Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
RE: Women in the macho world of flamenco guitar
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
  
ernandez R
Posts: 737
Joined: Mar. 25 2019
From: Alaska USA
|
 RE: Women in the macho world of flam... (in reply to rombsix)
|
|
|
I'm surprised but not sure why.
This is tough...
As a reasonably healthy male, battling some vires crud at the moment, I have to ask how much of that first impression is just the mystery of the women playing? And don't get me wrong her playing is flawless. This woman is not fronting cleavage or a shear blouse, no slow motion hair wave, yet in so many ways much more suductive.
I played this for my partner first without saying anything about the artist. Passed the feet tapping test I've mentioned up thread. Then I bring my iPad over for her to watch and we have the discussion about women classical players with the cleavage etc as a marketing ploy. As a beginning player her first comments are about how fast her fingers are moving and then most of the way through the piece she comments on how relaxed she is while playing. Exactly, I reply.
The subject changed and we never got back on track...
This is a slick track and almost perfect. I too watch a players fingering of both hands admiring mostly but learning bits here and there. Not one hundred percent my cup of tea but better then much I've heard.
Some how we need a blind test, is it really that good or are we men being led by our gonads.
But I know better, it's that good. It's a whole package the video, the music, the settings, even the counterpoint of the man playing rhythm. Really a perfect end of the evening after two glasses of Pinot Grigio kick back and see what the world has to offer moment.
In a day full of dissension from half way around the world one woman and her guitar brings us back together.
HR
_____________________________
I prefer my flamenco guitar spicy,
doesn't have to be fast,
should have some meat on the bones,
can be raw or well done,
as long as it doesn't sound like it's turning green on an elevator floor.
www.instagram.com/threeriversguitars
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 7 2020 7:18:51
 |
|
BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
|
|
RE: Women in the macho world of flam... (in reply to kitarist)
|
|
|
quote:
So she used the verb tocar/ 'toque' and Borrow didn't know at the time that it was the equivalent to "playing guitar" and instead translated it literally?
Borrow may have thought it some sort of colloquialism used for playing the guitar, "to touch the guitar." Although he quotes her as saying, "I learned there to play on the guitar," as rendered into English as well. So he has used both forms, at least as he has translated them into English.
Language is interesting, particularly if one has a bent for learning archaic forms and how they have evolved. My wife Marta is Brazilian. We were assigned to the American Embassy in Kuala Lumpur, Malaysia for four years. During that time we made many trips to Malacca, which was the original Malay entrepot until conquered by the Portuguese in 1511. Today in Malacca, in addition to Malay, many speak "Kristang," which is a variant of Portuguese that dates back more than 400 years. Marta was enchanted to be able to converse in her native language across 400 years.
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 16 2021 21:59:23
|
|
Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
|
|
RE: Women in the macho world of flam... (in reply to kitarist)
|
|
|
quote:
So she used the verb tocar/ 'toque' and Borrow didn't know at the time that it was the equivalent to "playing guitar" and instead translated it literally?
Exactly. And as Bill pointed out, he used both meanings in the same paragraph so to me the reader, I am getting a clear idea of how things are translated in his mind. Like I said he is very particular, and it still is very mysterious to me why he never translates “Flemish” or “flamenco” right from the mouths of these individuals. The way he translates the above, I can hear how she says all the stuff in Spanish, and it all sounds exactly the way flamencos speak and act. But no “flamenco” and no “cante” are ever stated out right in either book. Songs of Afición or songs of Andalucía, “wild couplets”, are what we get from him. It could very well be he was oblivious to it, and we have to infer it was going on from his uninformed observations, or he was covering it up deliberately, only dropping subtle hints. Either way, both his books have good stuff I feel is related. And there were plenty of TOCAORAS back in the day! 
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 17 2021 16:31:30
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.078125 secs.
|
Printable Version
