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Pastora Imperio debut in the Japanese theater


N arrador punctilious and methodical, with clockwork precision, the journalist Diego López Moya gave the exact date of the debut of Pastora Imperio in Madrid Theatre Japanese : October 1, 1900.

tells us in his book Pastora Imperio. Book of intimacies *, the source of the fragment in the newspaper El Pais of May 13, 1914. Among other items, Don Diego reveals the name of the creator of the artistic alias Pastora Rojas, "baptism" that is usually attributed to some personality of English literature. And a witness, the trial of veteran Serneta after witnessing the dance of the daughter of the Marjoram .

El País, May 13, 1914

Of course, we have found that the date of October 1, 1900 is correct. First appearance of the Sisters Empire in the papers.

The Times, October 1, 1900

Three months later, Life magazine Galante published photographs of the Misses. Empire and [Emilia] Santi, Japanese dancers theater.

Galante Life , January 18, 1901

* Madrid, Jaime Ratés Martin, nd (191?).

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Seville in 1896 Lesson

Almanac Bailly-Bailliere, 1896

E mong the articles published in the Almanac Bailly-Bailliere , 1896 Seville find this lesson by Professor Alfredo Medina and dancer Matilde Prada Bailor, illustrated by photographs of the couple.

De Matilde and we deal on March 31, 2009, may see the entry in this link.

magazine the wide world of February 1, 1902 gave some hints about these masters of dance:

La Prada and Medina formed an excellent partner, and dance, reproduced from photographs, has been used to explain ketones and available through the various figures of the dances of Andalusia. Adolfo
[sic] Medina died tragically, committed suicide at his home in Colon Street, facing an altar that was installed in his own bedroom. Matilde
(...) Prada danced much in theaters and cafes, and in the same Coquineras danced season, the Macarronas, Jane and Mary, which made famous by the kidnapping of one of them, the Bayonet and many other notables, among which the Scotch deserve special mention. (...) (...)

had danced in Berlin, in Berlin, Wilhelm II himself, Matilde Prada, the Macarronas and other bowling alleys and mint. Incidentally, the German expedition to flamenco, told by Matilda would be a highly interesting and funny book about the incidents that prompted the trip (...)

reviews that dispatch to Germany -1895 - can be viewed at the David Friend, Flamencos Papers .

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The Tanguerita (1913) A text by Pierre



A following his victories in the New Hall Malaga Eco Art magazine devoted its cover April 25, 1913 Rafaela Valverde The Tanguerita , playing a superb full-page photograph of the remarkable dance artist.

In the inside pages, string of praises

is an artist who does not hear everywhere but enthusiastic applause for his work deserves the highest praise. The Domina
Tanguerita masterfully all Flamenco dancing, and his name is known from the Madrid crowd advantage, it was applauded in the main rooms of the Court. Recent
are the triumphs of the New Hall Tanguerita in Malaga, few witnessed the work of the dancer agreed in their judgments, and acted fairly in granting unqualified applause.
And, as in Malaga, in all provinces where the Tanguerita put his plant had the same success, may qualify their tournée, unafraid to engage in exaggeration, of truly brilliant. Tanguerita
The property also known to wear all their dances, and is, in short, an artist who confirms what is said in praise to you and for whom the Companies go drinking the wind.
Just send us from these columns is our sincere applause for The Tanguerita, dominating the dance flamenco ...

In Flemish art and artists (Madrid, 1935), Fernando el de Triana will leave the following sketch of this remarkable dancer Ciudad, "representative of the times" , rightly describes as Friend José Luis Navarro.

With the name of the Tanguerita I met many years ago in Barcelona and it will keep calling.
This unparalleled lively dance artist has all the qualities needed to run with inimitable grace the Garrotín, Farruca, Tango and Bulería. Figure
gesture picaresque, in his inimitable wit and rhythmic contortions, extremely easy implementation of feet and everything you need to stand out predominantly in those dances, which are themselves small, meet this most remarkable artist. (...)

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Loti

Seal 1937 with the portrait of the writer

weekly E l The Modern Review of 3 September 1898, published an article translated for the occasion, at the time of and distinguished writer Gallo Pierre Loti (Julien Viaud, 1850-1923). The text is integrated into his book Reflets sur la route sombre (Paris, 1899), which translated into Castilian is entitled Reflections on the dark path (Barcelona, \u200b\u200b1924).

