Twentieth century America: Its folk and popular music; Rolf Cahn's Flamenco- The Poetry of the Alegrias
One of the basic elements of the feeling of flamenco is pride. And in many ways the Allegany S is the very essence of this expression of pride. Utterly masculine arrogant poetic and exceedingly refined. I am Cujo the spear fundamentally different from I'm George Smith not introducing himself but telling you because he has a vastly important thing to tell the world he's cruel. The spear. And I come from Seville which is the fundamental matter of things. There is no grammatical ambiguity here for both the town of Seville and kudos coming from Seville are factors in the very center of the movement of the universe. I believe there is probably no other people whose opinion of themselves is so vastly different from the actual station in life. I looked out the window and saw a basket weaver boy walking by assuming by now that you've listened to enough of this to be beyond the so-what stage. Permit me to refine your reaction here a bit
more masculinity. The adventurous good looks. The arrogance of this to others so lowly basket weaver boy as well as the lyric quality of this passing moment. All that is implied at is my feet whisper when I walk your dog. Pride elegance and refinement and narcissistic in the most refined sense and this pride is part and parcel of the very basics sexuality of the undersea you know.
When my girl comes by when you come walking by far from her. House. Part of this pride is the man's half kidding yet half very much not kidding self confidence in relation to the other six. It responds to the basic sexuality of the under-sea and female cannons of artillery. You may put them at your door cannons of artillery. I must go past them. Even though it costs me my life.
Can you and I'll get back to you in this dept. dango keep us out of Bahrain. You don't game a question I beat up. On it you are. Young. You wanted out of me. When. I'm coming in you may put guns in the way but I don't think you will. But if you do I'm still coming in. That kind of pride in some of the verses come with me don't make no trouble. Now it should not be hard to understand how such a pride can involve the place where you live and that vocation of such a place would directly
reflect on you. I come from Seville and that is the fundamental matter of things and thereby the fact that I come from there. Such invocation has a unique quality line like. It doesn't look pretty from the Cliff House would either cause a response. Yes isn't it pretty or no getting real SEALs. Aligned like to the Rhine to the RA into the German Rhine. It's also entirely different here. One is great as part of the great Germany which is symbolized by the Rhine a much more political post Renaissance artifice. Also it's not Beacon Street or Beacon Street. I wish I were back home because I'm lonely and down and out and this street of drunks and prostitutes garbage cans and hop heads is where I once felt I belonged. The pride of place fundamental in the US is analogous to none of these. It is first of
all an expression of personal pride of refinement and yet provincialism sings from Heaven is with us from Seville. So be honest from the mountains this hear Sanus and from us to be on us. The last Yeah Santana's He did God is good. Yes I am. Assuming again that you're past the stage here
you understand the implication of the extreme pride in this area and its music. And to enjoy the Allegri try to understand the not eve pride of pride. The personal happiness that comes with the simple words. So be honest. A feeling that could in the right mood make a Spanish listener cry no more need be said. If other understands are around they would know exactly what he means. And part of the greatness here is the absolute certainty of the singer that he will be perfectly understood the opposite of Beacon Street Beacon Street which implies you are lonely because you're surrounded by people who do not understand. And that's why you want to go back. She needed to be honest things. They are tearing them down the city walls of card is and from the lands gate the island of San Fernando can already be seen.
Yeah that's a stun gun. Does that tell you. Yes it's done. You say now you lead us into it and. Not. Tell. Me. That. What else need be said. The beauty of the place its pride and its shame or you know and if you don't know nobody can tell you one utterly exclusive mutual admiration society from the port of two
sailing ships can be seen. What else need be said. Yes also provide a vehicle for the same ironic observations on love I gave to the raftsman in order to go across the water to see you. One Duro I gave to the raftsman the LOVES on the raft are expensive but they're very nice lady about Kyoto while bad about Kyoto but I'm still a bit of some windows pain assisting. The man is singing the same verse.
And then the lovely half kidding half saucy closeout verse give me a look and it's good to know that you would have to give it to me. You would have to give it to me from the boot so that I can pound my heels with it first again and then.
Yes celebrating one's masculine pride once arrogant lyrical sensuous beauty and invoking an extension of that beauty by the invocation of place the salt on a Cordoba and especially the shimmering City of God is almost as a stage and a background for the elegant movement of the under seems. What more perfect way of pinpointing this than the first verse of the God of
a form of the Allegri has brought north to steal this verse to embrace the St.. How is it. With.
The guitar. I. Because on the guitar with the group.
Busted up one guitarist
who opens with beautiful driving. Get down to business type introduction and then a very classic. Very Orthodox. I already played the verse and they close out and then verse directly from a musical comedy. Tell him that I am suffering. Tell him that I am half mad tell him that I wait for him and then goes back to the more classic form of pain with my no doubt about it. He was pretty god is was masterful accompaniment by pretty
notice here that the guitarist implies so much more than he says that here are the the flicks of melody the suggestions that leave so much to the listener or the person participating in the alligator Yes the signature is suggested in part and very sharply outlined. There is a wonderful little fuss after the first verse which is actually directly counter rhythmical putting four beats against the three beats of the Allegri as you are recognized at the moment that you hear it. The US itself is a very interesting one. It starts with a verse that I already used and requested I be Countess of artillery even though you may put them into your
door. I must go past them even if it cost me my life. Again when I asked you what I'm not a master I don't believe anybody born of a mother is more low more depressed than I as boyfriend and company don't need us to go on as I am in front of a road with two equal passes when I thought of a new one on a turtle dove sang in elementary DC and its song said be made when you Long live my master go to Bangor me go when you come with me I don't get a boy. Where am I going to take you by state I'm going to take you on a little walk. But alas
by the city wall of Cutty's and then a very interesting. Very interesting verse full hearts put on the scale at the same time asking for justice. What are the other asking for revenge. It wonderful way of stating his problem. Be of loving women at the same time and being in front of two different roads but at the same time continually reminding himself of his masculine mastery. When you come with me I'm going to take you to a certain place which is incidentally of course it is and also a turtle dove saying in an almond tree and its song said to Long live my master which is of course the singer. In today's program I used the
record for this. It's an esoteric record with the guitarists and I'll bet it will be less and pretty on the Westminster anthology of cante flamenco Westminster is of course the label the singing of. And so because it is on a new record called Queen of the gypsies featuring mostly on my own and with some solo stuff so because she needed to cook sounds of our times. Yes yes that is the guitarist. It's on an old mine all about of course
accompanying the record credits incorrectly in this particular program is the result of several intensive discussions by our hope that the up painting a feeling of the Allegri we were able to communicate some of the very important feeling of color in general.
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University of Maryland
Identifier: 4972 (University of Maryland)
Format: 1/4 inch audio tape
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- Chicago: “Twentieth century America: Its folk and popular music; Rolf Cahn's Flamenco- The Poetry of the Alegrias,” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed November 28, 2023, http://americanarchive.org/catalog/cpb-aacip-500-fq9q6d7x.
- MLA: “Twentieth century America: Its folk and popular music; Rolf Cahn's Flamenco- The Poetry of the Alegrias.” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. November 28, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-fq9q6d7x>.
- APA: Twentieth century America: Its folk and popular music; Rolf Cahn's Flamenco- The Poetry of the Alegrias. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-fq9q6d7x