Gypsy Stew from UTRERA 2025 Tribute to Pitingo See Programming The delegated committee of the Brotherhood that manages the festival is delighted with this appointment, considering that this artist will join the list of illustrious honorees of the Gypsy Stew with all the honors and merits. After more than twenty years on stage, the numbers of Pitingo's musical career speak for themselves: seven great albums, more than 500.000 records sold, double platinum records, five gold records, more than 1.500 concerts and more than four million spectators on his tours that have taken him all over the world... and the Gypsy Stew, unique in its kind that advocates the protection and dissemination of the forms, manifestations and expressions of Andalusian Gypsy art as a hallmark, wants to contribute to this celebration by paying tribute to the man who is currently the most international Spanish Gypsy artist of the 21st century and a true paradigm, both personally and artistically, of fusion and interculturality. Pitingo's artistic career took off in Madrid as a teenager, where he was sponsored by the Morente and Habichuela families. Before dedicating himself entirely to music, Pitingo worked at Barajas Airport carrying suitcases, while he began working in Madrid's tablaos and flamenco venues. His perseverance and talent led him to record his first album and perform on various stages, establishing himself as a promising exponent of the new flamenco. Other notable albums in his career are “Pitingo con Habichuelas” (2006), “Olé y Amén” (2010), “Malecón Street” (2015), “Casmbio de Tercio” (2014) and “Soul, Bulería y Más” (2016), in which he continues to explore the fusion of flamenco and soul, including covers of artists such as Donna Summer and Stevie Wonder, among others. Pitingo's long, brilliant, and eventful artistic career will see a new golden page added to his life with the tribute that the Gypsy Brotherhood of Utrera will pay him in the sixty-ninth edition of its Gypsy Stew. The festival's organizing committee announces that this flamenco event will take place on Saturday, June 28, 2025, in the traditional and iconic setting of the Patio del Colegio Salesiano. The committee will soon announce the cast of artists who will accompany the honoree on the lineup. Complete Guide - The Art Biennial Flamenco The Provincial Council has scheduled 38 shows and recitals, of which 23... Your email address will not be published. Required fields are marked with * Save my name, email and website in this browser for future purposes. The Voice of the Flamenco in the World.  Please enter your username or email address to reset your password Salt Lake City, UT  (RestaurantNews.com)  In October, Rodizio Grill locations nationwide donated 100 percent the Rabanada dessert sales to the Image Reborn Foundation Collectively from the Rabanada dessert sales and additional support throughout 2024 Rodizio Grill donated $81,000 to the Foundation Rodizio Grill’s Founder Ivan Utrera alongside Managers Diego Quiroa & Thiago Navarro presented this check to the Image Reborn Foundation Founder at the Foundation’s annual Gala on November 2 Image Reborn Foundation provides weekend retreats to breast cancer survivors at no cost to participants These retreats help women reclaim their sense of personal power and empower them to live beyond breast cancer Image Reborn was founded by plastic surgeon Dr a close friend of Rodizio Grill’s President and Founder Ivan Utrera Chair of the Education Council of the International Society of Aesthetic Plastic Surgery began the Image Reborn Foundation after seeing a need wasn’t being met “We put these women through all of the treatments and surgeries that fix their bodies but find that they still are very sad when they come back to the clinics for checkups,” stated Dr “Some have family issues that are still unresolved Many go through divorce or lose their jobs and have problems with their children; I realized that there was still a lot for these women to deal with that we weren’t addressing.” Rodizio Grill has been a proud sponsor of Image Reborn since its inception the retreats are customized to the needs of those attending nutritional information and exercise opportunities Contact:Ashlee HilleVP of Marketingashlee@rodizio.com La Brotherhood of the Gypsies of Utrera has announced that the next edition of its prestigious event will pay tribute to the figure of the singer and cantaor from Huelva Pitingo The delegated committee of the brotherhood that manages the festival welcomes this appointment considering that this is an artist who will join the list of illustrious honorees that Potaje Gitano holds with all the honors and merits The organization has considered Pitingo to be an indisputable figure in the current Spanish musical panorama one of the great flamenco voices of this era an original quality performer who has managed to combine his innovative personal contributions to music while always maintaining respect for the flamenco A traditional artist who has forged an artistic career that has been highly recognised and praised by the public A professional journey of more than two decades that has also included a stop and a restaurant at Potaje Gitano where he made his successful debut in 2009 and where he triumphed again in the 2010 and 2013 editions the numbers of Pitingo's musical career speak for themselves: seven great albums more than 1.500 concerts and more than four million spectators on his tours that have taken him all over the world.. 2025 marks the 600th Anniversary of the arrival of the Gypsy People in Spain a momentous occasion to focus on the rich Gypsy contribution to Spanish history and culture the only one of its kind that advocates the protection and dissemination of the forms manifestations and expressions of Gypsy-Andalusian art as a hallmark wants to contribute to this celebration by paying tribute to the one who "is today the most international Spanish Gypsy artist so far in the XNUMXst century and a true paradigm in both personal and artistic terms of mestizaje and interculturality" His real name is Antonio Manuel Alvarez Velez Pitingo is synonymous with fusion and fusion from his own roots His mother is a gypsy and a flamenco singer and his father is not a gypsy and a civil guard –which would have been enough for a Lorca-style song– and this mixture has given him a rich and diverse cultural and musical background On his mother's side he comes from a family with a great tradition of singing in which the following are mixed: the Carpio the Valencia and the Pelaos of Triana with branches of the Mojama and the Mijitas from Jerez Pitingo's passion for black American music was a fundamental influence on his artistic development he was nourished by emblematic artists such as Aretha Franklin The fusion of flamenco and soul became his hallmark And that combination of passion and elegance is evident in his voice creating his own style that has captivated the public «The organization of Potaje Gitano has considered that Pitingo is an indisputable figure in the current Spanish musical panorama an original interpreter of quality who has managed to combine his innovative personal contributions to music while always maintaining respect for the flamenco traditional" Pitingo's artistic career took off in Madrid while he was still a teenager, where he was sponsored by the families Dying y BeanBefore dedicating himself completely to music, Pitingo worked at Barajas Airport carrying suitcases, while he started out in Madrid's tablaos and flamenco venues. His perseverance and talent led him to record his first album and perform on different stages, establishing himself as a promising exponent of the new flamenco. Other notable albums in his career are Pitingo with beans (2006) Olé and Amen (2010) Malecon Street (2015) Change of Third (2014) and Soul, Buleria and More (2016), in which he continues to explore the fusion of flamenco and soul, including covers of artists such as Donna Summer and Stevie Wonder, among others. Pitingo's career has been marked by an extraordinary commercial success and recognition in the music industry. His albums have not only achieved high sales, but have also managed to capture the attention and taste of the public. The artistic quality and originality of his musical proposal have been widely recognized both nationally and internationally, receiving numerous awards throughout his career. email and website in this browser for future purposes Privacy Policy Agreement * I agree to the terms and conditions of the Privacy Policy. El Teatro Soho Caixabank in Malaga will host for the fifth consecutive year Flamenco Soho a series of recitals by eight of the leading figures from today's flamenco scene The shows are held between March and July and will bring together orthodox artistes and those who perform what is termed 'new flamenco' a lighter style fused with other world music The cycle kicks off on Sunday 16 March with performances by Tomasa La Macanita and Rafael de Utrera two singers considered pioneers within the Gypsy styles of Jerez de la Frontera and Utrera a Gypsy singer born in the Santiago district of Jerez in 1969 grew up surrounded by some of the most celebrated singers in the history of flamenco She possesses an unmistakable echo within styles like the soleares siguiriyas and bulerías and is considered heir and successor of singers such as La Paquera de Jerez La Fernanda de Utrera and La Perla de Cádiz She is a favourite during the Andalusian summer flamenco festivals and has received numerous awards for her natural ability to reproduce the most orthodox styles of flamenco song the very heart of Utrera's flamenco tradition Rafael de Utrera was surrounded by this predominantly Gypsy art since he was born in 1973 He experienced the