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Ni se imaginaba Sho Brown, de niña (cuando acompañaba a su madre a la iglesia y la ayudaba a pasar las páginas de las partituras religiosas que interpretaba al piano para que el coro de gospel ensayara sin descanso antes que llegue el domingo y mientras miraba de reojo encandilada, las coloridas figuras de cera en la vidriera de enfrente, imaginando convertirse en una modélica santa de raza negra) que las vueltas de la vida -y unos cuántos productores corruptos y sin escrúpulos- la convertirían en la popular cantante de un estilo non-sancto pero que tenía bastante de religioso, en el que cientos de fieles seguidores aguardaban su actuación en un peep-show de California, a mediados de los sesenta.

A los veinte años, Sho Brown ya se presentaba sola en el escenario, a medida que entonaba unas indefinibles e hipnóticas notas cercanas a un salvaje orgasmo ficticio y apenas endulzadas por su endiablada garganta que generaba ecos insospechados, mientras iba despojándose de su ropa en un vertiginoso strip-tease, que terminaba descubriendo todas sus curvas a un público totalmente entregado y desconcertado.

Sólo un disco llegó a grabar Sho antes de retirarse forzosamente de la escena, luego de quedarse sin voz cuando paseaba por New York y encontrar en medio del Central Park, a una jovencísima Yoko Ono haciendo algo muy parecido a lo que ella hacía pero una octava más arriba.

· Sho Brown: sextacy ·

Didn't it magine, Sho Brown when was a girl (when accompanied his mother to the church and he helped to pass the pages of the religious scores that his mother interpreted to the piano, so that the chorus of gospel music practiced without rest before that arrive Sunday, and and while it looked at askance dazzled, them colored figures of wax in the opposite stained glass window, dreaming to be become a model saint of black race ) that the returns of the life - and a few many producers corrupt and without scruple- they would become the popular singer of a non-sancto style, but quite religious, in which hundreds of faithful followers awaited its action in a peep-show of California, in the middle of the sixties.

At the age of twenty, Sho Brown already was presented alone in the setting; and to the extent that intoned some undefinable and hypnotic notes, more close to a wild fictitious orgasm and barely sweetened by your devil throat that generated unsuspected echoes, to the extent that went being despoiled of its clothes in a giddy striptease, that finished discovering all its curves to a public completely delivered and disconcerted.

Only a one disc came record Sho before being withdrawn inevitably of scene, after being remained without voice when walked through New York and found in the middle of the Central Park, to a younger Yoko Ono doing something very seemed to do it her, but an octave further up.