A bittersweet vision of a cafe singer in Madrid in the late nineteenth century. Interestingly, the story is illustrated with a photograph of Seville Burrero Cafe.

The Modern Review, September 3, 1898

pity that the images of the second page with no legend.

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José Navarro, home phonograph (1896)



C omo complement our entry ' José Navarro, phonographic house', we reproduce an article published in the journal El Ateneo (Alicante) on 10 July 1896, which informs us about the good reception given to local auditions phono José Navarro, installed in the Paseo de Méndez Núñez of the port city.

"The collection of cylinders is very impressed complete, ranking it the same melody that arroba sentidísima the soul, the thunderous flamenco , the great classical opera overture, performed by notable band, and the simple romance of living, sung by famous artists (... ) "

El Ateneo, July 10, 1896

remain here until late August. As a farewell, Jose offered a complete free phonographic hearing in the halls of Casino.

ooo0ooo

"... I was influenced with the invention and wanted to convey to all my enthusiasm. Popular. Let you know soon. I walked half of Spain, city by city, town by town, giving auditions to "fat bitch" (...) "

[Heraldo de Madrid, 14-I-1930]

ooo0ooo

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José Navarro, home phonograph


E mong the pioneers of the music industry in Spain, and therefore flamenco recordings on wax cylinders, is the Joseph Cartagena Navarro, mechanical watchmaker who changed the machines to measure the time for the adventure of sound recording. He himself tells us in an interesting interview he did with Francisco Ruiz Llanos gramophone in his store located in Madrid's Calle de la Cruz; interview published on Heraldo de Madrid in its edition of January 14, 1930.

(...) appears at the door the owner, Don Jose Navarro. He is a man of about sixty-odd years, thickness, and a little clumsy in his movements and his mustache very nineteenth century. I salute you.
-Don Jose told me it was you who brought the first phonograph to Spain. Is it right? Don José
me look like the famous man, surprised that anyone could not know him, while his eyes shine a smile, which I interpret as a salute to the youthful years my question brings to his memory.
"Yes. I was the first who brought the phonograph to our peninsula and rode the first disc printing studio in it. (...)

Among the flamenco singers impressed in his cabinet phonograph, quoted the following: the Gayarre Chico, Acosta, Adela the Filo, the Blonde and ... - why not? - The Owl , whom Don José tells a story:

(...) A curious case was that of the Owl, who was in my studio singing twelve hours.
- What was that? "You see
. I had already acquired the printing machine mechanical reproduction. The Owl House Aramburu hired on favorable terms to impress exclusively on brand discs. But yesterday came to my studio. Had to use the time we had before the contract came into force, and, indeed, stood at seven in the night before the horn and did not stop until seven o'clock, he had exhausted his repertoire. (...)

Heraldo de Madrid, January 14, 1930

may not be the first, but the company of Joseph Navarro was among the prominent English Phonographic houses next to Ureña, Aramburo, Hugens and Acosta, Phonographic Madrid, English Phonographic Society, Moreno Cases, Port and Novella, Fono Reyna, etc.

Mens Brazilian Wax Madison

ZoneMinder: Installing and configuring Debian with LXDE

Introduction

ZoneMinder is a suite of video surveillance that can record and monitor IP cameras, CCTV and Webcam connected to a computer with GNU / Linux with support Video For Linux (V4L). It consists of several components and scripts written in Perl and PHP (for web interface). Requires mainly server MySQL database, Apache Web server and ffmpeg.



ZoneMinder installation is not in lenny repositories, but if you are in squeeze where they can be installed.

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S ccording to some scholars, the Malaga am or sing in the morning Murcia could be the source of some songs miners.

In his book The Red the Arpargatero, flamenco (Almuzara, 2007), José Gelardo gives us the appointment of the musician Julian Calvo Murcia, who in 1877 ( joys and sorrows of Murcia), echoed the existence of that song and reported on the introducer of it in Murcia in 1868: Ginez Martinez (a) the Osuna.

Another source where Gelardo baby is the book by José Verdú Stock popular songs of Murcia (1905), detailing how it was that song and stresses the fundamental role of the Osuna in the creation of the Malaga in the morning. Verdú will take the staff. Gelardo

not quote him, but a few years before Verdú, in 1900, Pedro Díaz Cassou and teachers Almagro Antonio López (Professor Fellow of the National School of Music) and Mariano García López (choirmaster of the Cathedral Murcia) also addressed the Malagueña am in El Cancionero pussy. Songs, Songs, etc.





