Lynn Fainchtein: Crazy Mica | Opinion

Describing who Lynn was is very difficult. The closest thing would be to name it a penta-pichichi. A national glory. But how much did Lynn Fainchtein do? That’s where it’s complex. Lynn did many things and all of them well.

It changed my life for the first time when as a child he introduced me to a universe of music in Space 59the first radio station dedicated to rock in Spanish at the end of the eighties.

For other people, Lynn was the voice of the cultural discovery of Mexico City in Rock 101radio station that taught an entire city to be cosmopolitan, presenting the honeys of the new wavehe post punk and the beginning of Anglo-Saxon alternative music.

For others, Lynn was the sexy voice that brought salsa and tropical music to middle-class homes with Salsabadando.

That would be reason to think that Lynn was exceptional, however, she did this very early in her career and it never felt like the great highlight of her resume.

Lynn was a pioneer in the world of .com from the hand of Ocesa. She was a concert promoter, artist manager and talent scout with fundamental bands in Mexican culture such as Los Ángeles Azules.

In the cinema, his list is almost ridiculous. Much of the fine crop of films that defines us as a country of great filmmakers has Lynn in the credits.

Who didn’t shudder listening Titans fights in Love Dogs? She invited Ryuichi Sakamoto to participate in The Revenant and he collaborated on the music for all of Alejandro González Iñárritu’s films. She was part of films winners like The Butler by Lee Daniels, Rome by Alfonso Cuarón. The German series dark, Ravens Club and The House of Flowers. Thousands of songs were played in hours and hours of audiovisual projects. And hundreds of groups, singers and musical projects were known thanks to the fact that Lynn was good enough to include it in some of the films in which she worked. On behalf of all those artists: Thank you, Mica Loca.

Lynn was a pioneer of music supervision. When she started doing it, only a handful of people practiced it in Latin America.

As a film producer, she had incredible and very crazy projects, such as Santos vs La busty Mendozabringing the art of Gis y Trino, or the musical, to the big screen Made in Mexico, or the documentary 0.56% that spoke of the electoral fraud of the election of Felipe Calderón. Each of the films he produced has a very particular and unique point of view.

Lynn also had a stint on television. She was part of the team that she started MTV Latin America in 1993 and was behind several of the unplugged most iconic: Café Tacuba, Soda Stereo and Charly García.

Lynn was also a record label. She was my partner in a project that bordered on a social experiment called Cassette. We publish a lot of music there. Records from international artists like The Prodigy to bands under like The Chinese Bandals.

But if you ask me what Lynn was, I would tell you it was two things. An incredible friend. Faithful, nagging, tough but with a huge heart. And the second, an insatiable junkie of the music.

The first time we traveled to New York together and upon finding out that other music lovers were on the same flight, he changed his travel plans and took a flight a day early, to beat us and get to the Manhattan record stores earlier: Other Music , Tower Records and Kims Video. When we landed and ran to those stores, we noticed that Lynn had (literally) ransacked the shelves without hesitation.

He had the obsession of being aware of each and every new thing in music. It didn’t matter if it was Tuareg music, from a Juchiteca band or a DJ of minimalist music in Berlin. There was no music under the sun that Lynn didn’t know: her and compact discs It was overwhelming. But even more shocking was the number of hard drives in which she frantically classified music according to moods, tempo, sensations. He had dozens of people helping him classify each song to put it in the line of fire for eventual synchronization in a movie or series. Thousands of terabytes of songs in WAV format, with detailed descriptions of what they represented for his worldview.

With Lynn we created the legendary Club de los 12, in which 12 music lovers got together once a month to show each other new and amazing music. I still receive complaints from people who did not become one of those 12. For years we had these secret meetings in which we discussed music until dawn.

I will remember Lynn with a mezcal in her hand, playing dominoes at the Covadonga bar in Colonia Roma. With her characteristic glasses that made Lynn unique.

See you always my friend. You were a lot to many. Your voice is unique and Mexico will probably never see a force of nature like you again. You were an agent of change and thanks to you, this world is a little better. Thank you crazy mica. Thank you for putting your “little songs” in movies, as she said. We are going to miss you a lot. You leave Maco, Julieta and a legion of your worshipers remembering your genius that made you a pentapichichi.

In a huge world

I feel your fragility

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