incredible voices of performers like El Perrate all of who had a notable influence on the young singer who excels in both the deep songs and the lighter styles of tangos Other recitals include Aurora Vargas (30 April) Mayte Martín (25 May) and Miguel Poveda (11 July) www.teatrodelsoho.com Comentar es una ventaja exclusiva para registrados City of Utrera’s mayor heralds ‘extraordinary’ proof that building is part of legacy of Spain’s exiled Jews Archaeologists in the Andalucían city of Utrera have rediscovered a staggeringly rare Spanish medieval synagogue, which was later used over the course of seven centuries as everything from a hospital and a home for abandoned children to a restaurant and disco-pub makes the 14th-century building one of a precious handful of medieval synagogues to have survived the aftermath of the expulsion of Spain’s Jews in 1492 References to the lost temple go back more than 400 years described an area of the city centre as it had been in earlier centuries there were only foreign and Jewish people … who had their synagogue where the Hospital de la Misericordia now stands.” The mayor of Utrera, José María Villalobos, on a visit to the site. Photograph: Utrera city hall.Caro’s assertion was verified at the end of last year when a team led by the archeologist Miguel Ángel de Dios discovered the Torah ark area and the prayer hall. “It was like cracking hieroglyphics. Once we had that key, it all came together,” he said. Read moreSpeaking at a press conference at the site on Tuesday morning said the two-year search had meant “we can now be scientifically certain that we’re standing in a medieval synagogue right now” He said the importance of the “extraordinary” find was difficult to overstate there were only four such buildings in all of Spain – two in Toledo one in Segovia and one in Córdoba,” he said “This is an exceptional building that’s been part of Utrera and part of its inhabitants’ lives for 700 years This building was born in the 1300s and has made it all the way to the 21st century.” A team led by the archeologist Miguel Ángel de Dios discovered the Torah ark area and the prayer hall Photograph: Utrera city hall.One of the key reasons for its survival was the fact that it had always been in use for one purpose or another He said the discovery had vindicated the city council’s not-always-popular decision to purchase the property for €460,000 (£410,000) four years ago and that it represented “an opportunity for us to recover our history” and to attract researchers and tourists The plan is to open for public visits in parallel with the continuing archaeological works Although the women’s area and the ritual bath have yet to be discovered the site could yet give up many more secrets The next phase of the investigation would be looking to see if there was a rabbinical house nearby and perhaps a religious school Free weekly newsletterThe most pressing stories and debates for Europeans – from identity to economics to the environment But the significance of the find exceeds the merely architectural “Apart from the heritage value – this is a building with an important history that was once a synagogue – the thing that makes me happiest is knowing that we can get back a very very important part of not just Utrera’s history but also the history of the Iberian peninsula,” he said “The story of the Sephardic Jews was practically erased or hidden for a long time.” While people know about Islamic Spain thanks to its myriad cultural the story of the Jews who once called the peninsula home is far less familiar De Dios hopes the discovery of the synagogue-cum-hospital-cum-children’s-home-cum-bar will help Spaniards reflect on their past and their present. “This is like a window, or like a megaphone through which the Sephardic Jews can speak to us,” he said. “If we’re so minded, we can listen and learn a lot of things about who we are and why we’re where we are. It’s an opportunity to think about where the Sephardic diaspora is now. It’s a unique opportunity and we shouldn’t get too hung up on the building and its four walls.” Calixto Li, a dear friend of Space Expoflamenco who follows us from Taiwan, has sent us a compilation about the cante by Fernanda Jiménez Peña, the illustrious lady of the cante Ms. Fernanda de Utrera. The author wishes to publish it in order to share its contents and also to address concerns and questions so that, together, we can complete the catalog she has sent us. The author comments from the sender of this meticulous work that 'I have collected 54 Soleá videos by Fernanda de Utrera (two of which are by her sister Bernarda) on YouTube and I have edited more than 370 clips. Below I detail my research and organization. 1.- I have classified these 54 cantes according to the different styles of soleá and I have created a playlist to identify the 10 most common styles that Fernanda sings. 54 cantes: Compilation of 54 canteFernanda de Utrera's videos on YouTube The styles most sung by Fernanda: (In the attached file I have also included a PDF, whose name is The Soleá that Fernanda de Utrera sings the most) 001.Bulerías por Soleá (a) | Fernanda de Utrera  006.- Soleá de la Serneta (cante short development, correspondence with the so-called style 5) Note regarding the closing styles attributed to Joaquín el de la Paula, which are set out below (*): 007 Soleá by Joaquín el de la Paula (closing style or known as 3 A) 008.- Soleá by Joaquín el de la Paula (closing or known as 3B) 009 Soleá de la Serneta (short development also known as Serneta 4) 011. Soleá de Paquirrí el Guanté (closing or brave, also called 3 within the Cadiz styles) Next Calixto Li, raises a number of questions about some lesser-known variants in Fernanda de Utrera's soleá repertoire. Namely: 014 Joaquín el de la Paula's closing soleá (because it's more similar to what everyone else does): a) While searching for the lyrics, I discovered that Fernanda used a great deal of flexibility in her lyrics, employing various verb tenses, inversions, omissions or additions of words, and substitutions. So I've compiled the most frequently used Soleá lyrics into a playlist titled "Same Lyrics, Different Melody."  b) Is my classification of Soleás correct? Why did Fernanda usually start her Soleás with bulerías por soleá? I've noticed that her earliest recordings don't. Is this for some particular reason or is it a common way of singing that emerged during a certain period? I've also heard that Camarón I did it the same way… c) Was Fernanda the first female singer with such a hoarse voice? d) Fernanda and Bernarda have a repeated rhythm that's a bit different from what we're used to. While we usually use the 3-6-8-10-12 rhythm, they frequently use 1-2-3 5-7-8 10, and it sounds quite fluid. Is there a special reason for this? I also noticed that this has some similarity to the bulería rhythm… e) Fernanda's fandango por soleá recordings have unusual melodies. I wonder if these melodies are a product of her personal style. R 1.- The author has transcribed the soleás most sung by Fernanda into sheet music, along with guitar recordings, to make learning easier for others; Author of the article Calixto Li from Taiwan The Junta de Andalucía's Ministry of Health confirmed on Thursday the death in Navarre of a woman infected with the West Nile virus (WNV). She had visited Utrera (Seville province) and, like some of the other fatalities, had some pre-existing medical conditions. This brings the death toll from this virus to six just this summer, all of them in the one Andalusian province or related to it in some way. Ministry sources confirmed that the woman had visited Utrera in Seville province on 12 August and had then travelled back home where she eventually died due to this virus that can only be transmitted to people via mosquito bites. To the death of the woman infected in Utrera are added the deaths of three people from Coria del Río, one of them an elderly woman over 87 years of age (also with pre-existing medical issues) and another elderly person aged 71. The other two were another 71-year-old woman from Dos Hermanas (with pre-existing conditions) and a woman aged 86 who was infected in La Puebla del Río. There are also dozens of cases of infection via mosquito bites, the only way of transmitting the virus to humans, with the regional health ministry reporting a total of 60 cases this summer in Coria del Río, Dos Hermanas, La Puebla del Río, Los Palacios y Villafranca, Alcalá de Guadaíra, Gerena, Carmona, Tomares, Mairena del Aljarafe, San Juan de Aznalfarache, Huelva, Guillena, Gelves and Utrera. Specifically in relation to the Carmona resident infected with the virus, it has emerged this Thursday that he had died after having his case of infection confirmed, as reported in Diario de Sevilla. The councillor in charge of health matters at Carmona town hall, Mar Castejón, said in statements to Canal Sur Radio that this resident of El Corzo housing estate was already suffering from other ailments and died "from other medical complications" unrelated to WNV itself. Registered office Málaga, Avda. Dr. Marañón, 48. Nowadays, relatives of the Pinini family sing this style of Paquirri. It has also been sung and recorded by masters such as Aurelio Sellés, José Cepero, El Cojo de Huelva, Pericón de Cádiz, Pepe de la Matrona, El Flecha de Cádiz, La Perrata, El Lebrijano, and Antonio Mairena. However, Fernanda achieved a level of perfection that turned it into a true work of art. She transformed it into the most dramatic and heart-wrenching version of the soleá we know. "Fernanda had no fear of taking risks in her singing. Indeed, every element was risk, with her voice based on constantly overcoming insufficiency, on the brink of shattering at any moment. There was no imitation of