Review what is pointed out in that song about this song:

page. 21

(...) the artistic dreamer and Malaga in the morning (...)
(...) In the pages of music, at the end of this booklet, do not figure to Malaga in the morning, have not found it necessary to transcribe the common , which only differs from the Andalusian, which is not usually adorn (...)

pp. 81-82

musical Appendix: pp. 16-18

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Madrugas Sun and Shadow in Spain (1908) Rosario

in 1941 Maud Howe Elliott ( life.com)

C sa curiosity, we bring to our page an excerpt from Sun and Shadow in Spain (Boston, 1908), American writer Maud Howe Elliott (1854-1948), daughter of abolitionist Julia Ward Howe The latter remembered as the poet who wrote The Battle Hymn of the Republic ( The Battle Hymn of the Republic ).

The passage brings us to the Madrid studio of the painter José Villegas Cordero Seville, where he has entered into a dance played by Pastora Imperio they accompany their mother Rosario the Marjoram and his brother Victor, whom she calls curiously Dionisio . While some data are consistent with reality-verbigracia, Pastor-danced at the Kursaal, other notes seem drawn from the imagination.

Villegas says: "... When I came to Madrid for the first time - to copy Velázquez - was then only sixteen years - the mother of Empire was the first dancer from Spain (...) Forgot the dance he did at Palace for Queen Elizabeth? "

Needless to say, the claim that Howe put into the mouth of the painter does not fit: When Villegas arrived in Madrid, 23 years according to his biographers (1867), Mejorana was a child. However, not be ruled out that the episode of Dancing with Isabel II of Spain may have some truth in another context.
these pages
Here are little known in which, through novels, witness the dance of a Monk Rosario middle-aged.

Sun and Shadow in Spain , Boston: Little, Brown & Co., 1908.

(...)

Dental Introduction Letters

again over the Café

The Marjoram (back) and Pastora Imperio day after the wedding of the latter (New World, 1911)

L a biography of Rosario Marjoram is mired in mystery. Among other shortcomings, which we know, still not entirely clear date of birth.

continues Recent publications claiming that his career was short-lived, lasting only three years, a fact which surprises us.

In 1882, Benito Mas y Prat appointment between the flamenco dancers over shaft, with Dolores Moreno, Isabel Santos, sisters Rita and Gerome Ortega, Lucas and the Violina .

The English and American Illustration , July 30, 1882

team Eco Memory the location five years later Chacon announced along Coffee in Malaga Siete Revueltas. If we continue to Blas Vega, and his daughter was born Pastora: "clarify that [Pastora Imperio] born in Seville in 1885, according to the certificate of baptism we have ..." ( Fifty Years of Flamenco, EFV, 2008 )

Trade Union, December 6, 1887

If we look at the following press release we found in the Journal of Cordoba , it seems our dancer was in the gap at the dawn of the 1890's.

Córdoba Journal, October 19, 1890

dancing professionally
A decade of which little is known ...

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Marjoram Silverio (1875)



E n one of his letters viatje on Sevilla, which appeared in the Catalan magazine of literature, arts and sciences The Renaxensa of 15-VII - 1875, Mestres Apelles us to the Café Silverio with its roof smoked, their lines of chamomile, their cries of dancers and singers ... longer than a Lent.

aim a sentence , 1875 Silverio, who kindly spoke to our guest:

"Yo So Tamberlick com, the merits and has anat s'en, no month 'ns is the fame ..."

The Renaxensa , July 15, 1875

complete the entry with a translation text into Castilian as soon as possible.

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an afternoon at the Golden Jubilee


C taurine on the magazine's Lidia the 15-XI-1915 we travel the famous colmao The Gabrieles the Madrid Calle Echegaray, a splendid run local by Adrian Quijano, Don Adrian (1). There had to go to listen to Chacón before Jerez is passed to the Villa Rosa in the twenties.

