00:01:05.320 --> 00:01:09.440
- Here we have jewels, jewels, that's what we have here.
- This is a blessing.

00:01:09.840 --> 00:01:11.400
This is what makes you nervous

00:01:11.680 --> 00:01:12.930
when you go up on stage.

00:01:12.940 --> 00:01:17.770
Seeing all these pictures
before the stage makes you nervous.

00:01:19.310 --> 00:01:23.510
Here is my grandfather with Manuel Morao.

00:01:23.570 --> 00:01:25.540
There he is, very young at that time.

00:01:25.540 --> 00:01:29.620
I think that´s the
time when he danced.

00:01:29.620 --> 00:01:32.740
And starred a film,
when he was very young.

00:01:33.050 --> 00:01:34.850
I also see him there with Caracol.

00:01:34.850 --> 00:01:39.140
Yes, with Caracol, that´s
in the Canasteros in Madrid.

00:01:55.680 --> 00:01:57.740
But this is his essence.

00:01:57.910 --> 00:01:59.370
Indeed.

00:02:02.040 --> 00:02:05.080
You feel both responsibility and pride.

00:02:05.800 --> 00:02:08.770
And also like a burden.

00:02:12.480 --> 00:02:18.200
My grandfather's way of singing
was very peculiar, it was very personal.

00:02:18.200 --> 00:02:23.040
I think that all of us
who have come out of his path

00:02:23.310 --> 00:02:25.200
have something special

00:02:25.200 --> 00:02:30.370
even though we are very similar.

00:02:33.110 --> 00:02:35.880
But he was the genius.

00:02:36.510 --> 00:02:41.240
And there will never
be another singer like him.

00:03:19.850 --> 00:03:23.170
I was born in 1933.

00:03:23.200 --> 00:03:28.540
And I began with a boy from Jerez
who is now an artist called Romerito.

00:03:28.540 --> 00:03:30.800
We used to
call him "El Cipote" here.

00:03:31.800 --> 00:03:33.400
And we were both dancers.

00:03:33.400 --> 00:03:36.000
From time to time he would
sing to me and I would sing to him.

00:03:36.120 --> 00:03:37.840
He would do a twist
around and I would do mine.

00:03:38.480 --> 00:03:42.280
I remember that we would show a plate
and the people there would give us some coins.

00:03:42.280 --> 00:03:44.620
And we would get along with that.

00:03:45.440 --> 00:03:48.400
He adopted the nickname
of my uncle Curro, El Cali.

00:03:48.960 --> 00:03:50.200
that had been in Argentina for long.

00:03:50.200 --> 00:03:53.400
He went there for a long time

00:03:53.960 --> 00:03:56.960
with Concha Piquer's company
as a dancer, I think.

00:03:57.520 --> 00:04:00.160
And then my father took
his brother's nickname.

00:04:03.850 --> 00:04:07.760
He was born in the heart of a gipsy family

00:04:08.240 --> 00:04:12.960
with roots in the aristocracy
of the gipsy ethnic group in Jerez.

00:04:22.910 --> 00:04:28.000
Fernando's family has
always been a very flamenco family.

00:04:28.000 --> 00:04:31.600
For example,
his sister María Soleá.

00:04:31.600 --> 00:04:33.800
His brother El Carilí, who was a singer.

00:04:33.800 --> 00:04:36.570
His brothers El Sordo
and El Móni who were dancers.

00:04:37.570 --> 00:04:38.650
And his aunt La Tita.

00:04:38.650 --> 00:04:44.420
The Fernández family
is a very flamenco family.

00:04:44.420 --> 00:04:46.850
With incredible artistic abilities.

00:04:52.480 --> 00:05:00.240
Fernando was given the most legitimate

00:05:00.720 --> 00:05:03.080
Flamenco breed one can think of.

00:05:10.560 --> 00:05:15.970
It was a family
that lived the post-war period.

00:05:15.970 --> 00:05:18.280
They lived like everyone
else, in tenement houses.

00:05:19.240 --> 00:05:21.220
But they were very close-knit.

00:05:21.280 --> 00:05:23.280
They loved each other very much.

00:05:23.360 --> 00:05:27.620
My father, maybe, as the youngest,
was the favorite child of all of them.

00:05:37.570 --> 00:05:47.880
The neighbourhood of Santiago is
where great authors of "cante gitano" were born.

00:05:48.160 --> 00:05:52.820
It is the source of "cante gitano"
that has produced the most talent.

00:05:57.280 --> 00:06:03.310
Naturally, the children who were
born there were embedded in a very

00:06:03.310 --> 00:06:09.050
strong musical culture and
dynamics that had a lot of presence.

00:06:11.620 --> 00:06:14.850
They played clapping and dancing.

00:06:14.850 --> 00:06:20.600
They made their physical exercise,
but dancing and singing and moving.

00:06:20.800 --> 00:06:27.240
And that, naturally, is a background,
where Fernando Terremoto was born.

00:06:46.820 --> 00:06:49.800
That neighborhood has
a never-ending source.

00:06:49.800 --> 00:06:52.170
There must be something, I don't
know how to explain it, my dear.

00:06:52.170 --> 00:06:55.600
But there must be something
very big from that time, from this one.

00:06:55.600 --> 00:07:00.280
When that kind of artists came out
in the Santiago neighbourhood or in the Plazuela, right?

00:07:00.280 --> 00:07:06.940
Lola, Tía Paca, him, Serna,
Tío Borrico, also, la Piriñaca, my father.

00:07:06.940 --> 00:07:10.170
The sources of the young people
are there, taking up from there.

00:07:10.200 --> 00:07:11.040
It has produced many artists.

00:07:11.080 --> 00:07:14.160
The whole town produced two or three
and here is plentiful.

00:08:08.220 --> 00:08:10.050
You've seen
the pictures, haven't you?

