{"id":14391,"date":"2019-07-31T20:49:53","date_gmt":"2019-07-31T18:49:53","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=14391"},"modified":"2019-07-31T21:07:07","modified_gmt":"2019-07-31T19:07:07","slug":"the-artists-as-critics","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/the-artists-as-critics\/","title":{"rendered":"The artists as critics"},"content":{"rendered":"<p>When <strong>Chac\u00f3n<\/strong> bitterly criticized the <em>fandanguillo<\/em>, at the time of Verdine\u2019s <em>\u00f3pera flamenca<\/em>, <strong>Manuel Vallejo<\/strong> charged one thousand pesetas per evening at Madrid\u2019s <strong>Teatro Pav\u00f3n<\/strong>, where he was awarded the second Key of Cante in 1926, from the hands of <strong>Manuel Torres<\/strong>. Those who criticized <strong>Marchena<\/strong>\u00a0and\u00a0<strong>Angelillo<\/strong>\u00a0for their <em>fandanguillos<\/em>\u00a0also criticized Chac\u00f3n years earlier, when the <strong>Caf\u00e9 del Burrero <\/strong>was still open, for his \u201cnew <em>malague\u00f1itas<\/em>\u201d, which had no rhythm and could not be danced. Yet, besides being a genius of <em>fandango<\/em>, with his own style, Vallejo was able to sing wonderfully any <em>palo<\/em>, and his sharp tongue was also capable of running people out town.<\/p>\n<p>I\u2019m going to tell you a story about <strong>Manuel Jim\u00e9nez y Mart\u00ednez de Pinillos<\/strong>, the actual name of that genius from Seville\u2019s San Luis district. This story was told to me by <strong>Luis Rueda<\/strong>, a <em>cantaor<\/em> from Seville who already passed away. I first met him about twenty years ago, when he had a grocery store in Santa Catalina. Vallejo told him that Chac\u00f3n argued with him one night because Manuel refused to sing for a well-known Spanish politician, who in a party kept requesting nothing but\u00a0 <em>fandanguillos<\/em>. \u201cYou have to sing whatever they ask you to, that\u2019s what you\u2019re paid for\u201d, Chac\u00f3n told him. Vallejo retorted \u201cI\u2019m sorry, don Antonio, but this guy is just an aficionado of <em>malague\u00f1itas<\/em>, <em>caracoles<\/em> and <em>milongas<\/em>\u201d. Chac\u00f3n reply was a mighty slap in Vallejo\u2019s face.<\/p>\n<p><strong>Antonio Mairena<\/strong> wasn\u2019t far behind. He always criticized ways of singing that were different from his own, or different from his favorite masters. Yet, when he was awarded the Key of Cante in C\u00f3rdoba in 1962, he felt like he was the boss \u2014 that was <strong>Ricardo Molina <\/strong>intent \u2014, and every time Mairena gave an interview the temperature raised. If before he considered <em>cante<\/em> to be absolutely terrible, now, with him at the helm, he thought it was going through a golden age. Yet, oddly, that wasn\u2019t the case of <em>baile<\/em>. In 1965, Mairena stated that there were no worthy <em>bailaores<\/em> or <em>bailaoras<\/em>, at the time of <strong>Matilde Coral, Pilar L\u00f3pez, Farruco<\/strong>\u00a0and\u00a0<strong>Mario Maya<\/strong>, among other ten or fifteen first-class bailaores.<\/p>\n<blockquote><p><em>\u00abOnly those who are clueless about flamenco history can feel shocked by my critics, or by the critics of artists about other artists\u00bb<\/em><\/p><\/blockquote>\n<p>When the Key was awarded to <em>maestro<\/em>\u00a0<strong>Fosforito<\/strong>, as he fully deserved, <strong>Juan el Lebrijano<\/strong> stated that it should not have been awarded to \u201ca mute\u201d. He could have added that it could have been awarded to him, and I say this with no hard feelings, because he was a genius of <em>cante<\/em>. I\u2019m telling all this so you can see how the artists often criticize each other, and no one objects. Critics are healthy for art, keeping alive the flame of interest. Or should it all be nothing but praises?<\/p>\n<p>A few days ago, I had a small argument in Facebook for saying, informally, that a show of Miguel Poveda had been a <em>churro<\/em>, a very Andalusian expression meaning <em>flop<\/em>. Immediately the fans of the <em>cantaor<\/em> from Barcelona came to his defense, particularly artists who were thankful to him. Some people even said that I say these things because I a bitter man with no friends.<\/p>\n<p>Only those who are clueless about flamenco history can feel shocked by my critics, or by the critics of artists about other artists<\/p>\n<h6 style=\"text-align: right;\">Translated by P. Young<\/h6>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Artists often criticize each other, and no one objects. Critics are healthy for art, keeping alive the flame of interest. Or should it all be nothing but praises?<\/p>\n","protected":false},"author":6,"featured_media":14389,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-14391","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>The artists as critics - 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\/the-artists-as-critics\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The artists as critics - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Artists often criticize each other, and no one objects. 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