Original subtitles

With Fernanda,

the studios and

the record

houses have

always been the

prototype of a

style and an air

that is unique

and

unmistakable:

the Deutrera.

She,

in addition,

has brought to these cantes a touch and a personality that make her distanced from

the mechanical followers of a school.

This is demonstrated by the fact that, despite her already worked voice,

she still preserves a new enthusiasm in each interpretation.

Fernanda is a woman who has traveled several countries with her cante,

has recorded numerous albums, has acted in most of the tablaos of Madrid.

is in Utrera with his people.

Maybe because he noticed that somehow he was losing that air that emanates

from the people, which is, after all, the one that serves as a union with the

common source of singing. At home, at that time my father was a butcher,

as the people know, we started singing for love of art, that is,

at my sister's wedding, at the baptisms.

It was when in Seville, in Europe, The artists made money before going to Madrid,

before putting these flamenco songs in Madrid.

And every time Antonio and Mayrena sang, many of them, when they left a party,

they came to Utrera. And I would be about 10 years old when I started singing at

home. And then we started when these festivals were organized,

we worked in several festivals here in Seville.

And then in 1957, as my sister has said, for the first time we went to Madrid,

pushed by the public because my father didn't want that.

because he raised us in his own way, in the poor class, he didn't want the people to

say that he ate from us. So he didn't want the artistry, not for anything,

but for that. Because he didn't want the people to say that, nor the people.

So of course he got old and this Antonio Mairena, sent by the director of the Casa

de Madrid, sent him to Utrera as a commitment, so he explained the house class that

was and the way we were going to be.

Anyway, we went to Madrid, and then we spent about 15 days in San Brás,

and then we went to Pastorio Imperio, where he put us in the morrería.

We spent three months there, and then we went...

Well, not me, my sister worked in"La Bruja"with the late child Ricardo,

Gaspar Dutrera, there they made a trio and he spent 15 or 20 days in Torre Bermeja,

and then we went to"La Bruja".

We were there for about a year, both of us acting,

♪

♪

♪

♪

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Let'

s

go.

♪

♪

♪

♪

♪

♪

♪

♪

♪

I don't call

him

anything I

don't call

him

anything I

don't call

him

anything

♪

♪

♪

♪

♪

♪

♪

♪

-

-

me

♪

♪

♪

♪

♪

♪

♪

♪

Yes,

yes.

♪

♪

♪

♪

♪

♪

♪

♪

♪♪

♪♪

♪♪

♪♪

♪♪

Thank

you.

♪

♪

♪

♪

♪

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My family,

everyone,

everyone is a

butcher.

Because of my

mother and my

father.

I have an uncle who still lives, but he's a bit old, he was a very good singer.

And he's a brother of this one who exists in Lebrija, my aunt Fernanda,

she sings the songs of my grandfather, but my aunt sings more of my grandfather's

songs than my aunt's. And on the part of my father, he's the same.

He's a child, he's my nephew, like the one I told you,

because his mother is my father's cousin.

♪

♪

I

don'

t

care

if

I

lose

I don't

want to

lose

you.

Because

the

painters

painted

in red.

♪

♪

♪

♪

♪

♪

♪

♪

Hello!

You are a

man and now

you have to

eat what

God has

given you.

Long live

the king of

the

guitar.

I'

m

not

going

to

let

you

go.

I can tell you about this in New York because,

thank God, we had a good time and a bad one.

Because, thank God, nothing happened to us.

My sister could have had an accident, which,

thank God, nothing happened, but,

at the end of the day, the scare gave it away.

And we were all fine, all the colleagues, like Juanito Barea,

like Rafael Romero, Jarrito Montoya, in short, everyone.

And there we spent five months at the World Fair.

Then we went on, as my mother told you before, as she was so old,

she got that job in New York, here in Utrera.

And then I was here at the radio station, and my mother said it,

♪

♪

Oh

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David

How did you

start

singing?

Who taught

you to sing?

Who was your

teacher?

I didn't have a teacher because my family, as you know, here in Seville,

here in Jerez, all this has taken place all over the world and I started singing,

thank God. Many people have come home, my family has been the best, as you can say.

I listened to my grandfather, my grandfather had a specialty only in a style of

mirabra and arboreal, which was what he sang because as my mother said,

I listened to my father and the bulería was not known.

So I listen to my grandfather in those songs, that there is still an

aunt of mine, who is the grandmother of Miguel Funes,

who makes the songs of my grandfather, of his father.

But look, I have come as Caracó, as Mayrena, as many people at home,

and I don't know, I don't know why I have taken the song by sale.

It must be because I liked it more, I don't know.

Because you had taken me away from me to confess.

You had taken me away from me to confess.

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Ay,

viví de

lobo y

de la

tierra

que a mí

me...

A ver,

me da

rollo,

perdí

mi sed y

a mí no

me han

arrojado.

Y me ha

ido a

pavir,

ay,

y a

fuerza

dentro.

Ya no

sabe

hacer

el don

que

yo...

I

want

to

be

with

you.

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