00:08:10.050 --> 00:08:12.770
The tiny kid that Terremoto was then.

00:08:12.770 --> 00:08:17.020
There he would be around 7
or 8 years old, at the most.

00:08:17.600 --> 00:08:22.940
And we were already going
out singing and dancing around.

00:08:22.940 --> 00:08:27.770
They called us for parties
and, if not, we went to the "tabancos".

00:08:27.770 --> 00:08:32.570
That is how we
used to call a cafeteria in Jerez.

00:08:32.570 --> 00:08:36.250
There I would sing to
him and he would dance.

00:08:36.250 --> 00:08:38.940
Then he would sing
to me and I would dance.

00:08:38.940 --> 00:08:40.600
Then we would pass our berets.

00:08:40.600 --> 00:08:45.370
So they would give us something
to eat, because we didn't even have shoes.

00:08:45.370 --> 00:08:48.020
We were nearly half naked.

00:08:48.020 --> 00:08:51.340
We had nothing to wear at that time.

00:08:56.620 --> 00:09:03.140
Don Quixote said, "Sancho,
with a full belly, few things can be done".

00:09:03.720 --> 00:09:05.800
The truth is...

00:09:08.400 --> 00:09:11.200
...I wouldn't say hunger,
but need.

00:09:11.200 --> 00:09:15.240
There are many types
of need. I was very much in need.

00:09:15.540 --> 00:09:19.850
I think Fernando would suffer the same
too and also all the "cantaores" of that time.

00:09:19.850 --> 00:09:23.850
Cultural need, hunger.

00:09:25.080 --> 00:09:29.420
Are there any "Señoritos" that sing flamenco?
Not even one, right? There you have it.

00:09:29.850 --> 00:09:32.400
I've suffered hunger
often, a lot of scarcity\i1}

00:09:32.510 --> 00:09:35.770
Because my poor mother, may she
rest in peace, would go to the market.

00:09:35.770 --> 00:09:39.600
There was neither bread nor anything else.

00:09:39.850 --> 00:09:45.800
There was fig bread, many
figs, carob beans, and many tigernuts.

00:09:45.800 --> 00:09:47.800
Do you know what I mean?

00:09:48.250 --> 00:09:51.420
But I've been through
a lot of struggle myself, a lot.

00:09:52.000 --> 00:09:55.000
And all the old gypsies who
sang would go to the "venta"

00:09:55.000 --> 00:09:58.400
to look for the rich guys who
arrived with two or three drinks on them.

00:09:58.400 --> 00:10:01.310
And they listened,
"let's listen to flamenquito".

00:10:01.310 --> 00:10:05.170
One would gave him 25 pesetas, another would gave
him... Do you understand? That's what the deal.

00:10:08.400 --> 00:10:11.510
I liked dancing a lot.

00:10:11.600 --> 00:10:15.420
People used to say;
"this boy can be a good dancer".

00:10:15.420 --> 00:10:18.680
But one day I went
for a walk in Larga Street.

00:10:18.680 --> 00:10:22.850
In the Casino Jerezano there were some
gentlemen who knew about singing.

00:10:23.540 --> 00:10:26.600
And They called me. They started
singing and I danced.

00:10:26.600 --> 00:10:30.170
But I had two or three drinks and
it felt great and I started singing.

00:10:30.620 --> 00:10:33.170
And then a man there told me:

00:10:33.170 --> 00:10:34.220
"Dammit "Terremoto",..."

00:10:34.220 --> 00:10:38.850
"You have to quit dancing because
you are going to be a master of singing".

00:10:38.850 --> 00:10:44.570
I took it so seriously that
I went home, I got in the mood.

00:10:44.600 --> 00:10:45.850
And said: "I won't dance anymore!"

00:11:32.570 --> 00:11:38.340
He learned from the natural sources
of the old "flamencos" of the neighborhood.

00:11:38.340 --> 00:11:41.050
Keep in mind that being born

00:11:41.080 --> 00:11:43.820
in a world around you that

00:11:45.250 --> 00:11:47.710
is always sending you things.

00:11:48.220 --> 00:11:50.770
If you don't pick them up
you are very clumsy, but

00:11:50.880 --> 00:11:56.370
with a little bit of idiosyncrasy
those things are picked up.

00:11:59.770 --> 00:12:01.570
When he started singing

00:12:01.570 --> 00:12:08.200
he showed promise in a very
extraordinary and orginal way

00:12:08.200 --> 00:12:11.940
that everybody supported him.

00:12:34.970 --> 00:12:37.020
At that time we were

00:12:37.020 --> 00:12:40.420
old enough, sizewise I have
always been small

00:12:40.420 --> 00:12:44.280
But we were in our
twenties around that time.

00:12:48.080 --> 00:12:52.600
Pulpón and El Poeta, a guitar player,
came to Jerez and brought us

00:12:52.600 --> 00:12:55.020
to El Guajiro.

00:12:55.970 --> 00:12:59.680
Terremoto wouldn´t perform with
everybody, he would dance alone.

00:12:59.680 --> 00:13:01.280
And sing to himself.

00:13:01.520 --> 00:13:04.510
He sang “On a high
red roof Don Gato sat”

00:13:04.510 --> 00:13:06.710
And it was a hit.

00:13:18.600 --> 00:13:20.880
And so we began, until

00:13:20.880 --> 00:13:24.200
Terremoto recorded the first album

00:13:24.200 --> 00:13:26.200
from a contest that was held in Jerez.

00:13:26.200 --> 00:13:28.640
Philips was the one

00:13:29.320 --> 00:13:32.120
who paid for the album and
took him to record.

00:13:44.680 --> 00:13:47.080
And I started singing.

00:13:47.080 --> 00:13:52.800
Until I won the first prize
here in Jerez.