suffering as practiced by others wishing to appear “expressive”, but rather hers was an authentic battle each time she sang The soleá forms can be grouped based on their respective registers: the opening verses, which are straightforward and restrained; the transitional verses, which are more dynamic and build tension; and finally, those that reach and sustain a high register, serving as the climax or conclusion. In this last group lies the dramatic "Paquirri XNUMX". Fernanda fully exploited the brilliance of this register, pushing it to its limits and battling with her vocal abilities. Her articles have been published in numerous specialist magazines and she is a bilingual lecturer in Europe The analysis of the beginning on the seventh I didn't remember that it was called Paquirri 3 Gypsy and flamenco culture. Photo: perezventana Since May, the City Council has worked together with the Brotherhood of the Gypsies and partnership The compass that unites us to design this cultural agenda, which also has the support of the areas of Culture, Tourism, Education and Social Services. The complete programme will be officially presented on January 12, the date on which this event will open. Year of the Gypsy People. Among the notable events, the presentation of the Medal of the City to the Gypsy People, who will be welcomed by the Hermandad de Los Gitanos on behalf of the entire community. “Utrera is an example of coexistence between cultures, where there are no barriers that separate one from another, but rather a bond of integration and respect,” García stressed. «Utrera is an example of coexistence between cultures, where there are no barriers that separate one from another, but rather a bond of integration and respect» El flamenco will be another of the great protagonists, with a significant presence of the gypsy legacy in the Festival of the Mostachón, the Gypsy Stew and the Heel Flamenco. In late November, the Andalusian Gypsy Day will feature a conference at Casa Surga and a concert at the Municipal Theatre. In the framework of the International Women's DayOn March 8, there will be activities and conferences on the current role of the Roma woman, culminating in a musical performance by a young Roma performer. In addition, the Classroom of Experience will include talks on gypsy culture and the Gypsy Cinema in Los Molinos will allow the public to enjoy films presented by their own creators. According to García, the project already has the support of the Minister of Culture of the Andalusian Government and the Provincial Council of Seville, and will also reach the Congress of Deputies thanks to the commitment of a national parliamentarian who will support this historic celebration. Privacy Policy Agreement * I agree to the terms and conditions of the Privacy Policy. Tribute to Manuela Carrasco. XI Heels Flamenco from Utrera. Photo: Kiko Valle Manuela spoke in headlines, making her sentence with emotion. Every time she opened her mouth she fixed her imposing eyes on the answer. I will give you the first spoiler: «I come from a humble family. I danced out of necessity. I even went hungry. And I told myself, in my house there is no more fatigue or hunger. And that is why I gave my all on stage. And today it is not that I am rich, but I dance because I live for art. My husband died, Joaquin Amador, my partner, my guitarist… Without him I couldn’t dance anymore. But my mother asked me crying not to stop and I listened to her. I’m not quitting, I will continue dancing because now I feel the need to dance. «My husband Joaquín Amador, my partner, my guitarist, died… Without him I couldn't dance anymore. But my mother asked me crying not to stop and I listened to her. I'm not retiring, I will continue dancing because now I feel the need to dance» «My father didn't want to see me in the tablaos when I was 12 years old, he had a bad time because he thought I wasn't doing well. He stayed with the doormen or friends. And when I was 15 years old farruco "He asked her to come in. She saw me dancing soleá and she cried her eyes out. She couldn't get up from her chair." «I have learned from the greatest, but I have always adapted everything to myself. Rafael El Negro was my idol. Pure, beautiful as he was. How that gypsy danced! I have always liked Farruco because he was a pure dancer, but Rafael was more appealing to me. Trini Spain She was a great and very complete dancer. Angelita Vargas She was also a very good dancer, gypsy, pure, humble... I'm sure of that. The greatest are usually humble. «Joaquín has been recognised by all artists. When he arrived in Seville, he played for a lot of money. He taught a lot of people. He had a harmony… He played for singing as well as for dancing. People would call him and he would say no. I would ask him why he didn't do guitar solos. And he would tell me: I don't do guitar solos, I only play for you. He always wanted to be in the shadows.» "He was the best critic I ever had. When I danced well he would hug me and kiss me. Other times he would sneak in with his guitar and I would say: I danced so badly!" The Extremaduran recalled that "Paco de Lucía He said that Joaquín made alzapúas in a cage" and insisted that "Manuela must have played with many guitarists, but the way Joaquín played and understood her, none. They were a perfect match." «Nobody sings to me like El Extremeño sings to me por taranto and when he sings to me por soleá I'm about to die. He is my singer. There are times when I look at him and he would like to tear his shirt and I would like to dress him. That is enchantment. Nobody can do it but him» Manuela brought back memories of the past: “When we were little kids, we slept together on the floor.” And she praised Enrique: “No one else sings to me like El Extremeño sings to me por taranto, and when he sings to me por soleá, I should have died. He is my singer. There are times when I look at him and he would like to tear his shirt and I would like to tear his clothes. That is enchantment. No one else can do it but him.” «Now they are all crazy about dance patterns and lyrics. Don't change the lyrics or they'll go crazy. And Manuela has never told me to sing this or that lyric. I don't even know what I'm singing to her. She does that with her eyes and it makes me sick. We are artists of inspiration. What comes out of the heart comes out, which is the best. You have to let your heart out through your mouth. Now everything is very mechanized, very rehearsed. Sometimes you have to learn even the claps.» To which Manuela added: "There are people who look in the mirror and think this hand goes here, the smile goes there... No! That's pure ice! You have to prepare yourself. Look at the cuts where you want them to be made and that's it. The rest is cold, soulless. I'm not going to see anyone. Only those I like. Because if not I'll get sick." «A dancer has to have personality. The torso in its place, the shoulders squared, the stomach in and the arms above the head. Knowing how to walk and keep silences, which are the most important things in dancing. You have to know how to listen to the cante, the guitar and stand still. The audience has to vibrate within a few minutes of going out to dance on stage. «A dancer has to have personality. The torso in its place, the shoulders squared, the stomach in and the arms above the head. Knowing how to walk and keep silences, which are the most important things in dancing. You have to know how to listen to the cante, the guitar and stay still» Ortega pointed out his late appearance on stage and Manuela Amador told little things about her mother and herself. «My mother is at home cleaning all day. And as a teacher she is complicated, very demanding, very hard. Susi used to tell me «your mother speaks in rhythm». With the unconsciousness of youth I thought I would be very daring to want to dance. With maturity I realized that it is a responsibility. It has its advantages and disadvantages. Comparisons and the surname weigh on me. I don't want to even think about it, otherwise I'll get angry and back out.» On a journey to the emotions of the ritual of flamenco 1979– requires the participation of words and images to draw the sway of a moan the colors of a bulería or the scratch of pain photographer and videographer for more than two decades By submitting the above I agree to the privacy policy and terms of use of JTA.org Only a handful of synagogues are known to have survived long after the expulsion of Jews from Spain in 1492 MADRID (JTA) — Archaeologists working in a town in southwestern Spain have excavated a 14th-century Sephardic synagogue revealing a fully intact floor plan including a women’s section and ritual baths The synagogue complex in Utrera, in the province of Seville, is believed to be among the largest ever found on the Iberian Peninsula from the medieval era, comparable to historic synagogues in Toledo, Córdoba and Segovia the building had been used for many purposes: as a hospital in the 17th century But a 1604 mention by a historian named Rodrigo Caro suggested that it had also been a synagogue at one time according to archaeologist Miguel Ángel de Dios who said the synagogue’s state of preservation is remarkable it’s possible that the original area and shape could be restored The synagogue was “a unique, extraordinary place, and a gathering point of the emotional and cultural heritage of the people of Utrera,” the town’s mayor, José María Villalobos, said during a press conference at the site on Tuesday Villalobos acknowledged what he said was “significant support” by the Jewish community during the unearthing Villalobas told the Jewish Telegraphic Agency last year that uncovering the synagogue “would put our town on the world map This would be a powerful appeal for Utrera as a