{"id":5378,"date":"2018-06-07T16:01:43","date_gmt":"2018-06-07T16:01:43","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/el-abuelo-y-los-ninos-viejos\/"},"modified":"2019-03-02T22:02:58","modified_gmt":"2019-03-02T21:02:58","slug":"grandpa-and-the-old-kids","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/grandpa-and-the-old-kids\/","title":{"rendered":"Grandpa and the old kids"},"content":{"rendered":"<div class=\"paragraph\">\n<p><b>-Grandpa, did you hear about those new kids who sing like old, seasoned\u00a0<i>cantaores<\/i>? It\u2019s just not normal for a 16-year-old teenager to sound like Perrate de Utrera, don\u2019t you think?<\/b><\/p>\n<p>-Look, Manolito, that\u2019s impossible, it\u2019s not natural, but I understand that a young kind may like the old Gypsy signing style and try to imitate it. It doesn\u2019t matter if they\u2019re trying to emulate\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Perrate-de-Utrera\/c112t\/56cf7c600cf29064e5f24d50\">Perrate<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!So%C3%B1ando-con-El-Chocolate\/c112t\/567771680cf203da56e68612\">Chocolate<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cincuenta-y-seis-a%C3%B1os-sin-Vallejo\/c112t\/57a7f29a0cf2fdb0f74c5fa8\">Vallejo<\/a>\u00a0o\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-jilguero-de-Marchena\/c112t\/5661105c0cf25333685e0a03\">Marchena<\/a>. If you\u2019re referring to those kids everyone is talking about,\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/blog-archivo\/el-piruli-de-la-linea\">El Purili<\/a>, Manuel de la Tomasa and\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/espectaculos-archivo\/pepe-el-boleco-el-nino-de-chocolate\">El Boleco<\/a>, it\u2019s because that\u2019s how they feel, I don\u2019t think anyone locked them up in a room trying to force them to sound like Perrate or\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Juan-Talega-y-Diego-del-Gastor\/c112t\/56ef6b400cf276e9de24fd1a\">Juan Talega<\/a>. Look, someone told me that\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Hablando-de-cante-con-Mairena\/c112t\/5760d1d50cf29542aa289730\">Antonio Mairena<\/a>, would sing in falsetto when he was a kid, having a clean and bright voice. Later, when he grew up, he listened to\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-genial-Ni%C3%B1o-de-Torres\/c112t\/5785bdb80cf2e25833791608\">Manuel Torres<\/a>, Joaqu\u00edn el de la Paula, El Gloria and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Pastora Pav\u00f3n<\/a>, and, also because his voice had changed, he started to sing in a different way and got closer to the style he would later call\u00a0<i>gitano-andaluz<\/i>\u00a0(\u201c<i>Gypsy-Andalusian<\/i>\u201d). The same happened to\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Manolo-Caracol\/c112t\/5670b1be0cf274f69813e76e\">Caracol<\/a>. When he was a kid, he would imitate Rebollo and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Sevilla-se-olvid%C3%B3-de-Pepe-Pinto\/c112t\/56a8644c0cf2296307164596\">Pepe Pinto<\/a>, but later when his voice changed he decided to sing in the Gypsy style of his family, the Ortegas.<\/p>\n<p><b>-So, grandpa,\u00a0<i>cantaores<\/i>\u00a0are not born with any specific type of voice.<\/b><\/p>\n<p>-Every voice is different, it\u2019s always been like that. People can either have a high-pitch or a low-pitch voice, in a natural way, regardless if they\u2019re\u00a0<i>cantaores<\/i>\u00a0or not. Yet, voices can be projected. It\u2019s impossible for an eight-year-old boy to sound like Mairena, but he could force his voice to come close. That\u2019s what we call voice projection. In Mairena del Alcor, almost all\u00a0<i>cantaores<\/i>\u00a0try to sound like Antonio Mairena, because all he represents in this town. Yet, before Mairena\u2019s time,\u00a0<i>cantaores<\/i>\u00a0sang differently in that place, according to the local old-timers. Antonio had a type of voice, so-called \u201cnatural\u201d, with his own sound which was created based on the idols he listened to. If you play close attention, you\u2019ll notice that Antonio Mairena sings like Pastora Pav\u00f3n, but with a man\u2019s voice. Technically, he sounds like her and he applies Pastora\u2019s cante structure to his own. If you hear him singing\u00a0<i>por tangos<\/i>\u00a0or\u00a0<i>por buler\u00edas<\/i>\u00a0this is more apparent, compared with other\u00a0<i>palos<\/i>.<\/p>\n<p><b>-Summarizing, you don\u2019t believe that those kids sing like old\u00a0<i>cantaores<\/i>.<\/b><\/p>\n<p>-Not really, but like I said, I understand that some of them may look up to artists who could even be incompatible with their natural talent, perhaps influenced by their environment or by their own families.<\/p>\n<p><b>-How often\u00a0<i>cantaores<\/i>\u00a0with a completely new voice come up, grandpa?<\/b><\/p>\n<p>-I think they\u2019re always coming up. I remember when\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/06\/18\/%E2%80%8B-Un-cuarto-de-siglo-sin-Camar%C3%B3n\">Camar\u00f3n<\/a>\u00a0started singing. It\u2019s true that when he started he sounded like some\u00a0<i>cantaores<\/i>\u00a0(and\u00a0<i>cantaoras<\/i>) of C\u00e1diz, the area he was from, but his intonation and tonality were different, his sound was different, and some people didn\u2019t like it at first, such as Caracol, for example. However, Mairena saw in him something new and he did all he could for Camar\u00f3n to be awarded a prize in his town\u2019s contest when he was 16 or 17 years old. The old Gypsies didn\u2019t like Camar\u00f3n. Yet, he made quite a stir when he recorded his first albums, with that savage but polished voice. He has been the revolutionary\u00a0<i>cantaor<\/i>\u00a0of our days, without a doubt. He didn\u2019t leave a good school, but he was a genius.<\/p>\n<p><b>-Kind of like Ni\u00f1o de Marchena?<\/b><\/p>\n<p>-Kind of, yes. Those were other times, but they were similar geniuses, child prodigies who didn\u2019t quit half-way and made history. Just like Ni\u00f1a de los Peines or\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Recordando-a-El-Carbonerillo\/c112t\/56b81aa40cf2dc1600e907a6http:\/\/www.expoflamenco.net\/\">El Carbonerillo<\/a>. Or\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Antonio-El-Bailar%C3%ADn\/c112t\/569858ac0cf2e94e3fb86c0f\">Antonio Ruiz<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!%C2%A1Carmen-La-Capitana\/c112t\/55f749310cf23d0ff003f44d\">Carmen Amaya<\/a>\u00a0in\u00a0<i>baile<\/i>. Those were born geniuses.<\/p>\n<p><b>-Grandpa, you\u2019re like a school for me.<\/b><\/p>\n<p>-You know what? You too.<\/p>\n<p><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<\/div>\n<hr \/>\n<div class=\"paragraph\"><span style=\"font-size: xx-small;\"><em>Photos: Pepe Pinto, Ni\u00f1o de Marchena, Manolo Caracol and Camar\u00f3n de la Isla<\/em><\/span><\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>-Grandpa, did you hear about those new kids who [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":9579,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5378","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Grandpa and the old kids - 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\/blog-archivo\/grandpa-and-the-old-kids\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Grandpa and the old kids - 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