00:13:52.960 --> 00:13:54.440
And I went ot Madrid.
And I recorded

00:13:55.180 --> 00:13:55.560
I recorded.

00:13:56.200 --> 00:13:59.620
And my first album
was a huge success all over Spain,

00:14:00.110 --> 00:14:02.220
And I got a little better.

00:14:02.340 --> 00:14:05.170
Which label did you go to record first,
was it Hispavox?

00:14:05.170 --> 00:14:07.310
No, it was Philips.

00:14:07.340 --> 00:14:11.250
You recorded with Philips...
What did you record, an LP by yourself?

00:14:11.250 --> 00:14:13.170
By myself, but it was a small record.

00:14:13.170 --> 00:14:15.770
- Did it sell well?
- Yes, very well.

00:14:15.770 --> 00:14:18.480
Now people are paying
tons of money for that record.

00:14:18.480 --> 00:14:21.140
It came out very well.
The best I've done.

00:14:21.140 --> 00:14:22.540
You haven't made many records.

00:14:22.540 --> 00:14:26.220
No, I have made few.
I have made only 4 or 5 records.

00:14:27.420 --> 00:14:30.680
Luis el Compare, a gypsy from Cádiz, and
myself accompanied Terremoto clapping.

00:14:30.680 --> 00:14:35.140
It was the first album he recorded,
which goes "At the doorway with your mother

00:14:35.140 --> 00:14:37.450
Your mother looks like the sun
and you the Virgin of Carmen."

00:14:37.450 --> 00:14:39.450
That was sung by Terremoto.

00:15:01.910 --> 00:15:07.170
The first album
Terremoto made with me...

00:15:07.170 --> 00:15:11.370
...that album was worthy of a tribute

00:15:11.370 --> 00:15:18.710
because it meant a real evolution.

00:15:18.710 --> 00:15:21.140
The same with the singing
as with the guitar.

00:16:25.520 --> 00:16:27.540
Fernando Terremoto arrives in Madrid.

00:16:27.560 --> 00:16:30.620
Maybe 1961, 1962.

00:16:30.620 --> 00:16:34.620
He was already quite famous.

00:16:34.620 --> 00:16:38.710
He had worked in El Guajiro,
a tablao in Seville.

00:16:38.710 --> 00:16:43.910
He was very well known
in all of Andalusia.

00:16:44.240 --> 00:16:48.540
From the Sixties and also in
the first years of the Seventies

00:16:49.040 --> 00:16:52.240
Madrid lived a golden age of Flamenco.

00:16:52.450 --> 00:16:56.370
Because there were a lot of
great tablaos in Madrid

00:16:56.370 --> 00:17:00.680
with great figures,
and one of them was Fernando Terremoto.

00:17:01.080 --> 00:17:03.880
And in all of those tablaos

00:17:03.880 --> 00:17:06.480
there have been a stream
of very important artists

00:17:06.600 --> 00:17:09.280
that remain in Flamenco History.

00:17:09.280 --> 00:17:13.620
Let´s say El Corral de la Morería for example,
there was La Paquera de Jerez.

00:17:13.620 --> 00:17:15.800
Porrina de Badajoz.

00:17:15.800 --> 00:17:19.250
There were great flamenco singers, Faíco,

00:17:19.250 --> 00:17:21.080
in other place, there was Fosforito,

00:17:21.080 --> 00:17:23.940
somewhere else was Terremoto,
in El Duende.

00:17:23.940 --> 00:17:26.220
In Los Canasteros, my father, Sordera.

00:17:26.220 --> 00:17:28.450
There was María Vargas, La Perla,

00:17:28.450 --> 00:17:32.880
There was Juan Villar, Panseco,
El Cabrero, José Menese.

00:17:32.880 --> 00:17:34.020
Even Rocío Jurado!

00:17:34.020 --> 00:17:37.710
Because my father worked
in the first tablao in Madrid

00:17:37.710 --> 00:17:40.480
El Duende,
that he inaugurated

00:17:40.480 --> 00:17:43.420
with a few artists, and among
them was Rocío Jurado.

00:17:43.420 --> 00:17:48.140
That were Rocío Jurado's beginnings,
El Duende was Pastora Imperio's tablao.

00:17:51.280 --> 00:17:53.540
In Madrid were the
top notch artists.

00:17:53.540 --> 00:17:56.310
It was the place the artists
had to achieve.

00:17:56.310 --> 00:17:57.940
As they say in bullfighting

00:17:59.160 --> 00:18:02.450
you have to get to Las Ventas
and cut off the bull's ears in Las Ventas,

00:18:02.450 --> 00:18:04.450
Here it is the same.

00:18:04.450 --> 00:18:09.480
While I was in Torres Bermejas,
he was already with Caracol.

00:18:09.480 --> 00:18:12.450
And all of us from Jerez

00:18:12.880 --> 00:18:14.570
were sought-after.

00:18:14.570 --> 00:18:16.570
Caracol only wanted
artists from Jerez.

00:18:16.570 --> 00:18:19.310
That was the golden age of flamenco,

00:18:19.310 --> 00:18:20.910
the one I lived,

00:18:20.910 --> 00:18:23.480
and one had to sing
very well to be able to work!

00:18:33.800 --> 00:18:37.940
Fernando lived in a place in Madrid

00:18:37.940 --> 00:18:41.770
that was the extension
of the Concepción neighbourhood.

00:18:42.800 --> 00:18:50.170
It was a kind of flamenco microclimate,
where a lot of artists lived in.

00:18:50.170 --> 00:18:51.620
There, in the Concepción neighbourhood,

00:18:51.620 --> 00:18:54.650
El Lebrijano also lived there,
and El Güito, who was from Madrid.

00:18:54.650 --> 00:18:58.170
Adela la chaqueta.
It was a very flamenco neigbourhood. Picoco.