major touristic destination.” he said he hoped that the site would give locals and visitors alike a window into Jewish history in Utrera one in Segovia and one in Córdoba,” Villalobos said “This is an impressive synagogue that’s been part of Utrera and part of its inhabitants’ lives for 700 years This building was built in the 1300s and has made it all the way to the 21st century.” JTA has documented Jewish history in real-time for over a century Keep our journalism strong by joining us in supporting independent I accept the Privacy Policy Mexico that was founded in 1992 around the Son Jarocho traditions of this musical family and patriarch Esteban Utrera The group uses various forms of guitars including guitarra de son Los Utrera have pushed the boundaries of traditional Son Jarocho introducing non-traditional instrumentation and then expanding their repertoire to include Son Huasteco They have performed in festivals in the United States and Europe Please enter an answer in digits:5 + 6 = saw a golden opportunity in Lafayette’s restaurant scene They had seen a growing popularity nationally of food trucks and decided to give it a shot in Lafayette They purchased a small, yellow food truck, found a spot outside of The Home Depot parking lot and opened Chaparritos which served quick Mexican meals like burritos “I originally tried to stay away from food service it’s something that we’ve always been doing there’s not many food trucks here in Lafayette How about we start with a food truck?' And that’s how we get into the food truck.” I never expected to have that many people in one day we had really good sales and everything just keep going and going People were spreading the word and we became so successful we couldn’t leave from the spot were at right now.” For anyone who has driven past The Home Depot it’s common to see lines forming in front of the Chaparritos food truck People will patiently wait up to 20 minutes just to get the chance to order their food The crowds that would gather outside of the food truck ranged from folks stopping by during their lunch breaks to families ordering large meals for dinner or sometimes people would wander over from Home Depot and stop by out of curiosity Indiana: Adjusting to volunteer needs, Food Finders pantry changing summer hours To say that Ramos’s food truck was successful would be an understatement After seeing how successful their new business had become Ramos and Utrera considered opening an additional food truck they soon realized that it was an unfeasible goal due to the small kitchen out of which they were operating That’s when they instead decided to take their next big leap of faith and open up a restaurant which would give them the space needed to expand “We had a commissioner kitchen where we worked We want to get another food truck and open it up sometime next year And that’s why we needed the restaurant Ramos and Utrera had the fortune of opening a brand-new storefront location at 1185 Sagamore Pkwy W right across the street from Ace Hardware in West Lafayette the duo poured every last dime they had into their location Although scared by this intense investment the duo believed in themselves and pushed forward with their dream To ensure the success of her new restaurant Ramos had to also find two new people to run the Chaparritos food truck since Ramos and Utrera would be needed to run the new restaurant location That’s when they enlisted the help of their family Ramos recruited her mother and Utrera’s cousin to take up the mantle as the new duo operating the restaurant’s food truck We are all trying to make sure it succeeds.” The new storefront has also given the duo the freedom to expand their original menu Utrera is able to flex his culinary muscles and offer a few new items at the storefront and house specials – Pollo en mole veracruzano and Chiles Relleno Similar to their original restaurant on wheels Chaparritos’ new location has been a hit in the surrounding community it's common for Ramos and her team to be dealing with a packed house Ramos is working on acquiring a liquor license in order to serve margaritas and beers in her restaurants For anyone interested in visiting Chaparritos’ new location they are open Monday to Saturday from 10 a.m Noe Padilla is a reporter for the Journal & Courier Email him at Npadilla@jconline.com and follow him on Twitter at 1NoePadilla PUBLICIDAD / ADVERTISEMENT PUBLICIDAD / ADVERTISEMENT Fernanda de Utrera earned a place of honor at the altar of flamenco, shattering our souls with the dark honey of her insufficient voice, her deep song and her unique artistic personality. and which I couldn’t fully understand when I first heard them are a direct quote from one of the most admired flamenco singers in the history of this art-form when we’re remembering the lady from Utrera on the centennial of her birth in 1923 it seems perhaps that it’s the most accurate self-description of Fernanda Jiménez Peña both of us looking like something the cat dragged in Fernanda spoke those words that now appear to be the key to her barely disguised sadness and the permanent resignation that filtered through her singing Ay Fernanda… A sociable generous lady with a wall-to-wall smile yet she didn’t feel loved on a personal level This is the message I hear in her voice and way of singing that plays over and over in my head por soleá: Me tienes tan sujeta (You have me so controlled)… Por el hablar de la gente (The people’s gossip)… Cualquier diíta menos pensao (The day you least expect it)… Mi mal no tiene cura (My sickness has no cure)… Eso que la gente habla (What everyone is saying)… Fernanda holds the permanent deed to these verses It’s the opposite end of the pole from over-the-top shouting of other singers who probably never heard Manolo Caracol’s famous words: “flamenco singing isn’t for the deaf” It’s possible her family and professional life kept her from having a serious relationship left little room for a conventional romance The flamenco singing of Utrera is tinged with a mysterious kind of bittersweet pain Absent is the rage and intensity that inspires the output of other zones and an ambience of darkness filters through even the “alegrías” (happiness) of Pinini leaving much of the body of siguiriyas to singers of Cádiz and Jerez Bulerías are geographically distributed as well so personal that attributions of specific styles seem irrelevant she was not “discovered” in the legendary film of 1952 It would be another few years until records of dance shows would become popular and both sisters would record with Manuela Vargas leading to their unmistakable voices being heard at the most important festivals and Madrid tablaos Fernanda de Utrera earned a place of honor at the altar of flamenco shattering our souls with the dark honey of her insufficient voice her deep song and her unique artistic personality always navigating between painful sweetness and her need to be loved like any other individual Sus artículos han sido publicados en numerosas revistas especializadas y es conferenciante bilingüe en Europa and website in this browser for the next time I comment Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" Knowledge and passion The depth and the grief EXPOFLAMENCO connects Flamenco communities around the world 3 May the Salesian work in Utrera staged a theatrical performance dedicated to the figure of Mamma Margaret teacher) and has served to raise funds for the restoration of the historic theatre in the Salesian presence All the participants in the production are students family members or people close to the Nuestra Señora del Carmen school and the director and writer of the show was one of its teachers "This theatrical performance was not only a tribute to Don Bosco's mother but also a reminder of the fundamental role that mothers play in the formation and development of their children" testified the rector of the Salesians in Utrera ANS - “Agenzia iNfo Salesiana” is a on-line almost daily publication the communication agency of the Salesian Congregation enrolled in the Press Register of the Tibunal of Rome as n 153/2007 This site also uses third-party cookies to improve user experience and for statistical purposes By scrolling through this page or by clicking on any of its elements Pre-expulsion Synagogue Found in Spain'This is an opportunity for us to rediscover our history,' says mayor of Andalusian city where the synagogue 2023Get email notification for articles from Ofer Aderet FollowFeb 9 2023In an abandoned building in the historical center of the Andalusian city of Utrera archeologists confirmed on Tuesday the discovery of remains of a synagogue in which Spanish Jews prayed about 530 years ago like the entrance hall and the remains of the benches confirm that it's a prayer site," explained archeologist Miguel Angel De Dios at a press conference He said that his team had examined the walls and floors of the abandoned building for several years The most important of them were found in Toledo, Cordoba and Segovia. The discovery of a synagogue in the city of Utrera further contributes to the preservation of the heritage of Sephardi Jews, who were expelled from Spain in 1492 The only evidence of the existence of the synagogue was written in 1604 by priest and historian Rodrigo Caro who wrote that the hospital standing there was built on the ruins of a Jewish house of prayer and any external signs of what it once housed were erased Open gallery viewThe remains of the synagogue in the abandoned building in Utrera with a graffiti on one of the walls.Credit: CRISTINA QUICLER / AFPThe mayor attributed the building's preservation after hundreds of years to the fact that the structure served many uses a restaurant and a pub until it was abandoned until it was purchased by the