Category: Performance

Letters from Madrid – Fiesta de San Ysidro y Loquillo

Timothy Price9 Comments

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While I was baking a heart shaped chocolate cake for Laurie for Valentine’s Day, and she was making vanilla bean gelato, we listened to Loquillo y Trogloditas on the stereo. Curiously enough, today’s letter from Madrid moves to May 27, 1996 and I was writing about the activities and concerts during the San Ysidro Festival that was in the middle of May. We happened upon a concert by Loquillo y Trogloditas in Plaza Mayor during the festivities. We had never heard of Loquillo before then, and we became fans after the concert , bought all their CDs, and saw him in concert a couple more times after that. Loquillo y Trogloditas were very popular at that time, they had been around for at least 10 years or longer and had many albums out by 1996. Loquillo is still going strong 20 years later, as you will see if you click on the photo or follow the link to the YouTube video at the end of the letter.

 

27 May 1996

San Ysidro Festival
San Ysidro is the patron saint of Madrid (and Corrales, NM, USA, also). May 15th was the holiday, but the fiesta goes on all week. As part of the San Ysidro Festival, we attended a very nice concert in Parque de Retiro by the Municipal Orchestra, checked out the festivities at Parque San Ysidro on the south side of town, went to Casa de Campos, and discovered the pool there was free on the 15th for San Ysidro Fiesta (Tristan got to swim, she was beside herself). The concert in Retiro was very good. The orchestra played paso dobles and other traditional Spanish music. Parque San Ysidro was like the midway at the state fair with vendors, rides and a lot of noise. A lot of people were dressed in traditional Madrid feria costumes, that look similar to Laurie’s Sevillanas dress, if you have seen it. The men wore houndstooth (small check pattern) driving caps and a matching vest, sometimes. There were Gypsies playing music with an amplified keyboard and trumpet. The keyboard was on a large speaker set on a push cart. They were playing paso dobles, sevillanis and traditional Spanish music. A small group of people were dancing local folk dances to the music. Tristan and Laurie danced paso doble and sevillanas. I was much to interested in watching the locals to get up and dance.

We decided to go to Plaza Mayor one night to check out the San Ysidro Fiesta activities there. There was a large group of young people gathered around the band stand dressed in leather jackets, black jeans, and T-shirts, with their hair done up in 1950’s James Dean or Elvis styles, sporting manicured side burns. The young women were generally dressed in more punk fashion. They were waiting for a band to play. We made our way through the crowd to a point about 50 feet from the stage, centered between the two walls of speakers. The band came out before 9:00 PM and started paying. This was a major Spanish rock band with great sound, light show and lots of energy. After the band started playing I noticed the whole plaza was wall to wall people (Plaza Mayor is the old 16th century plaza of Madrid that is surrounded on all sides by four story buildings. The plaza is about the size of two football fields). We could hardly move we were so packed in. The crowd knew all the words to every song the band played and yelled them along with the band, so we basically had surround sound on the vocals. The band was “Loquillo y Trogloditas” as we learned later. They had a logo of Woody Woodpecker smoking a cigar, with a snarl on his face over cross bones with stars like a Confederate flag, imitating the pirates. The singer had a Confederate flag hanging on his mic stand. He was dressed in leathers and sported the same hairstyle as the young people. Various members of the audience had Confederate flags and Che Gueverra banners. One fan was wearing a Confederate infantry cap. We have not figured out what the biker-James Dean/Elvis-1950’s greaser look, Woody Woodpecker, Confederate flag, Che Gueverra and troglodytes have to do with each other; maybe Loquillo knows. The band played over three hours straight without a break. Most of the songs were less than 5 minutes, so they played a lot of songs, with a good variety of rock to slightly hyper punk. They even played material they had recorded in 1983, as announced by the singer. We told Tristan that we would have to pay a small fortune to see a major rock band, with a fantastic light show, play a concert like that in the States.
To be continued…

Video
Loquillo Feo, Furte y Formal 2014 https://www.youtube.com/watch?v=LVmzA48ojWk

 

Letters from Madrid – 4th Flamenco Show

Timothy Price15 Comments
laur2
Laurie dancing

The third flamenco show we saw ended with guitarist Moraito Chico dancing a sassy bularias as everyone left the stage. The fourth flamenco show ended with polite applause for the dancer and the house lights coming on the user her group off the stage. 

 

18 April 1996

Flamenco
The fourth flamenco concert was Rancapino and Chaqueton accompanied by Paco Cepero. I think I now understand the difference between being in compas and having a mastery of compas. Paco Cepero was delightful in accompaniment of Rancapino and Chaqueton. He proved to be a masterful accompanist, who left large spaces for the singer, brilliantly followed their cante, and filled the voids between versus with astonishing acts of rhythm with such mastery of the compas that he many times set the crowd roaring with gritos and applause, and delightful looks of approvals from the singer. He was not in the least a flashy player as we generally know them. He only had occasional burst of lightning picado, and his aso pura (a thumb technique) seemed slow by most standards, but his thumb work was very strong and accurate. His flashiness was in the compas. He was so comfortable with it, and so accurate about it, that he made the guitar sing like I have never heard. His accompaniment was soft, and airy during the cante, leaving ample space for the singer to impress upon the audience the full intention of his art in expressions, emotions, and vocal achievement. In some instances Paco would tastefully play the cante along with the singer emphasizing the intricacies and complexities of the compas so masterfully he about brought the house down. There was no better rhythm for Paco to show his superior sense of compas than bularias. He would leave so much space, play so many complex rastiados, and supported the singer so beautifully that his masterful jesting had everyone on the edge of their seats, bringing roars of approval and amazement from the audience, and even slight looks of approving astonishment from the singer. Everybody was amazed by the performance. Both singers were excellent; however, I liked Rancapino best of the two.

Fosforito and the young guitarist, who sat in instead of Enrique del Malchor, were quite a contrast to the masterful playing and great compass of that previously mentioned. The guitarist was an excellent player, very fast and modern. He was not as good an accompanist that night, however. There was a constant tension between the guitarist and singer, the compas was often funny, but not really off, between them, and the guitaist was always busy and overpowering of the singer. The many long, lightning speed scales, and modern chords did not seem to belong as part of the accompaniment, and were really more distracting and overpowering than complinentary to the cante. I could have done without both of them that night.

Sara Baras danced a lame Alegrias. She did not have one interesting move, her hands were ugly, she looked down most of the time, her neck was lost in her raised shoulders, she did all her taconeo with very bent knees, which she insisted on showing us, as she spent more time pulling her “butt hugging” dress up over her butt, exposing her overly bent knees, than she did dancing. I really could of done without her. I saw several members of the audience get up and walk out with disgusted looks on their faces during her performance. The audience was cold to her (refreshing to be among people who know a bad dance when they see it) and luckily she did no more. At the end of her dance, there was a polite applause from the audience, and then the house lights were brought up before the group had left the stage.

Next the fifth and final flamenco show I described in the April 18th letter
Videos:
Actuación Paco Cepero y Rancapino Chico en los Claustros de Santo Domingo Jerez https://www.youtube.com/watch?v=wYT9wdTmX9U

CHIQUETETE – TE QUIERO NIÑA ( AL TOQUE PACO CEPERO ).wmv https://www.youtube.com/watch?v=Ir-M2L56CWQ

Fosforito – Cantiñas y Soleá https://www.youtube.com/watch?v=yav46gr7mm0

Alegria, Sara Baras Flamenco Flamenco https://www.youtube.com/watch?v=tNcKVJsUkUI