00:18:58.170 --> 00:19:00.170
It was an extraordinary neighbourhood!

00:19:01.540 --> 00:19:07.310
Here Fernando Terremoto spent
a few years of his life.

00:19:07.310 --> 00:19:11.040
When he was at his best

00:19:12.540 --> 00:19:15.680
I was little and
went to his place every day.

00:19:15.680 --> 00:19:17.570
I used to dress him, shave him,

00:19:17.680 --> 00:19:21.280
comb his hair, take him downstairs to get him in the taxi,
because he was afraid to be in the backseat.

00:19:21.280 --> 00:19:25.570
He always jumped into the front seats of the taxis and I
used to give the driver a note so he knew where to go.

00:19:25.740 --> 00:19:29.770
He was a prince, he never
remembered where he lived.

00:19:29.770 --> 00:19:32.340
So he carried a written card

00:19:32.340 --> 00:19:34.510
that said Virgen de Lourdes Street.

00:19:34.510 --> 00:19:37.770
He would gave it to the taxi driver
on his way in, said nothing but good night

00:19:37.770 --> 00:19:39.340
and the driver would take him home.

00:19:53.170 --> 00:19:55.200
The nice thing...

00:19:55.200 --> 00:20:00.880
about Terremoto is that
he always had a naughty look.

00:20:00.880 --> 00:20:03.170
He used to laugh with his eyes.

00:20:04.420 --> 00:20:07.970
And Meneses was always more
solemn, in Pepe's photos

00:20:07.970 --> 00:20:11.280
he had always more presence, didn't he?

00:20:11.280 --> 00:20:13.020
A wonder, Fernando was a wonder.

00:20:13.050 --> 00:20:15.400
Fernando at heart was a...

00:20:17.370 --> 00:20:18.280
...like a...

00:20:18.280 --> 00:20:20.680
Maybe I say too much,
but I don't think so.

00:20:20.680 --> 00:20:22.680
He was like a little boy.

00:20:29.600 --> 00:20:32.000
He could be treated any way.

00:20:32.000 --> 00:20:34.400
Well, supposedly in any way.

00:20:34.400 --> 00:20:38.480
He had his personality
and his thing. A lot of personality!

00:20:38.480 --> 00:20:44.940
But he was very docile to deal
with and was a charmer, of course.

00:20:50.420 --> 00:20:52.480
I'm going to tell an anecdote
about him and La Paquera.

00:20:52.560 --> 00:20:56.170
How noble he and La Paquera were,

00:20:56.170 --> 00:21:00.850
two people of equal
nobility and way of being.

00:21:00.850 --> 00:21:03.880
They went to work in Barcelona together.

00:21:03.880 --> 00:21:08.540
And my mother and Paquera's
partner, Juanita, went with them.

00:21:08.540 --> 00:21:15.540
The two of them sat in the front,
where the window of the plane was.

00:21:15.540 --> 00:21:18.850
They had a hard time

00:21:18.850 --> 00:21:20.370
because they were afraid of flying.

00:21:20.370 --> 00:21:23.850
It turns out that they get
inside, they put everything on,

00:21:23.850 --> 00:21:28.450
- and when it's time to take off...
- Next to the wing...

00:21:28.450 --> 00:21:33.570
When the plane started to take off

00:21:33.570 --> 00:21:36.480
one piece in the wing of the plane

00:21:36.480 --> 00:21:38.370
started moving, up and down

00:21:38.370 --> 00:21:41.420
and my father says
"Paquera, we are both stiff"

00:21:41.450 --> 00:21:46.570
"because the wing of the plane
is broken, look at that"

00:21:46.570 --> 00:21:52.910
And La Paquera would scream
"driver, driver, the wing is broken!"

00:21:52.910 --> 00:21:59.340
The one who resembles Fernando the most
is his daughter more than Fernandito,

00:21:59.340 --> 00:22:02.200
the daughter is identical to her father.

00:22:02.200 --> 00:22:05.450
Fernandito is not so similar.

00:22:33.680 --> 00:22:37.620
Terremoto at that time was a big deal.

00:22:37.620 --> 00:22:40.110
He would start singing and it
was like a hurricane coming,

00:22:40.200 --> 00:22:43.050
people, artists themselves...

00:22:43.050 --> 00:22:51.170
because the importance of Terremoto
was that he was an artist of artists,

00:22:51.170 --> 00:22:55.600
which is one of the most
beautiful things an artist can have,

00:22:55.600 --> 00:22:57.420
to be an artist of artists,

00:22:57.420 --> 00:22:59.710
who in short are the
ones who know about this.

00:22:59.800 --> 00:23:01.080
The ones who do it.

00:23:01.680 --> 00:23:03.200
Singer of singers, of course,

00:23:03.200 --> 00:23:06.310
when he was inspired,
nobody dared to sing after him.

00:23:06.310 --> 00:23:08.020
Some people sang
after him through signs.

00:23:08.020 --> 00:23:09.250
Who would dare to sing after him?

00:23:09.480 --> 00:23:10.310
He was genious!

00:23:10.640 --> 00:23:13.620
He was a man very much
loved by the other artists.

00:23:13.880 --> 00:23:15.850
He was one of the few artists

00:23:16.370 --> 00:23:20.220
that I have seen, in festivals,
when there are many artists

00:23:20.220 --> 00:23:23.650
the artist would sing and the others
would stay in the backstage.

00:23:23.650 --> 00:23:28.510
When Terremoto sang, that
also happened with Camarón,

00:23:28.510 --> 00:23:33.400
people went to listen to
him at the side of the stage.

00:23:33.400 --> 00:23:35.000
I saw that often.

00:24:47.600 --> 00:24:49.970
After El Duende,
my father was in Canasteros,

00:24:51.910 --> 00:24:53.220
working for Caracol.