municipality in 2018 "This is an opportunity for us to rediscover our history," Villalobus said He also mentioned its potential for further research and tourism and the archaeologists will continue to work on it Open gallery viewRemains of the medieval synagogue in Utrera.Credit: City of UtreraArchaeologist De Dios said that "We're restoring a very important part of history – not just of the city but of the Iberian Peninsula as well." He added we can learn a great deal about who we are and why we're here." A synagogue was discovered in the city of Ubeda Development work on the site that had previously housed a hair salon and was slated to become a hotel and parking lot uncovered the remains of a medieval synagogue that synagogue was opened to the public as a museum called Sinagoga del Agua (the Water Synagogue) Open gallery viewThe remains of the medieval synagogue in Utrera It was converted into a church in the 16th century.Credit: City of Utrera In 2003 another synagogue was uncovered in the city of Lorca in southwestern Spain Inside a medieval fortress were remains of a bima and a Torah ark wall paintings of a menorah and inscriptions in Hebrew were found in a church in the town of Hijar in Aragon The site was then declared a national heritage site and preserved accordingly the European Union granted half-a-million euros for the preservation of the city's Jewish quarter Five years ago, the Foundation for Jewish Heritage and the Hebrew University's Center for Jewish Art launched a database of historic synagogues of Europe It indicates that out of 17,000 pre-World War II synagogues most of them abandoned and derelict or serving as churches Curro De Utrera ‎– Grands Cantaores Du Flamenco Volume 25 (Le Chant Du Monde Le Chant Du Monde’s series dedicated to the great flamenco singers celebrates the work of Curro De Utrera was one of the greatest flamenco singers of the past decades he spent a long time time in Córdoba province where he adopted many of Córdoba’s flamenco styles You can listen to some of these on the album soleares de Córdoba and fandangos de Lucena Curro De Utrera was a passionate artist with a powerful voice who mastered many other flamenco styles from other parts of Andalusia (southern Spain) Additional styles featured in the album include fandangos Curro De Utrera ‎– Grands Cantaores Du Flamenco Volume 25 is a fantastic introduction to the music of a truly significant flamenco artist Buy Grands Cantaores Du Flamenco Volume 25 in the Americas Buy Grands Cantaores Du Flamenco Volume 25 in Europe Please enter an answer in digits:3 × 3 = (ANS - Utrera) - Many events took place in Utrera in recent days on the occasion of the imposition of the city's Gold Medal on the statue of Mary Help of Christians wanted to recall the historical importance of this event which is meant to be a recognition for the Salesians who have been working in the city for 140 years The rich calendar opened with the conference for the official presentation of the events which took place right inside the Salesian house in Utrera He explained the great importance of this conferral and affirmed what a great privilege it was for Utrera that Don Bosco chose it to begin his work in Spain there has always been great synergy between the city and the Salesians The Rector then recalled other important dates such as the canonical coronation in 1981 and the imposition of the Gold Medal on the Salesian house in 1992 receiving this same recognition was the Statue of Mary Help of Christians the first one sent to Spain from Marseilles by Don Bosco himself in the year 1885 The mayor of Utrera also remarked on the importance of this recognition and said that it is a date that will go down in the history of the city The events then continued on October 27 with a conference entitled "Mary Help of Christians the Virgin of Don Bosco," during which there was also a piano performance by musician Juan Manuel Espinosa The final and most important event then took place on Saturday with the statue leaving the Basilica of Utrera to be transported to Pius XII Square Provincial Superior of the "Spain-Mary Help of Christians" (SMX) Province the mayor of Utrera finally placed the city's Gold Medal on the statue of Mary Help of Christians This solemn moment was followed by a long procession which continued until late in the evening and was joined by a great number of faithful who with great emotion walked with the statue through the city’s main streets and squares With his sights already set on his new show, I was lost in which he intends to make a tour of the cantes of Utrera from his very personal perspective, Rafael de Utrera attends to Expoflamenco to remember a name that marked his life with whom he toured for a year – “close to a hundred concerts” – gave him a series of lessons that have stayed with him to this day showing him a human face that only those who were close to the genius from Algeciras know you wonder if it was really true that you were on tour with Paco de Lucía Do you still have that feeling of unreality The fact of going with Paco is something so… supernatural I look at myself in photos and I see myself with my hair long like that and I say to myself: that's not me – It caught my attention because you had been working with great guitarists I also came from working with all the figures of dance – People often talk about the difference that Paco made And Paco made you feel like he was a character without equal – But a note that no one else knew how to give like that I remember the first concert we did in Washington DC and then he did a bulería that he does on the album. Luzia And Rubem Dantas and Joaquín Grilo appeared And the next day I told Joaquin that I would like to go out with him doing palmasLook at my audacity you're going out with me tomorrow.” We both grabbed a box I sit down with Joaquin and we start to play from tomorrow on we’ll always do it like this.” That’s what he wanted – What had been your relationship with the guitarists up until then – I started singing for dances without knowing what a “call” was what a “escobilla” is… It was my first salary as a singer I understand that you became a singer for love… In the end I put on a white shirt and sang soleá for her was there looking for people to take to Barcelona from Los Gallos: I liked Carmen and that kid who sang soleá And that's where we went for the first time and in Barcelona I saw great figures like Cristina Hoyos And with Cristina I started singing for the dance She was fundamental in learning how to be on stage «Paco was the one who really introduced me to my voice range I used to sing in a few tones when I was little I didn't have the typical shrill child's voice I didn't know I could sing so high until Paco told me "I can't reach there." But thanks to Paco I ended up singing about ten times higher than I could before.» Cristina and Juan Antonio call me and make me take off my wedding ring to sing take it off.” They came from the Gades school they had a very coherent and beautiful discipline And since then I have seen that everything they told me was true you can’t be on stage sticking your finger in your ear or crouching like that… They taught me how to behave on stage because there are so many eyes watching you – You argue that singing is the same for solo the house is not well built and it can fall down for me my foundations were every day in my father's tavern I was the eldest of four brothers and I had to help my father to be able to eat – But I guess when you sing for a guitarist your ego has to take a backseat and work for the other guy’s glory he is the matador and the rest of us are the gang We are a team and we try to make sure everything is correct and the bull is in the best condition so that the matador can come out and shine there is a figure and we are governed by a certain way that confessing to being a bullfighting fan can become so controversial For me bullfighting is a way of absorbing my canteWhere can I get inspiration I get more inspiration from watching bullfighting in the countryside than from watching a flamenco singer you come on stage wearing a bullfighter’s jacket If I am among anti-bullfighting people I try to be more modest And I consider one of the most important arts that we have in Spain a source of inspiration for many like Caracol Bulls and flamenco They have always been united And with Vicente I like the bulería and the Réquiem the best of the other guitarists was Vicente he told me that the singers who came after him in Paco’s group did so thanks to him who sometimes decided to stay at home and give up touring We finished and went to the bar across the street to have a few beers but I always had a lot of respect for that dancer “you have to always sing to me like that,” she told me tomorrow send me your passport to Calle Paracas in Getafe we’re going on tour with Paco.” And I said: “Excuse me I’m Ramón from Algeciras.” Just like I’m telling you And the next day José María Banderas called me and told me it was true – But there was a very curious thing at that time next tour.” And my wife said to me: “Now Paco is going to call you.” And I said Ramón called me… I believe in the universe which makes a movement and puts each of us in a place Let’s compare it: Vicente is a guy who does his own thing people are mostly happy about the bad things but they are rarely happy about the good things And I have been doing this for thirty-odd years – You joined a group whose flamenco foundations had been laid by Pepe de Lucía a master of cante who I still believe is not recognized A teacher and a very important character in the history of cante – Are you referring to the fact that Paco's shadow could have been too long – I compare him to one of the singers who has motivated me the most Pepe