Falsa moneda jose feliciano biography

Spanish singer (1922–2022)

Gracia Cabrera Gómez (1 March 1936 – 2 June 2022), known professionally as Gracia Montes, was a Spanish copla, flamenco and pop singer.

Early life

Montes was born in Lora del Río, Seville, on 1 March 1936.

Career

1950s

Montes made her debut in 1953 with the show "La copla por bandera" in Madrid. At the age of 17, she appeared at the Juvenile Galas held at the Cervantes Theater in Seville, joining the shows of various companies, including those of singers Pepe Pinto and La Niña de los Peines (Pastora Pavón) and in the variety shows of Mercedes Vecino and Los Gaditanos. Pastora, teacher of cante jondo, was the first artist that Montes listened to. For various reasons, some critics of the time likened her style to the cantaora.

In the mid-1950s, Montes made her first recording with Columbia Records. That included bulerías such as "La luna y el río" and "¿Será una rosa?", both written by Francisco de Val. She took part in radio programs in the fifties, such as Conozca usted a sus vecinos (Know your neighbors), by Rafael Santisteban, and Cabalgata fin de Semana, directed by Bobby Deglané. Montes performed her hit "¿Será una rosa?" as well as "Amor, ¿por qué no viniste, amor?" (Love, why didn't you come, love?) and "Camino del cielo" (Road to Heaven). The recording edited by Columbia of the latter differs from the original lyrics written by de Val.

Director Juan Antonio Bardem hires Montes for her intervention in the feature film, Death of a Cyclist (1955), in which she performs the fandango "Am

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Copyrighted, 1904
BY
FREDERICK STARR
Chicago

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THIS LITTLE BOOK IS DEDICATED
TO
SEÑOR DON VICTORIANO AGÜEROS,
AUTHOR OFEscritores Mexicanos Contemporaneos,
EDITOR OFEl Tiempo,
PUBLISHER OFLa Biblioteca de Autores Mexicanos,
FAITHFUL FRIEND, VALUED HELPER.

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CONTENTS.

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PREFACE.

When I began visiting Mexico, in 1894, my knowledge of Mexican authors was limited to those who had written upon its archæology and ethnography. Even the names of its purely literary writers were unknown to me. My first acquaintance with these came from reading some of the writings of Icazbalceta, a critical historian of whom any nation might well be proud, and a man of literary ability. I then sought the books of other Mexican authors and have been accustomed, when in Mexico, to read only those, in such hours of leisure as travel and work have left me. This reading has led me to prepare this little book, in the hope that it may introduce, to some of my countrymen, the literary men of the neighboring Republic.

I call the book Readings from Modern Mexican Authors; I might almost have said Living Mexican Authors, for my intention has been to include only such. I have, for personal reasons, made two exceptions—including Icazbalceta and Altamirano. This I have done because I owe much to their writings and because both were living, when I first visited Mexico.{viii}

Mexican authors write, to a notable degree, for periodical publications. Many Mexican newspapers devote space to literary matter and many extensive works in fiction

Guitar Influences

Jose Feliciano, the genre of Bolero and also Flamenco are probably three main influences.

Jose Feliciano is generally a player I particularly identify with, I remember him on the radio as a sixties child and have been fortunate to see him several times. His earlier spanish songs like "Amor Gitano" that I often play, "Falsa Moneda", "El Dia Que Naci Yo" and "Lu y Sombra" show a similar format but have more complex chord progressions than mine. Some would say he is "Pop" but I think that is from the western music he's performed and not really of interest.

Then there is the Bolero - Nuevo Trova style of Cuba, Mexico and Latin singer-guitarists that I would identify with more than Flamenco. By Bolero I don't mean the opera. Bolero has spread throughout the world, including Vietnam and Tasmania. Inclusive of Bolero there are singer guitarists like Miguel Del Morales with songs like "Obsecion" or "Como Una Madrigal" and Alejandro Almenares - both Cuban (see documentary film "Cuba Feliz"). Then there's Buena Vista Social Club but that's a band and I'm more a soloist. Songs they sing are played by Flamenco singer Diego el Cigala. There are the songs of Consuelo Velazquez ("Besame Mucho"), Joan Baez and Atahualpa Yupanqui. Outside of Bolero, there are the songs of Antonio Carlos Jobim from Brazil, many of which are jazz standards.

Flamenco has a rhythm all its own and people may associate what I do with that. Using Spanish Lyrics, the harmonic minor scale, a few rasquedos and the occasional Andalusian Cadence may be Flamenco in some peoples eyes but I guess my rhythm is more in keeping with Bolero. Flamenco "faves" would be Paco De Lucia ("Entre dos Aguas" - 1976), Vincente Amigo ("y los patois de Còrdoba"), Cameron de Isla ("Tus Ojillos Negros"), Diego el Cigala & Bebo Valdés ("Lágrimas Negras"), Canut Reyes (singer from the Gypsy Kings), "El Chalo" y "El Lirola" ("Entre dos Aguas" and "El Chalo Flamenco Encuentro con los Gitanos Españoles"). Se