00:25:03.140 --> 00:25:07.050
One day, in a tablao
that he owned in Madrid,

00:25:07.050 --> 00:25:12.370
Los Canasteros, he told me “Terremoto,
I want to sing 15 days with you, side by side.”

00:25:12.370 --> 00:25:15.820
Of course, I felt very nervous,
because that man was a giant of cante.

00:25:15.910 --> 00:25:21.310
But I agreed. I think I was
19 or 20 years old at that time,

00:25:21.310 --> 00:25:24.740
and I had a strength that he no longer had,

00:25:24.740 --> 00:25:27.570
because Caracol was an old man.

00:25:27.600 --> 00:25:30.020
Anyway, we sang a fandango each

00:25:30.310 --> 00:25:33.620
but it was not just me saying it,
people were saying...

00:25:34.110 --> 00:25:37.000
“we want Terremoto again, we want him again!”

00:25:37.000 --> 00:25:39.970
In the end, 2 days after, he told
me “I will never sing with you again!”

00:25:39.970 --> 00:25:43.770
After that, he sang by
himself, never together.

00:25:43.770 --> 00:25:46.280
Caracol sang that cante
called "Carcelero, carcelero".

00:25:46.680 --> 00:25:51.170
With his son-in-law playing piano
and his daughter Luisa dancing.

00:25:52.820 --> 00:25:57.170
If Caracol would tell him anything and
messed with him, that surely would end badly.

00:25:58.110 --> 00:26:01.340
I remember one time
Caracol arrived to Las Brujas

00:26:03.170 --> 00:26:08.110
with a 1.000 pesetas bill hanging in
the lapel, like he was selling lottery.

00:26:08.250 --> 00:26:12.680
and Terremoto replied to him “look,
I have a bag full of bills like these

00:26:13.310 --> 00:26:16.400
but I did not earn them singing
"Quien te puso Salvadora", ok?”

00:26:16.640 --> 00:26:18.620
Because he had those quips,

00:26:19.060 --> 00:26:20.560
and they clashed,

00:26:20.920 --> 00:26:24.840
eventhough he liked Caracol very much.

00:26:25.440 --> 00:26:28.170
Yes, they clashed.

00:26:28.800 --> 00:26:32.080
Bear in mind that I am
talking about 2 giants.

00:26:32.080 --> 00:26:33.340
It is a big deal.

00:26:33.340 --> 00:26:34.570
Two giants, but

00:26:34.570 --> 00:26:37.510
my father was the biggest fan of Caracol, my
father loved him, he was his role model.

00:26:37.510 --> 00:26:42.220
And... between 2 such great artists
and 2 artists of inspiration,

00:26:43.170 --> 00:26:45.020
if one listened to the other,

00:26:46.050 --> 00:26:49.000
a word was generally said,
he got distempered,

00:26:50.200 --> 00:26:52.620
and if the other listened to
the first one, it was the same.

00:26:53.680 --> 00:26:58.450
Caracol couldn´t bear to listen to him
singing because he became unsettled,

00:26:58.450 --> 00:27:02.340
and he would said to Paula, the waiter, “Paula

00:27:02.370 --> 00:27:04.220
I can't listen to him, I can't...

00:27:04.220 --> 00:27:06.850
I get discomposed when
I listen to that gypsy singing”.

00:27:06.850 --> 00:27:09.850
And if uncle Fernando
was a big fan of Caracol,

00:27:09.850 --> 00:27:12.170
Caracol was even a bigger fan of him.

00:28:08.480 --> 00:28:11.420
"You are a very big
fan of Manolo Caracol.

00:28:11.420 --> 00:28:13.680
You like a lot to...

00:28:13.680 --> 00:28:17.710
maybe, give your cante sometimes
a little vibe that resembles his”

00:28:17.710 --> 00:28:19.200
"Yes, I do,

00:28:19.200 --> 00:28:21.710
because I like him because he is
a gentleman that knows how to sing,

00:28:21.820 --> 00:28:24.200
that also sings in a very authentic way.

00:28:24.200 --> 00:28:25.680
God rest his soul.

00:28:25.680 --> 00:28:27.800
And when I sing
fandanguillos in Caracol’s fashion

00:28:27.820 --> 00:28:29.200
I do it my way

00:28:29.200 --> 00:28:31.200
and people love it.

00:28:39.000 --> 00:28:43.140
After working in Los Canasteros,
my father worked in Las Brujas,

00:28:43.140 --> 00:28:47.880
and there he finished and
we came back to Jerez.

00:28:47.880 --> 00:28:50.080
But my father worked in Las Brujas

00:28:50.940 --> 00:28:53.170
for at least 8 or 9 years or even more.

00:28:53.170 --> 00:28:54.880
And then we came back

00:28:54.880 --> 00:28:57.680
and my father worked for Lola
Flores, that is why we went there.

00:28:57.680 --> 00:28:58.910
He worked in Caripén.

00:28:58.910 --> 00:29:02.080
Lola Flores could not stand listening to him

00:29:02.080 --> 00:29:03.740
because she bursted into tears.

00:29:03.740 --> 00:29:05.740
She used to say “I can not stand it”.

00:29:06.000 --> 00:29:09.540
One of Fernando
Terremoto's qualities was his

00:29:09.570 --> 00:29:12.110
enormous capacity for transmission.

00:29:12.600 --> 00:29:18.680
He was a cantaor who
transmitted a very special energy,

00:29:18.680 --> 00:29:21.710
an energy that moved,

00:29:21.710 --> 00:29:27.600
an energy that suggested another worlds.

00:29:27.600 --> 00:29:30.420
Probably, he did not realize this.

00:29:31.110 --> 00:29:33.650
Fernando was like a medium

00:29:33.650 --> 00:29:37.770
that channelled that energy

00:29:37.770 --> 00:29:41.770
to the public, to the audience.