Pinto… But his wife was Niña de los Peines but now your brother comes along and wants to crush you making him accompany all the artists of the time when you can hum the falsetas to a guitarist – Did you ever see Paco as the guitarist of Camarón Camarón It was something out of the ordinary he was an artist so ahead of his time that I don't think we'll ever get there and I don't think my children will ever see it All of that has a lot of influence on one's childhood and I don't like to forget what I've heard I heard an old man singing a fandango in my father's tavern and I remember the lyrics of that fandango perfectly and I don't remember the lyrics I heard yesterday when the instrument is made in a certain way.. That's what you get to when you don't think so much about the instrument canteYou don't think about what you're going to sing did you wonder what you had to put in from the others I have been a singer who has written my own lyrics and I sing eight or ten lyrics for bulerías I did that all the way with a lot of effort and his funny side made you downplay the fact that you were with him I was waiting for them to let me know when he was coming and finally they did and I went to his room lullabies.” Those were Paco’s first words to me – Did you already know the rest of the group but I did see Paco making a bit more mistakes He told me that he hadn't played the guitar for a while and Ramón brought him the guitar from Madrid During the Rondeña he got stuck three or four times but the wonderful thing was seeing him when he came out of there I think Cañizares put him in charge The Policeman FlamencoBut it's true Paco was very lazy and Ramón would examine the schedules take this off..." Paco would see that he was saying some outrageous things to us and he would laugh and everyone says that when you have a child it disturbs your sleep and you had to be down at the hotel half an hour early because at that time Rubem Dantas would fall asleep in an airport for two days and Joaquín… Fighting with those people… Look and to tell the whole group that there was something to smoke and everyone would come out like little rats the group would not have functioned that way and I remember that there was a flight from Montreal to Toronto and we’ll miss the flight.” Because Ramón de Algeciras was always the first to get on the plane the plane had already left and there we were Ramón gave me and the Grilo a hard time… And Paco was laughing who I think is one of the greatest dancers we have today even though he is not as recognized as he should be from Farruco the old man to Joaquín Cortés Israel Galván… I don't like that in the flamenco They skip from here to there and forget about the masters who are still alive As the maestro Isidro Muñoz told me: “Rafael if I don't see his face I don't know who he is.” Did you adapt well to a format that was so new to you Latin music… I was already a singer who was open to many types of sounds But going with them was not just about playing in the Champions League We played a game one day in front of San Francisco There were some Spanish friends of Paco who lived there but we’re going to bet a hundred dollars each let’s go.” These people arrived with Madrid tracksuits and I was wearing some boots like that and Paco was wearing a red tracksuit… Anyway because there in the United States women play a lot of soccer And I have a photo of Paco and me carrying the girl on our shoulders the one who knew how to play.” In the end we didn’t charge him the money and we all went out to dinner let’s see how much dinner costs these people.” In the end he paid for it which makes a movement and puts each of us in a place.» – You witnessed the transformation of the sextet – I finished the original stage of the sextet in 2001 without knowing where the shots were coming from Was the audience very different with him in one place or another one of the concerts that had the biggest impact on me was in Anchorage and I thought that nobody was going to come to see us When we went to the theatre and Paco opened with the rondeña after the first two notes the people fell down I think he and Vicente are the only ones who can do that And in Lebanon something curious happened to me: I think he was venting with me But he went with a driver from Beirut to where we played but on the way back they fired the driver and put another one in – The first night in Washington wasn’t bad but I did see Paco being a bit more off-kilter He told me that he hadn’t played the guitar for a long time He got stuck three or four times in the Rondeña but the wonderful thing was seeing him when he came out because 2001 was perhaps Paco’s best moment but at that time I noticed that tension that was sometimes good I have recorded six or seven concerts on minidisc because he told me to record myself and listen to myself – Did you also record conversations with him the first one I had and the acoustic one we made in the room and he was talking about a Labrador he had He didn't like talking about flamencoOn the contrary I have played for so many singers… One day they bet me that I had played with a certain Pepe Almadén He was very interested in Gaspar de Utrera He really liked Gaspar and Capullo de Jerez “I have fun with them.” And in fact he included Capullo on an album by Fernando de la Morena – How do you think your personality influenced your playing You can't forget that we are people before we are artists and the person will take you where you need to go as an artist – They are different because they are two geniuses For me Vicente has an extraordinary sensitivity he gets into your bones with a note… And my Paco was the same but with a different way of transmitting capable of doing those physical and mental feats I am now enjoying with Vicente what I could not enjoy with Paco because of my age I would love to spend my whole life with him I adapt to his schedules and I am enthralled by his side And with Vicente I like bulería and Requiem – Have you often spoken with Vicente about Paco but because of bad influences… But in the end he revered Paco more than anyone else and he is the one who remembers Paco the most That Requiem It is one of the most beautiful songs in history I think Vicente is the only guitarist in history who can play whatever he wants He was not going to record the album he recorded with Mark Knopfler's musicians I consider him a musician beyond the solo guitarist Here in Seville he gave a concert two Biennials ago One of the most important concerts Vicente and the Maestranza have ever experienced In the last song he was like on cloud nine but only people like Vicente or Paco can turn it into art for the majority I have seen Pat Metheny finishing a concert by Vicente at Carnegie Hall and waiting for him on his knees calling him maestro and he wonders what he's doing there playing with him or with anyone else Can you imagine Pat Metheny touring the world with Vicente Amigo But he's a person who feels music in a very spectacular way «Going with Paco is something so… supernatural I look at myself in photos and I see myself with my hair long like this and I say to myself: that's not me – Have you met guitarists who were resentful of Paco? what I have heard is artists say that they liked Vicente more than Paco You also have to consider that Paco lived in a time when the guitar was shorter I'm talking about the time in black and white when he did the things Niño Ricardo did with the tip… Sabicas was the only one – Almost to finish: from the parties after the concerts with Paco and it was the first time I heard Paco play at a party I was freaking out with the gin and tonics they served us And I asked Grilo to take me to the bathroom And at the last concert in Miami of the American tour we had a party with Alejandro Sanz at a place called Casa Sancho But I should remember more: I dropped out of school in 4th grade to help my family but I have a whole diary of what happened to me every day on the tour I could say "Paco has had a party" peo at the airport and blamed me.” and Paco liked to change his boots at the end of the tour Paco was leaving on another flight and had forgotten to leave his boots with me Paco de Lucía.” And at the last concert we gave let’s see if we can meet soon and have a beer.” But they didn’t know each other in Los Angeles I saw him signing autographs for three days in a row – What lesson from Paco do you remember most – There is one very important thing that he did for me and that is that he was the one who really discovered my voice range I didn’t have the typical shrill child’s voice I didn’t know I could sing so high until Paco told me “I can’t reach there.” But thanks to Paco I ended up singing about ten times higher than I could before →  See here the installments of the series THE CHOSEN ONES, by Alejandro Luque, about Paco de Lucía's collaborators. A quarter of a century of cultural journalism A horseshoe arch is pictured in the remains of what could be a 14th-century synagogue in Utrera this 14th-century synagogue is a rare example of Jewish religious life in medieval Spain Before this building in Spain was a nightclub, it was a hospital, a church, and a school. But archaeologists have recently determined that the structure was a medieval Jewish synagogue — one of only five remaining in all of Spain Archaeologists first examined the building in 2021 after they came upon a description left by a 17th-century priest and historian named Rodrigo Caro a municipality in southwest Spain not far from Seville as a place where before his time "there were only foreign people and Jews there for which reason they called it Val de Judíos [Valley of the Jews] who had their synagogue where the Hospital de la Misericordia is now."  