{"id":13028,"date":"2019-06-11T22:05:07","date_gmt":"2019-06-11T20:05:07","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=13028"},"modified":"2019-06-12T16:23:06","modified_gmt":"2019-06-12T14:23:06","slug":"are-flamenco-critics-conceited","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/are-flamenco-critics-conceited\/","title":{"rendered":"Are flamenco critics conceited?"},"content":{"rendered":"<p>Last week I reviewed the artists of flamenco <a href=\"https:\/\/www.expoflamenco.com\/archivo\/en\/blog-archivo\/why-are-cantaores-deified\"><em>cante<\/em><\/a>, <a href=\"https:\/\/www.expoflamenco.com\/archivo\/en\/bordonazo-new\/completing-the-trilogy-baile\"><em>baile <\/em><\/a>and <a href=\"https:\/\/www.expoflamenco.com\/archivo\/en\/bordonazo-new\/are-guitarists-conceited\"><em>toque<\/em><\/a>, analyzing their attitudes, at times with irony and in others with all seriousness (but always endearingly), figuring out if they were conceited, vain, pretentious, etc. Since we\u2019re now playing this game, what about flamenco critics ourselves? Do we really know anything? Can we keep <em>comp\u00e1s<\/em>, tune a guitar, give a <em>pata\u00edta por bulerias\u00a0<\/em>without tripping, or accurately identify <em>ojana<\/em>? Do we harbor ill feelings and desires of revenge towards those who have innate artistic talent, because we are frustrated artists ourselves?<\/p>\n<p>Naturally, in this article I won\u2019t give opinions about my colleges, because that wouldn\u2019t be nice. I won\u2019t even deal with the critic profession in general, as a matter of ethics and camaraderie. I will only deal with myself, having been a flamenco critic for over thirty-five years and, yes, having been a failed <em>cantaor\u00a0<\/em>too. I must come clean. I wanted to be an artist of <em>cante<\/em>, like <strong>Mairena<\/strong>, <strong>Camar\u00f3n<\/strong> or <strong>Turronero<\/strong>, but I didn\u2019t succeed. Only once in my life I performed in a <em>cante<\/em> contest, when I was 18, and I failed miserably. That night I was also joined on stage by <strong>Manuel M\u00e1rquez <em>El Zapatero<\/em>, Rufo de Santiponce<\/strong> and <strong>Brujo de Huelva<\/strong>, to name just a few that you may have heard of. It was so bad, and it was such a terrifying experience, that I never performed in a contest ever again, and I\u2019ve never again sang on stage. That night I realized that I was no good, that the stage wasn\u2019t for me. Yet, since I loved <em>cante<\/em> and flamenco in general, I thought I\u2019d try my hand at being a flamenco critic.<\/p>\n<blockquote><p>I sing terribly, I can\u2019t play the guitar, I don\u2019t even know how to dance <em>sevillanas<\/em>, which is a crime in itself, because I\u2019m from Seville.<\/p><\/blockquote>\n<p>However, for a time I was part of a <em>sevillanas <\/em>ensemble, \u201c<em>Arte y solera<\/em>\u201d, where I would sing and play drums, <em>a comp\u00e1s, <\/em>of course. I even performed at the <em>Teatro Nacional Lope de Vega<\/em> in Seville, in 1978 I think. Since I had <em>comp\u00e1s<\/em>, despite not being Gypsy, I also recorded albums as <em>palmero <\/em>with <strong>Ni\u00f1o de Arahal<\/strong>, <strong>Rosa Mar\u00eda<\/strong> (daughter of the <em>cantaor <\/em>from Seville <strong>Ni\u00f1o de San Juli\u00e1n<\/strong>) and two great guitarrists, <strong>Manolo Franco<\/strong> and <strong>Paco Arriaga<\/strong>, who can attest to it.<\/p>\n<p>To be sincere, which I usually am, part of my bad temper when I write is indeed a product of that frustration, of the fact that I wasn\u2019t born with <em>duende <\/em>in my throat, like <strong>Mojama<\/strong> and <strong>Terremoto<\/strong> did. Like the famous cat from that celebrated cartoon would say, <em>I hate those meeces<\/em><sup>1<\/sup>\u00a0who sing with such gusto, such <strong>comp\u00e1s<\/strong>, such energy, who thanks to their art are able to live like gods, collecting awards and signing autographs on the streets. In 2010 I was awarded the Flamenco National Prize, it\u2019s true, but that was just because they had to give it to someone and it happened to be my turn, nothing more. I\u2019ve written twelve books, although I haven\u2019t made money from any of them. To tell you the truth, I decided to write those books to show off to my relatives, none of whom had written any book. Specially to my mom, who one day, watching me type with one finger, told me: \u201cSon, please never give up bricklaying.\u201d I\u2019ve been working more than 32 years for a centennial newspaper, <em>El Correo de Andaluc\u00eda<\/em>, based in Seville, although for the first eight years I wasn\u2019t even paid a bus allowance.\u00a0 I\u2019ve written tens of thousands of articles, produced TV shows and I\u2019ve written lyrics for <em>cantaores<\/em>. I\u2019ve given lectures all over Spain and in some other European countries, and I\u2019ve taught courses of flamenco history. I\u2019ve also written prologues for important books and some of my writings have been translated into several languages.<\/p>\n<blockquote><p>I\u2019m very conceited, I must confess. I think I\u2019m the best flamenco critic in the world, the most widely read, the most honest, and the best-looking.<\/p><\/blockquote>\n<p>I must say it all. I\u2019m the greatest, and not just in height. Although in height, too. Despite all this, since today I\u2019ve decided to be sincere, to open up and to be as clear as water, I have to tell you that I\u2019d rather be a <em>cantaor<\/em>, even if I were the worst <em>cantaor<\/em> in the planet. To answer the question in the title of this article, we flamenco critics are conceited, pretentious and even complete fools. It\u2019s hard to believe, but we are also made of flesh and bones, like all flamencos. I had to say it.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left; line-height: 60%;\"><span style=\"font-size: xx-small;\"><sup>1<\/sup> An allusion to Hanna Barbera\u2019s \u201c<em>Pixie and Dixie and Mr. Jinks<\/em>\u201d cartoon (1958-1961). The cat\u2019s (Mr. Jinx\u2019) catchphrase was \u201c<em>I hate those meeces to pieces!<\/em>\u201d. In the Spanish dubbing, the cat has a thick Andalusian accent and the catchphrase was \u201c<em>Odio a esos malditos roedores!<\/em>\u201d. That catchphrase entered popular culture and lingers to this day, when it\u2019s used to express envy for someone who is better than us in some way.<\/span><\/p>\n<p>&nbsp;<\/p>\n<h6 style=\"text-align: right;\">*This article was originally published in ExpoFlamenco on January 18th, 2016<\/h6>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I think I\u2019m the best flamenco critic in the world, the most widely read, the most honest, and the best-looking, I must say it all. I\u2019m the greatest, and not just in height.<\/p>\n","protected":false},"author":6,"featured_media":13025,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-13028","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Are flamenco critics conceited? - Archivo Expoflamenco<\/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:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/are-flamenco-critics-conceited\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Are flamenco critics conceited? - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"I think I\u2019m the best flamenco critic in the world, the most widely read, the most honest, and the best-looking, I must say it all. 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