00:29:42.570 --> 00:29:43.540
Radio Popular.

00:29:43.540 --> 00:29:46.650
He was at home every day at one
o'clock to listen to Radio Popular.

00:29:46.650 --> 00:29:48.110
because every day a
different artist would sang.

00:29:48.110 --> 00:29:49.680
At one o´clock

00:29:49.680 --> 00:29:51.800
Every day an artist would sing.

00:29:51.800 --> 00:29:55.170
And the artists who sang
were those of his time

00:29:55.170 --> 00:29:57.940
La Perla, La Paquera, Mairena...
Everyone.

00:29:57.940 --> 00:30:00.250
He would listen to them.

00:30:00.250 --> 00:30:03.050
and would said
"this is good, this is bad,

00:30:03.050 --> 00:30:04.510
this is pinching

00:30:04.510 --> 00:30:06.570
that one sings fine."

00:30:06.570 --> 00:30:08.080
But what used to happen

00:30:08.080 --> 00:30:10.880
to my father is something inexplicable.

00:30:10.880 --> 00:30:13.080
I was in my twenties at that time

00:30:13.080 --> 00:30:15.570
and I did not understand that,

00:30:15.650 --> 00:30:17.600
but now I do.

00:30:17.600 --> 00:30:22.540
Whenever my father listened to himself singing
in the radio he would start crying like a child,

00:30:23.310 --> 00:30:28.140
he used to cry with his own cante,
not even himself could bear its own echo.

00:30:28.220 --> 00:30:31.400
When Terremoto sang
it was pure feeling.

00:30:31.510 --> 00:30:36.170
It was like externalizing
that feeling that one has inside.

00:30:36.840 --> 00:30:40.190
When his mother died,
he bursted into tears,

00:30:40.400 --> 00:30:43.940
and Rafael told me “I was listening
to the uncle crying for his mother

00:30:43.940 --> 00:30:45.710
and the way he was crying”

00:30:45.850 --> 00:30:47.450
that was what my cousin Rafael lived

00:30:47.710 --> 00:30:49.880
“the way he was crying for her

00:30:49.880 --> 00:30:51.740
I thought I was listening
a cante por seguiriyas."

00:31:14.740 --> 00:31:16.000
Ole!

00:31:35.170 --> 00:31:37.370
Hurrah for terremoto!

00:31:40.820 --> 00:31:42.050
Ole!

00:31:54.820 --> 00:31:56.340
Let's go, Manuel!

00:32:49.910 --> 00:32:56.370
As he would say "there will be some that sing better
than me, but not more gypsy than me"

00:33:12.570 --> 00:33:15.450
Well dear friends, welcome
to "Los Caminos del Cante".

00:33:15.450 --> 00:33:18.350
we have just heard a unique piece,

00:33:18.430 --> 00:33:21.400
because everything
Fernando Fernández Monje did,

00:33:21.420 --> 00:33:22.700
Terremoto de Jerez

00:33:22.700 --> 00:33:24.860
for the greater honour and glory of cante.

00:33:25.210 --> 00:33:27.390
It was unique, original,

00:33:27.390 --> 00:33:31.550
because it depended in
many cases, or in all cases

00:33:31.790 --> 00:33:35.470
of a state of mind,
an intuition, a viscerality.

00:33:35.580 --> 00:33:36.750
He was a cantaor

00:33:36.960 --> 00:33:39.400
who, as El Torta would
say some time later

00:33:39.400 --> 00:33:43.960
"had no sketches or a preconceived
plan when it came to singing."

00:33:44.160 --> 00:33:45.960
He is a very transmitter singer,

00:33:45.960 --> 00:33:47.800
he communicates sound very well

00:33:47.980 --> 00:33:51.200
because he permeates it
with pain, feeling, aggressiveness,

00:33:51.260 --> 00:33:55.370
he puts many emotional characters
in each musical note he plays.

00:34:01.790 --> 00:34:04.730
Terremoto specifically had

00:34:05.280 --> 00:34:08.360
for cantes from Jerez,

00:34:08.490 --> 00:34:12.840
which are in some way brief and direct,

00:34:12.840 --> 00:34:16.350
that perhaps they do not
seek so much aesthetics

00:34:16.350 --> 00:34:18.860
as the direct message,

00:34:19.070 --> 00:34:21.800
Terremoto had the right abilities.

00:34:22.000 --> 00:34:23.760
It was the authentic Jerez’s school of singing,

00:34:23.760 --> 00:34:27.370
a very direct way of saying cante,

00:34:27.640 --> 00:34:31.340
and especially at that time,
a very free way.

00:34:31.340 --> 00:34:34.480
Because they knew orally transmitted cante,

00:34:34.480 --> 00:34:36.890
they listened to each other
and from that they learned.

00:34:44.270 --> 00:34:48.280
The music of cante gitano
is very similar to each other,

00:34:48.380 --> 00:34:50.160
it depends on the performers,

00:34:50.400 --> 00:34:54.730
so each performer with a piece
of music makes its own version.

00:34:55.040 --> 00:34:58.890
And then, depending on
their mood and their abilities,

00:34:58.890 --> 00:35:03.080
each one put the grain
of sand they wanted in cante,

00:35:03.210 --> 00:35:06.600
and the brushstrokes
that Terremoto puts,

00:35:06.600 --> 00:35:09.400
for example to the seguiriya,

00:35:09.630 --> 00:35:12.760
are all like little daggers
that stab the soul,

00:35:12.760 --> 00:35:14.350
to say the least.