The Utrera synagogue was built in the 1300s and likely survived the 1492 expulsion of Jews from Spain because it was reused and added to over the years the archaeologist leading the scientific investigation of the building Their goal was to curb the influence of practicing Jews over those who had converted following the 1391 massacre they fulfilled a goal long held by Tomás de Torquemada the Grand Inquisitor of the Spanish Inquisition who feared that Jews had tainted blood and that superficial converts from Judaism were a threat to Catholic religious and social life The Utrera synagogue, whose identification was announced on Feb is therefore an incredibly rare example of medieval Jewish religious life in Spain Mayor José María Villalobos called the press conference "an extraordinary event in an extraordinary building." Related: Pendants from Holocaust victims found near gas chamber in Poland The researchers are now trying to determine where the mikveh — the ritual bath — was located and de Dios also hopes to find the rabbi's house and rabbinical school Get the world’s most fascinating discoveries delivered straight to your inbox —1.32 million Jews were killed in just three months during the Holocaust —14th-century Ashkenazi Jews had more genetic diversity than their descendants do today —17 people found in a medieval well in England were victims of an antisemitic massacre, DNA reveals "The Utrera synagogue could be a highly significant find," Julie Harris an independent art historian who specializes in Iberian-Jewish material culture "Standing synagogue remains in the Iberian peninsula are limited," said Harris "It is no surprise that a synagogue would be repurposed But Harris cautions that Spain's recent boom in cultural heritage tourism could create an incentive to tout a fantastic discovery prematurely "When it comes to this or any other announcement of the discovery of Jewish material culture I would reserve judgment until the excavation reports are published preferably in a peer-reviewed journal," she said Kristina KillgroveStaff writerKristina Killgrove is a staff writer at Live Science with a focus on archaeology and paleoanthropology news Her articles have also appeared in venues such as Forbes, Smithsonian Killgrove holds postgraduate degrees in anthropology and classical archaeology and was formerly a university professor and researcher She has received awards from the Society for American Archaeology and the American Anthropological Association for her science writing Archaeologists discover hundreds of metal objects up to 3,400 years old on mysterious volcanic hilltop in Hungary These are the sharpest images yet of planets being born around distant stars ACADEMYJoaquín Delgado Signs For Real Oviedo VetustaThe attacker arrives from CD Utrera on a three-year deal Nearly sixty years ago, round about the time I discovered Sabicas, and the vivid images his guitar-playing expressed, I was surprised, and a bit annoyed and the vivid images his guitar-playing expressed and a bit annoyed to discover I had bought a recording of his on which he had deigned to put his lush music to the voice of a flamenco singer They hadn’t yet invented the double-deck cassette recorder…in fact so using two Grundig tape recorders borrowed from friends I painstakingly used the pause and record buttons to stop-start my own voice-free version of the record And to this day I deeply regret having committed that stupidity Manuel Marquesito and other flamenco friends took me to a Christmas Eve fiesta on the edge of town in an old warehouse with a dirt floor bare lightbulbs hanging from the ceiling and no heating; the typical fiesta venue of the early seventies I was shocked upon arriving to see Enrique Montoya among those present you would never have expected to find this renowned artist in such humble surroundings It’s often said the one thing Utrera’s flamenco singers have most in common is that they all sound markedly different from one another And indeed Enrique’s crystalline voice and crisp delivery had little to do with Fernanda or Bernarda But when the man picked up his guitar and began to sing as well as dance…simultaneously…with whip-crack rhythm a voice like quicksilver and tongue-twisters worthy of Antonio el Chaqueta I haven’t seen anyone before or since able to do all that without looking like a circus attraction For Enrique it was as natural as breathing a grand professional with absolute control and command he also had the Utrera sound por soleá and other forms a recognizable way of traveling through the music leisurely but with an intense infallible undercurrent Born and raised in the very flamenco town of Utrera Enrique moved in the circle of singers Curro de Utrera and Perrate with whom he acquired a deep understanding and command of the most traditional sort of flamenco singing he learned to play guitar in a barber-shop These three men shared adventures throughout their youth; Curro was full of anecdotes when I visited him at his home in La Guijarrosa (Córdoba) some years ago He recalled a show that featured an elderly Pastora Pavón who could no longer remember the verses of her repertoire only Enrique Montoya was able to make her sing by accompanying her on the guitar and helping her along with the words he learned the song “Esperanza” which would bring him international fame Enrique Montoya also recorded with Manolo Sanlúcar and Paco de Lucía mostly songs but always some cante; he also sang for Carmen Amaya on several occasions According to flamencologist Manuel Peña Narvaez in the Potaje Gitano de Utrera of 1964 “Enrique sang cantes of Juan Talega and Antonio Mairena capably and profoundly accompanying himself on guitar with distilled purity and the gut-sound on which good solid flamenco singing has always been based” In Utrera’s Plaza de la Constitución there is a life-sized statue of this much underestimated artist Pepa and Bambino are often thought of as “rumberos”, a term that today, in 2019, sounds dismissive and outdated. Both were talented fiesta performers, in the noblest sense of the word, in addition to having deep knowledge of classic flamenco forms. But in the new millennium we’ve seen an entire generation slip away henceforth only to be appreciated via digital devices we lost Josefa Loreto Peña “Pepa de Utrera” we had to say the last goodbye to Miguel Vargas Jiménez “Bambino” irreplaceable cogs in the great flamenco wheel of this town with a population one-fourth the size of Jerez less than half that of Cádiz and only a tiny fraction of Seville over the decades Utrera has yielded many extraordinary flamenco artists with unique personalities A lot of flamenco fans are in a lather these days about young singer Rosalía with her contemporary or experimental approach flamenco artists were versioning popular music in very flamenco ways In other flamenco towns popular songs are interpreted to the rhythm of bulerías or tangos manage to transform popular music into flamenco Pepa and Bambino are often thought of as “rumberos” in addition to having deep knowledge of classic flamenco forms their greatest fame coincided with the rumba catalana craze of the 1960s But everything they sang was tinged with the feel of Utrera compás the irresistible laidback route to flamenco that Utrera interpreters do so well a patch of territory shared with Lebrija and Morón where the air smells not of the sea but of carob and olives daughter of José Loreto el Feongo and María Peña granddaughter of the legendary Pinini whose peculiar personality colors Utrera flamenco I remember hearing and falling in love with Pepa’s silky voice for the first time on a recording of “La Viajera” a sweetly melancholic rumba that suits her voice and temperament to perfection In addition to numerous appearances at major festivals in Spain and abroad and winner of important prizes at the prestigious Córdoba contest she was featured performer at the tablaos of Madrid during their heyday He created a dramatic new way of delivering rumba and bulerías that both flamenco fans and the general public found irresistible He would stroll around the stage with serene elegance while his always powerful backup stoked the excitement to fever pitch Manolo Domínguez El Rubio and an adolescent Paco de Lucía in addition to great choral work and palmas led to unforgettable moments that permanently changed the way festive flamenco was interpreted the soundtrack of our youth for an entire generation Foto de portada de su álbum ‘Hablemos de amor’ Sport | Football featuring team news and expert analysis from Simon Collings I would like to be emailed about offers, event and updates from Evening Standard. Read our privacy notice Hundreds of people paid their respects on Monday morning at the funeral of former Sevilla player Jose Antonio Reyes who died in a car accident on Saturday morning Reyes crashed his Mercedes at high speed on the A376 between Seville and Utrera and was killed as the vehicle caught fire after colliding with the barrier on the left side of the road while the other is stable although still in a critical condition with severe injuries in hospital More than 11,000 people were present at Sevilla’s Sanchez Pizjuan stadium on Sunday to say their goodbyes to the popular player and the coffin was taken to the player’s place of birth former team-mates and friends were present along with Sevilla president Jose Castro and Utrera mayor Francisco Jimenez one representing Sevilla and the other the town of Utrera were draped over the coffin and the ceremony ended with an ovation for the former footballer Reyes has two young daughters with his second wife and a son from a previous marriage Prince Louis steals the show at VE Day parade as he keeps dad William looking sharp and mimics brother George Prince Louis steals show with sweet antics at VE parade VE Day 