Q&A; with RUBEN BLADES : ‘Something to Defy All Definitions’ : After Losing Election, Blades Returns to Music, Ready to Explore

Ruben Blades may have lost his bid for the presidency of Panama last spring, but he’s not in mourning. In fact, he has already resumed the hectic pace--in both the music and acting worlds--that made him an international star in the 1970s and ‘80s.

Blades, 47, became a superstar in salsa music in 1976 as a part of Willie Colon’s orchestra, writing and singing songs that revolutionized salsa through challenging arrangements and social commentary.

After three landmark albums together, the Panamanian decided to go solo in 1982 and went on to similar success--earning two Grammys and consolidating his reputation as one of the greats of Latin pop. He also made strides as an actor, appearing in such films as “Crossover Dreams” and Spike Lee’s “Mo’ Better Blues.”

He put aside his show business aspirations in mid-1993 to enter politics in his native land. Blades’ party--the recently formed liberal-leaning Papa Egoro--picked up six seats its first time out, but he finished third in the presidential race.

Re-entering the world of music and films, Blades reunited with Colon for an album that will be released Tuesday by Sony Tropical Records. Titled “Tras la Tormenta” (“After the Storm”), the collection is a return to the challenging mix of social statements and musical ambition that marked their earlier efforts. (See review on Page 6). Blades makes his film return with a small role as a policeman in “Scorpion Springs,” an independent film directed by Brian Cox and due later this year.

In an interview in Santa Monica, where he lives much of the year, Blades spoke about the reunion album and politics--from his failed election bid to Prop. 187.

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Question: What are your thoughts on the election?

Answer: I still have my doubts as to the official vote count. Third place? Mmmm . . . In any case, it was a great achievement to obtain 18% of the votes. It’s the first time in Latin America, I guess, or even the world, that a new, truly independent party has so much acceptance in its first time out. Now we’re in, with six legislative seats out of 71 and working hard to increase our presence in 1998. And even if 18% is an accurate figure, that means that at least 18% of the Panamanians want changes. And that’s extraordinary. But I’m sure our party got many, many more votes.

Q: What do you think of the American press coverage you got before the elections?

A: All they saw was a (salsa singer) running for president, and that’s why I rejected many requests for interviews. But we actually had a specific political proposal. Panama was in the headlines during the (U.S.) invasion, and then for five years nobody cared. And now that the election is over, nobody talks about what my party did, because all they cared about was the salsero running for president. That still bothers me.

Q: You left the Panamanian turmoil and found Los Angeles in another key political moment. I’m sure you have something to say about Prop. 187.

A: To blame the immigrants for everything has been successful throughout history, but it’s absurd because not even the numbers prove anything--whites and blacks take more government aid than Latinos. But the most important question raised by 187 is: What does society do when a manipulated, ill-informed majority, through democratic means, decides unjust laws? How can you change that without affecting the democratic system? Even if it’s declared unconstitutional--which will probably happen--the harm is done.

Q: What do you think is the main problem of 187?

A: It offers no solutions--just putting 300,000 kids on the streets without school, work or health care. Even the police and the teachers opposed it, not because they don’t think illegal immigration should be stopped; we all agree on that. But there must be a real solution, not a demagogic, xenophobic one concocted by (Gov. Pete) Wilson in order to get reelected. Things like 187 are the worst possible signs of the character of a nation.

Q: Your three albums with Willie Colon are considered landmarks not only in salsa, but in all of Latin pop. How would you rate the new “Tras la Tormenta”?

A: Well . . . this is not (1978’s) “Siembra,” but nevertheless we’re all pleased with the results. Willie and I are singing better than ever and the old orchestra is playing as good as they did 17 years ago.

Q: The album was delayed, reportedly due to disagreements between you and Colon. What’s the truth about that?

A: First of all, the album was recorded while we were both active in politics (Colon unsuccessfully ran for the House of Representatives of New York’s 18th District). And we live on opposite coasts, so it took some time. But, yes, there were some problems, although that’s nothing new between us. We are both excellent producers and, despite our chemistry, we also have different visions. The main problem was that it wasn’t always clear whose project it was, who the boss was. He even sent me a memo telling me he felt I was treating him as a subordinate.

That was never my intention, but I admit I was wrong to see him as a guest; his contribution is vital to the record. But this reunion album was my idea, my initiative, I was the one who approached Sony in New York and pushed the record all along.

Q: In the eyes of many, “Tras la Tormenta” is one of the most important albums of the year, but it seems to me that you’ve already forgotten about it.

A: Don’t get me wrong--I’m proud of the album! Try to understand, salsa gave me a lot of happy moments, but it also became like a prison to me. Now I want freedom to do anything I want. My last album with Sony will be made in Panama with Panamanian musicians, and then I’d like to integrate different folk musics instead of just repeating one sound. Something to defy all definitions.

Q: The Blades/Colon chapter is over. How motivated are you to start this new era?

A: Extremely motivated. This is the time for me to make the music I’ve always wanted to do. I no longer have to worry about people’s expectations nor do I have to focus on any specific sound. And I’m eager to start as soon as possible.