00:35:15.980 --> 00:35:17.450
The cantes that suit me better

00:35:17.450 --> 00:35:19.920
are soleá, seguiriya and bulería,

00:35:20.280 --> 00:35:21.470
I do all sorts of singing styles,

00:35:21.470 --> 00:35:23.470
but those are the ones
I like the most,

00:35:23.480 --> 00:35:25.500
the ones that move me.

00:35:54.170 --> 00:35:55.800
The "Canta Jerez" album

00:35:56.590 --> 00:35:58.650
there is a saying among fans

00:35:58.810 --> 00:36:01.470
that it has possibly been

00:36:01.470 --> 00:36:04.030
the most true flamenco recording

00:36:04.570 --> 00:36:06.780
ever made.

00:36:07.080 --> 00:36:10.460
They coincide

00:36:10.840 --> 00:36:12.650
on an album singing individually

00:36:12.760 --> 00:36:15.610
and then at a final party, "por bulerías",

00:36:15.610 --> 00:36:20.110
in a collective way, prestigious
people that are on that album,

00:36:21.420 --> 00:36:25.130
like Fernando Terremoto, but
also Diamante Negro, Tío Sordera,

00:36:25.290 --> 00:36:29.640
Tío Borrico, Romerito,
Tío Manuel Fernández El Serna.

00:36:31.370 --> 00:36:35.500
It has remained in
the annals of flamenco

00:36:35.500 --> 00:36:41.180
as something that is a
reflection of an entire era.

00:36:42.380 --> 00:36:46.700
For many people it was a discovery

00:36:46.700 --> 00:36:52.650
because that way of singing,
that way of expressing was unknown.

00:36:52.830 --> 00:36:54.650
It was a wonderful album

00:36:54.650 --> 00:36:58.090
because all the childhood
friends could get together.

00:36:58.090 --> 00:37:00.650
They were childhood friends

00:37:00.810 --> 00:37:04.410
and they met when they
are already grown men,

00:37:04.410 --> 00:37:06.670
here in Madrid and
they got into a studio.

00:37:06.670 --> 00:37:10.200
Whoever felt like singing started singing.

00:37:10.200 --> 00:37:12.080
"Now I feel like singing,
I am going to sing."

00:37:12.080 --> 00:37:13.040
Straight away, live

00:37:13.080 --> 00:37:14.280
one an then another

00:37:14.280 --> 00:37:17.500
They were not worried about the results,

00:37:17.640 --> 00:37:19.120
but it was turning out well,

00:37:19.120 --> 00:37:21.120
because it was a pure thing

00:37:21.120 --> 00:37:23.420
there was no rehearsal

00:37:23.450 --> 00:37:24.200
no,no,no.

00:37:24.240 --> 00:37:25.710
No rehearsal.

00:37:26.330 --> 00:37:27.080
It was a wild thing!

00:37:44.990 --> 00:37:46.830
They should have made
a movie out of it,

00:37:47.340 --> 00:37:48.910
we only
had Tío Pepe wine

00:37:49.080 --> 00:37:49.900
and ham!

00:37:51.180 --> 00:37:52.140
A lot of Tío Pepe!

00:37:52.700 --> 00:37:53.360
You know?

00:37:54.010 --> 00:37:55.480
And that is how it came out.

00:37:56.280 --> 00:37:57.480
The "fin de fiesta"

00:37:57.480 --> 00:37:59.480
have you seen a better "fin de fiesta"?

00:37:59.820 --> 00:38:00.860
And all in the same key.

00:38:00.860 --> 00:38:02.590
We were all singing in the same key.

00:38:02.990 --> 00:38:04.270
Tío Borrico dancing,

00:38:05.530 --> 00:38:08.600
Terremoto also dancing
bulerías when Sordera sang,

00:38:09.130 --> 00:38:10.990
Sordera sang...

00:38:10.990 --> 00:38:13.950
“I'm moving tonight,
I'm taking a thing...”

00:38:13.950 --> 00:38:15.530
He danced.

00:38:15.740 --> 00:38:18.440
That was already a party
in the Santiago neighborhood.

00:38:18.940 --> 00:38:22.270
If a disabled person would have
been there, he would have started dancing.

00:38:41.000 --> 00:38:45.840
You have to excuse me
because I have been ill all week

00:38:46.160 --> 00:38:47.710
with a sore throat

00:38:48.510 --> 00:38:51.180
but I am going to put all my heart

00:38:51.400 --> 00:38:54.120
all that I can,
for the people of Jerez.

00:39:04.460 --> 00:39:06.970
He had to live an era
with one foot in two worlds,

00:39:07.480 --> 00:39:10.080
the era of tablaos and
the era of festivals,

00:39:10.080 --> 00:39:11.000
because he alternated.

00:39:11.100 --> 00:39:12.030
I remember

00:39:12.160 --> 00:39:15.770
when the festivals started to get serious,

00:39:15.770 --> 00:39:18.960
at the beginning of the seventies,
year 1970-1971,

00:39:18.960 --> 00:39:24.090
he was in a tablao in Seville,

00:39:24.090 --> 00:39:26.960
Los Gallos, that still exists,

00:39:27.480 --> 00:39:30.860
and also he was doing festivals

00:39:32.060 --> 00:39:34.940
Fernando did not stay
in Madrid because

00:39:35.560 --> 00:39:38.490
the Andalusian festivals
began to emerge.

00:39:38.880 --> 00:39:40.490
He was always

00:39:40.490 --> 00:39:43.150
wanted at festivals.

00:39:43.150 --> 00:39:47.360
For him performing at
a festival meant

00:39:47.360 --> 00:39:50.320
earning the same money he would
earn for a whole month in a tablao.

00:39:50.320 --> 00:39:53.610
Furthermore, he was
comfortable in Jerez

00:39:53.790 --> 00:39:56.270
like nowhere else, he lived in

00:39:56.510 --> 00:39:58.750
Asunción neighbourhood.