2025 fashion: best looks from the day VE Day 2025 fashion: Princess of Wales to Lady Victoria Starmer Royals watch historic flypast as huge crowds turns out for VE Day 80th anniversary  Royals watch historic Red Arrows flypast for VE Day 80th anniversary David Beckham’s 50th birthday bash in London 'shut down' by council over noise complaints David Beckham’s 50th birthday bash 'shut down' over noise complaints Stacey Solomon 'regrets doing reality show with Joe Swash' for tough reason Stacey Solomon 'regrets reality show with Joe Swash' for tough reason One morning in August at the metropolitan zoo in the torrid city of Maracaibo workers were shocked to find the bones of a buffalo and some wild pigs inside their cages with clear signs of mutilation Thieves allegedly stole the meat to eat what they could and sell the rest on the local market Watchmen found the bones and offal of a black horse inside its enclosure Apparently the perpetrators only took the edible parts of the animal but his words don’t carry a lot of nutritional weight One of the latest programs was the so-called plan conejo (rabbit plan) a failed attempt to start rabbit farms all over the capital in order to substitute the proteins that come from unaffordable chicken and even more unaffordable beef “We want people to stop seeing these [rabbits] as pets and start seeing them as what they really are two kilograms of meat full of protein,” declared Minister of Urban Agriculture Freddy Bernal Venezuelans traditionally do see rabbits as pets and not food so in areas where the government brought rabbits to start farms people started adopting them and even embellishing their long ears with colorful bows No question of eating the little dears after that not those crazy measures the government is inventing,” says Natalí whose life is a daily grind to find the food to feed herself and her children Natalí wakes up earlier than the average Venezuelan She dresses in a hurry and whenever she can she feeds something to her sons and daughters and tells them to wait patiently for her return wave from the improvised front door of their shanty then look forward anxiously to what she might bring back and then the train from Antímano to municipal Coche Market in south Caracas where she has made her pilgrimage to dig through the garbage left by the vendors—trying to find a half-rotted vegetable chicken skin to take back home and feed her children Things were not always this difficult for Natalí and her family president and leader of the so-called socialist revolution of the 21st century distributed widely the abundant revenues produced by Venezuela’s oil production With the prices of the barrel of oil hovering around $100 back then no Venezuelan could have predicted the hard times yet to come Natalí decided to move to the capital looking for some of those riches the socialist leader spread among the poorest But when he died in 2013 things took an unexpected and for her a very unfortunate turn With the arrival to power of Nicolás Maduro Venezuela’s situation deteriorated quickly Out of control inflation and severe food shortages led to 120 days of protests and general unrest in the nation It was in this atmosphere of chaos and uncertainty that Natalí’s family was about to receive a new member and lose an old one could not withstand the pressure of feeding six kids Natalí had to make what she recalls was the hardest choice ever: to send her older son to work at the landfill in west Caracas “This is something that breaks my soul,” she says through tears It’s very painful to send him to dig in the garbage just to be able to eat.” Sadly this story is not unusual in today’s Venezuela The high inflation rates and food shortages that followed Chavez’s death have made many basic products unaffordable for 80 percent of the nation that has been plunged into poverty it is common to bump into individuals or even families that Around Sabana Grande Boulevard many families with kids watch avidly over the piles of garbage outside the restaurants Right next to a dumpster outside a shopping mall four families wait for in the afternoon for the moment when the restaurant owners take out the leftovers eagerly search the container every day hoping to find something good to eat or to sell you can see the shame his condition causes him but at the same time the stoicism he has assumed in his determination to feed his children “I used to work in the metrocable in San Agustín [a cable car service] With my salary I was able to buy enough food for my family and I even dreamed about building a proper house for us I got fired and the little money I earned doing small jobs was not enough to feed my family but lately things have gotten so rough that I decided to stay here the whole time I have even seen people fighting with knives for a dumpster like mine At least here I can find something to feed my children.” a catholic NGO that helps the poorest sectors of society five to six children die in Venezuela from malnutrition every day and the toll may reach as high as 280,000 in coming years if these trends continue the secretary of the union of workers in zoos and national parks says the situation in the zoos is far worse than the headlines have suggested It’s not just a question of animals being eaten it’s the question of whether the animals themselves will be able to eat at all Some animals are dying from malnutrition and some others are dying because of the lack of medicines for the treatments they require The most emblematic case: Ruperta the Elephant She is one of the oldest animals in the zoo of Caricuao but here emeritus status could not prevent her from suffering the negative impact of the economic crisis Much like Natalí and Luis Miguel and their families Got a tip? Send it to The Daily Beast here Yesman Utrera is a reporter and producer based in Venezuela Christopher Dickey, a veteran foreign correspondent, was The Daily Beast’s World News Editor, and the author of seven books, including Securing the City and, most recently, Our Man in Charleston: Britain’s Secret Agent in the Civil War South People look for food outside a looted supermarket at El Valle neighborhood after demonstrations against the government of Venezuelan President Nicolas Maduro Are you glad to see Conservative Party leader Pierre Poilievre will be running in a next-door riding View Results ABC News News HomeArgentina seeks extradition from Spain of Franco-era ministers Rodolfo Martin Villa Jose Utrera MolinaShare Argentina seeks extradition from Spain of Franco-era ministers Rodolfo Martin Villa Jose Utrera MolinaTopic:Fundamental Rights Rodolfo Martin Villa (pictured in 2001) is wanted for questioning in Argentina over alleged human rights abuses. (AFP: Marc Alex) Link copiedShareShare articleAn Argentine judge has requested that Spain arrest and extradite 20 former Spanish officials, including two ex-government ministers, suspected of human rights violations in the era of dictator Francisco Franco. Federal judge Maria Servini de Cubria, who is investigating allegations of torture and other crimes committed in Spain during the Franco era, issued the request on Friday. The Spaniards included the two former ministers Rodolfo Martin Villa, 79, who was Franco's interior minister, and Jose Utrera Molina, 86, who was housing minister under Franco, Spain's dictator from 1939-1975. Franco ruled Spain from 1939 to his death in 1975, after which it took some years to establish a functioning democracy. "This is tremendous news for the victims," said Maximo Castex, an attorney for victims of crimes against humanity. The judge asked Interpol to issue arrest warrants for the suspects so they can be extradited to Argentina for questioning. "It is historic," said Maria Arcenegui Siemens, spokeswoman for the Association for the Recovery of Historical Memory, a group supporting victims of Spain's 1936-1939 civil war and the ensuing 36-year dictatorship. Mr Villa is accused of ordering a police raid on protesting workers sheltering in a church which left five people dead in 1976, according to Judge Servini's ruling. Maria Servini de Cubria is investigating allegations of torture and other crimes committed in Spain during the Franco era. (AFP: Rafa Rivas) Prosecutors say Mr Utrera was among the officials who signed the execution order for Salvador Puig Antich, a Catalan anarchist who was accused of killing a policeman. Mr Utrera is the father-in-law of Spain's ex-justice minister Alberto Ruiz Gallardon, who resigned in September over an unrelated matter. One of the lawyers acting for the plaintiffs, Carlos Slepoy, said it was the first time former ministers of the regime were targeted under universal jurisdiction - a legal doctrine that authorizes judges to try serious rights abuses committed in other countries. After Franco's death in 1975, Spanish leaders signed an amnesty agreement seen as essential to avoid a spiral of score-settling as they tried to unite the country and steer it to democracy. Spanish authorities still invoke the amnesty law in refusing to investigate alleged atrocities during the Franco era, despite demands by the United Nations that it be scrapped. Judge Servini last year issued warrants for two Spanish former policemen accused of torture, but the Spanish courts refused to extradite them. CNN and the BBC World Service which is copyright and cannot be reproduced AEST = Australian Eastern Standard Time which is 10 hours ahead of GMT (Greenwich Mean Time) A moderate magnitude 3.6 earthquake hit 19.7 km (12 mi) away from Utrera, Andalusia,  Spain The quake had a very shallow depth of 25 km (16 mi) and was felt by many near the epicenter The shallow depth of the quake caused it to be felt more strongly near the epicenter than a deeper quake of similar magnitude would.