\u00f1a. <em>Good Times<\/em> es tambi\u00e9n, en voz baja, un chiste sobre la Depresi\u00f3n, una letra sobre el precio de la diversi\u00f3n escrita el a\u00f1o en que la diversi\u00f3n era m\u00e1s cara. Se declara muerta la disco en partes de Am\u00e9rica. Se declara a Chic un cl\u00e1sico.<\/p>\n<p style=\"text-align: justify;\">La organizaci\u00f3n es m\u00e1s ancha que el grupo. <em>We Are Family<\/em> y <em>Lost in Music<\/em> de Sister Sledge, en 1979, son discos de Chic con otro nombre. <em>diana<\/em> de Diana Ross en 1980, con <em>Upside Down<\/em> y <em>I&#8217;m Coming Out<\/em>, aplica la misma disciplina a otra voz, incluso despu\u00e9s de que el sello pida una mezcla m\u00e1s suave. Rodgers ir\u00e1 a Power Station con David Bowie para <em>Let&#8217;s Dance<\/em> en 1983, luego a <em>Like a Virgin<\/em> de Madonna. El bajo de Edwards sigue siendo la firma aunque su nombre no est\u00e9 en la portada. El m\u00e9todo viaja. El grupo mismo, despu\u00e9s de <em>Real People<\/em> y <em>Take It Off<\/em>, se adelgaza a principios de los ochenta, no porque el pocket fallara, sino porque la industria decidi\u00f3 que la palabra disco era un lastre. Los m\u00fasicos, no.<\/p>\n<p style=\"text-align: justify;\">El 18 de abril de 1996, en Tokio, durante una gira con Rodgers, Bernard Edwards muere en su habitaci\u00f3n de hotel. Tiene cuarenta y tres a\u00f1os. Los conciertos siguen esa noche porque eso es lo que la secci\u00f3n r\u00edtmica siempre hizo: guardar el tiempo cuando la sala cambia. Rodgers pasar\u00e1 las d\u00e9cadas siguientes siendo a quien se llama cuando se quiere que un disco tenga columna vertebral. Chic se reforma en torno a \u00e9l, con nuevas cantantes, las canciones viejas, Thompson ausente desde 2003. No es un museo. Es un taller que todav\u00eda conoce las medidas.<\/p>\n<p style=\"text-align: justify;\">La medida tiene una reposici\u00f3n mundial en 2013, cuando Daft Punk pone a Rodgers en <em>Get Lucky<\/em> y, m\u00e1s elocuente a\u00fan, en <em>Lose Yourself to Dance<\/em>. La guitarra no imita 1978. Lo retoma. Pharrell Williams canta. Los robots llevan cascos. La parte humana del disco es una mano derecha que corta semicorcheas desde la puerta del Studio 54. Las memorias de Rodgers y su trabajo con cada generaci\u00f3n criada en los samples no hacen m\u00e1s que confirmar el punto. El groove nunca fue una moda. Era una tecnolog\u00eda del placer.<\/p>\n<p style=\"text-align: justify;\">El culto de Chic es un culto de la exactitud. Hicieron una m\u00fasica de baile que un m\u00fasico de jazz puede tocar sin verg\u00fcenza y que una multitud puede bailar sin instrucciones. Edwards cerraba el bajo sobre el bombo. Rodgers cerraba la guitarra sobre el charles. Thompson cerraba el edificio entero al suelo. Las cantantes lo convert\u00edan en una invitaci\u00f3n y no en un diagrama. Por eso los discos siguen abriendo salas. La cuerda ha desaparecido. El pocket permanece.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Nochevieja de 1977, la puerta del Studio 54.<\/p>\n","protected":false},"author":1,"featured_media":9603,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[280,273],"tags":[889,265],"class_list":["post-9608","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bands","category-chronicles","tag-chic","tag-discofunk"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Chic - La sonrisa cerrada del groove - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/chronicles\/chic-the-locked-grin-of-the-groove-2\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chic - La sonrisa cerrada del groove - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Nochevieja de 1977, la puerta del Studio 54.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/chronicles\/chic-the-locked-grin-of-the-groove-2\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-19T21:25:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2025\/06\/Couverture-Fb-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1640\" \/>\n\t<meta property=\"og:image:height\" content=\"924\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/a6a40143836f6c8a45376e05d9879346\"},\"headline\":\"Chic &#8211; 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