"... minutes later, Antonio Romero" The Trip "and Roman toilets, both with their guitars under his arm. With them come also two flamenco singers Johnny Valencia [Salted] and "Mascasiete" and Ochel de Jerez ... "

The Lydia, November 15, 1915

(1) Adrian Quijano also appears in our entry Pepe de la Matrona in Santander (1924)

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Gabrieles in La Union

and is S The Union held in the 50 th International Festival Cante de las Minas , meeting this year her Golden Jubilee fans wish him a minimum of 50 more, and live to see it.

place is usually in August of the first celebration -1961 - the famous episode of "anger" Juanito Valderrama, who, according to the chronicles, was the boost that originated the concept of competition. On the ojosdepapel can read an excerpt from the book Song of the mines. Footnotes festival (La Union, 2004-2007) , Francisco Hidalgo. It reads:

... But let Esteban Bernal, mayor of the hours from La Union, founder of Festival and its president until his tenth year, who us clarifying:

"This happened in August 1961 when a show Juanito Valderrama, the artist, aware of the greatness of our songs, tried to sing a Cartagena and the public assistant refused, asking to change the songs of the era as "Mom" or "The First Communion." This so angered the artist said: "It's unbelievable that here in this land so rich in singing well, this happens."

"In this show attended my good friends and close collaborators, and Asensio Sáez Pedro Pedroza, who I put up with what happened, and with my love of flamenco, we decided to start a singing contest in the October festivities. " (...)

Whatever the case, in August 1961 and was determined the fair as part of the festivities, according to a press release published in Cartagena The Newsletter of the 19th, realized that the success of the show "I'm singing" of ... Pepe Marchena. We are informed further that there was a meeting of José Tejada with the great men of the city-Asensio Sáez, among others, in which they talked about the possible coming of the singer Marchena to La Union to preside over the Festival.

The Cartagena Newsletter, August 19, 1961

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Pepe de la Matrona in Santander (1924) Review of records

C Orria August 1924 . The terrace of a bar situated in the Playa del Sardinero was part of a pleasant meeting of flamingos pen shaped with Arturo Casanueva tastiness in Freedom.

on stage ... Rita Ortega, the manly voice and sore Jose Nunez "er of Matron" ; The guitar, and de Lorenzo eloquence The Duke of Belinchón , and the owner of colmao The Gabrieles , Don Adrian.

There is no waste.

(...) In the evening, the party atmosphere among friends, the Duke became the formidable dresser who knows all the secrets of the guitar, you do not know the difficulties and fatigue , which blends the sounds with violent inflections of the song, which rises and falls with tears in his voice ...
I've heard her sing until the wee hours of the morning. Rita has sung, Núñez y. .. D. Adrian! Soleares, tangos, fandanguillos, seguidillas, "Snails." Singing sounded in the August silence of Sardinero, a silence that night has religious tint, like an arrow at Easter. And when Nunez, straining their lungs, attacking with verve phrases "Snails", more than one seat is raised, reflecting his admiration in these words: "This man is tragic. "(...)

Freedom, August 19, 1924

On the loquacious guitarist Duke Belinchón , bring the following comment José Manuel López Gutiérrez, published in The Gazapera of Bohórquez. It reads: (...)

the enigmatic guitarist who accompanied the Master Matron in its early records. Is not final, but it is very possible that it was the Spaniard Lorenzo Ruiz Bonilla, known gracefully Belinchón Duke, who put music to the voice of Pepe.

The information I got from one of the recordings of the Midwife of the year 1911. Often in these cases of lack of data on an interpreter, the jaleadores often provide clues. And if, with a software computer, clean and slow your sound will discover many interesting things. Tracking the one these recordings, particularly in the bulerías "As much as I value" (with 13,029 Odeon catalog reference, I have no parent) - in addition to cheering for Pepe, a woman's voice says "Let's see Lorenzo! !. " The next step was to make a crawl in the search for guitarists of this time who call. The only appeared is the Duke of Belinchón, who Blas Vega and Rios Ruiz said that "sane attended meetings of the Madrid Colmao, sometimes accompanied Don Antonio Chacón with his guitar. It was a popular and very funny, posing for aristocrat and the artists of the time were jokingly current, resulting in numerous anecdotes .... "

Manuel Barrios speaks of him as a companion, along with Ramon Montoya, Pepe Marchena in his debut at La Bombilla de Madrid in the year 20. Gamboa in 1925 puts him in a tribute to Johnny Mojama in the Olympia Hall. That is, accompanied Chacón, Marchena ... (...)