{"id":25948,"date":"2021-04-27T23:12:26","date_gmt":"2021-04-27T21:12:26","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=25948"},"modified":"2021-04-27T23:13:23","modified_gmt":"2021-04-27T21:13:23","slug":"lole-y-manuel-in-retrospect","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/lole-y-manuel-in-retrospect\/","title":{"rendered":"Lole y Manuel\u2026 in retrospect"},"content":{"rendered":"<p>In the early 1970s my monthly visits to the record section of Seville\u2019s Corte Ingl\u00e9s began to get confusing.&nbsp; Normally, you would quickly wade through the newest work of Isabel Pantoja and Manolo Escobar to locate Paquera, Chocolate, Fernanda and Bernarda, Fosforito and Terremoto to see if there was anything new that you could hear for free on the store\u2019s headphones.&nbsp; Around that time, flamenco was becoming receptive to experimental work, and \u201crock andaluz\u201d was born.&nbsp; Formations like Alameda, Triana, Pata Negra, Medina Azahara and certainly Las Grecas, among others, were quickly filling a void.&nbsp; These were groups rather than individuals, and flamenco forms\u2026buler\u00edas, tangos, alegr\u00edas, etc\u2026, were not always specified, turning \u201ccantes\u201d into \u201csongs\u201d.&nbsp;<\/p>\n<p>During this time, Basque singers Sergio and Est\u00edbaliz recorded their first album of what might be called \u201cadult pop\u201d, and Italians Albano y Romina followed their example.&nbsp; Musician couples became fashionable, and these duos were wildly popular. In 1969, young upstarts Paco de Luc\u00eda and Camar\u00f3n had given us their first recording, referred to as \u201cAl verte las flores lloran\u201d, that freshened up classic flamenco.&nbsp; Thus, the stage was set for the revolution and ascent of Dolores Montoya Rodr\u00edguez (1954) and Manuel Molina Jim\u00e9nez (1948-2015), known to us all as Lole y Manuel.<\/p>\n<p>I was working in Ibiza that summer of 1975. There was no TV in the apartment, so I turned on the radio one morning to hear a slow, sensual buler\u00edas comp\u00e1s, and the sweetly serene voice of Lole: <em>El sol, joven y fuerte, ha venc\u00edo a la luna que se aleja impotente del campo de batalla (Nuevo D\u00eda).<\/em> &nbsp;The gentle poetry of Manuel Molina, who also composed and played the music, went on and on, depicting idyllic images I\u2019d never known before in flamenco.&nbsp;<\/p>\n<p>Lole y Manuel. Manuel y Lole.&nbsp; None of flamenco\u2019s \u201cprimal scream\u201d. More like innocent flower-children living the sunset of the hippie era. As happened with Camar\u00f3n and Paco before them, the new product attracted a vastly expanded youthful audience.&nbsp; Suffering the slings and arrows of outrageous poverty was no longer the main issue, as it had been for decades after the war.&nbsp; It became more important to love and let love.&nbsp; In the poetic imagery from Manuel\u2019s fertile imagination, there was time to smell the flowers and feel the sunshine, with a touch of bittersweet pain in the precise dosage, just enough to hurt good.&nbsp; We hardcore flamenco followers never stopped listening to Mairena, Caracol, Pastora and other legendary artists, but Lole and Manuel beckoned from the wings to let ourselves be seduced by this alternative perspective.&nbsp; \u201cNuevo D\u00eda\u201d indeed!<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2021\/04\/al-alba-con-alegri\u0301a-portada-de-cassette.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-25946\" src=\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2021\/04\/al-alba-con-alegri\u0301a-portada-de-cassette.jpg\" alt=\"\" width=\"600\" height=\"767\" srcset=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2021\/04\/al-alba-con-alegri\u0301a-portada-de-cassette.jpg 600w, https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2021\/04\/al-alba-con-alegri\u0301a-portada-de-cassette-235x300.jpg 235w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>I couldn\u2019t afford to buy many recordings in those lean years \u2013 tablaos in Madrid were paying 250 pesetas to no-name members of the regular group \u2013 but the radio was a great resource, and Lole y Manuel got plenty of air-time.&nbsp;<\/p>\n<p>A couple of years later, I was astonished to discover that Lole\u2019s surname, Montoya, was the same Montoya of the \u201cfamilia Montoya\u201d, the first successful attempt to present homespun flamenco in a theatrical setting with a minimum of staging.&nbsp; Straight-up flamenco, in all its glory and richness.&nbsp; Just enough stage direction to avoid chaos while encouraging spontaneity, it was traditional singing, dancing and guitar passed through a contemporary prism.&nbsp; And sweet Lole, surrounded by her family, did classic flamenco right along with her people: her mother, singer Antonia La Negra, born in Algeria, provided an Arabic influence, her father, Juan Montoya, was a talented dancer, and the group also featured her aunt, singer Carmen Montoya and daughter of the latter, dancer\/singer Carmelilla.&nbsp; It was then I understood Lole\u2019s contemporary agenda in the context of traditional flamenco.&nbsp; What an amazing genre this flamenco, that it embraces Manuel Torre, La Ni\u00f1a de la Puebla, Manuel Agujetas, Pepe Marchena, Lole and Manuel\u2026you get the idea.&nbsp;<\/p>\n<p>I remember the record cover of <em>Al Alba con Alegr\u00eda <\/em>(1980) where we see Lole with her infant daughter Alba, now a popular singer in her own right. &nbsp;At the time, I mused that the child\u2019s future would surely involve music, probably flamenco. That baby\u2019s father, Manuel, is gone now, but Lole continues to give the occasional recital. &nbsp;I saw her in 2004 at the Festival de Jerez, and in 2015 at the Fiesta de la Buler\u00eda.&nbsp; Although Jerez taste-buds crave a more aggressive delivery, Lole was well-received, and managed to fascinate a whole new generation of flamenco fans.&nbsp; No longer the youthful flower-child, she\u2019s now a mature artist, although she never lost the serene countenance that was so much a part of Lole y Manuel.<\/p>\n<p><em>El Romero Verde\u2026Nuevo D\u00eda&#8230;La Mariposa\u2026Todo Es De Color\u2026&nbsp; <\/em>The soundtrack of a generation whose influence lingers and continues to seduce.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lole y Manuel. Manuel y Lole.\u00a0 None of flamenco\u2019s \u201cprimal scream\u201d. More like innocent flower-children living the sunset of the hippie era.<\/p>\n","protected":false},"author":9,"featured_media":25944,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[],"class_list":["post-25948","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Lole y Manuel\u2026 in retrospect - 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\/estela-flamenca\/lole-y-manuel-in-retrospect\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lole y Manuel\u2026 in retrospect - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Lole y Manuel. 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