00:39:59.130 --> 00:40:03.050
Then, Fernando, as soon
as he had several contracts,

00:40:03.050 --> 00:40:05.720
settled again in Jerez

00:40:06.090 --> 00:40:10.590
and from there he traveled
wherever he was called to perform.

00:40:59.520 --> 00:41:03.130
The atmosphere of Madrid
was not the best for him

00:41:03.130 --> 00:41:04.540
because

00:41:04.880 --> 00:41:08.570
it was an environment
of tablao and parties.

00:41:08.650 --> 00:41:10.560
In fact

00:41:11.070 --> 00:41:12.510
in the mid-seventies,

00:41:12.510 --> 00:41:15.680
as Juan Ignacio Primo recently recalled

00:41:15.850 --> 00:41:19.640
his wife used to accompany
him to control him,

00:41:19.640 --> 00:41:25.050
so he wouldn´t drink too much.

00:41:26.270 --> 00:41:28.640
It was very moving to see

00:41:29.400 --> 00:41:33.070
Fernando´s wife while he was singing

00:41:34.000 --> 00:41:36.240
because she was sitting in the audience

00:41:36.490 --> 00:41:40.200
praying all the time while he sang.

00:41:40.380 --> 00:41:44.090
It was very moving to
see how she lived

00:41:44.090 --> 00:41:46.090
those moments.

00:41:46.560 --> 00:41:50.040
Usually good artists are bohemian

00:41:51.600 --> 00:41:52.760
or have issues.

00:42:46.170 --> 00:42:49.200
Chocolate could not be left for
the last performance in a festival,

00:42:49.980 --> 00:42:51.920
because he would be already drunk.

00:42:52.200 --> 00:42:53.920
He had to go earlier

00:42:54.330 --> 00:42:55.960
so he could sing well.

00:42:56.030 --> 00:42:57.290
The same happened with Terremoto.

00:42:57.640 --> 00:42:59.550
Terremoto was able to get drunk

00:42:59.600 --> 00:43:00.800
even buying grapes.

00:43:01.340 --> 00:43:03.260
This also used to happen to Caracol.

00:43:03.260 --> 00:43:05.960
When Caracol wanted to sing he
needed to be a little tipsy.

00:43:06.400 --> 00:43:07.080
And it's true

00:43:07.240 --> 00:43:09.480
when I come up the stage
to sing I suddently want to piss

00:43:10.010 --> 00:43:11.260
my hands get cold

00:43:11.260 --> 00:43:12.140
my mouth gets dry.

00:43:12.140 --> 00:43:14.960
Until I sit down and
listen to the guitar

00:43:15.440 --> 00:43:17.600
I can't before.

00:43:18.400 --> 00:43:20.410
That is a show of
respect for the audience.

00:43:20.940 --> 00:43:23.550
If you are going to sing

00:43:23.840 --> 00:43:26.000
and just like that take out the guitar
and sing, that is not possible.

00:43:26.000 --> 00:43:27.180
you need to take the
edge off a little earlier,

00:43:27.210 --> 00:43:28.620
Take a couple of drinks
and liven yourself up.

00:43:28.620 --> 00:43:29.610
But if you have to get there

00:43:29.760 --> 00:43:32.520
"it is already late and you need to
take the guitar because we have to..."

00:43:32.640 --> 00:43:33.690
Who is going to take the guitar?

00:43:33.690 --> 00:43:35.690
It happens to Tomate the same as me.

00:43:36.060 --> 00:43:39.070
What you need to do is take a couple
of drinks and take the edge off.

00:43:52.410 --> 00:43:56.090
We, the ones from here, the
gypsies of Jerez

00:43:57.500 --> 00:43:59.150
we are very fond of our land.

00:43:59.150 --> 00:44:02.540
We are deeply rooted
here, in our roots.

00:44:02.540 --> 00:44:07.630
We always had the intention
of coming back to Jerez.

00:44:08.330 --> 00:44:09.660
"Well, you are living in Jerez right now.

00:44:09.680 --> 00:44:10.360
Are you happy here?

00:44:10.720 --> 00:44:11.210
A lot!

00:44:12.600 --> 00:44:13.610
A lot really.

00:44:13.610 --> 00:44:15.290
And what are you doing now in Jerez?

00:44:15.820 --> 00:44:17.950
Here, I am resting.

00:44:19.340 --> 00:44:20.030
I rest,

00:44:20.430 --> 00:44:23.080
I spend time with my children,
my wife and my little home.

00:44:23.520 --> 00:44:25.080
I get up in the morning,

00:44:25.080 --> 00:44:27.720
I go for a walk, I go to Volapié,

00:44:28.650 --> 00:44:29.760
a bar here

00:44:30.760 --> 00:44:32.300
and I play dominoes,

00:44:32.300 --> 00:44:33.320
play card games,

00:44:33.480 --> 00:44:34.780
entertain my friends,

00:44:34.910 --> 00:44:35.800
and then we spread out.

00:44:36.220 --> 00:44:39.630
And why do you do that with
the cigarette, removing the tip?

00:44:39.880 --> 00:44:43.450
Yes, since I started
smoking I always did that,

00:44:43.770 --> 00:44:45.850
I always took a little bit away,

00:44:46.430 --> 00:44:48.620
because I believe
that suits my voice better,

00:44:49.340 --> 00:44:51.690
taking away that little tip

00:44:51.840 --> 00:44:53.600
my voice sounds better.

00:44:54.480 --> 00:44:56.350
There are many people

00:44:56.400 --> 00:44:58.330
whom I ask  for a cigarette
and they doesn't give it to me.

00:44:58.680 --> 00:44:59.980
I ask “can you give
me a cigarette?

00:44:59.980 --> 00:45:03.310
and they reply, "no, because you
break it in half, so I won't give it to you"

00:45:03.310 --> 00:45:05.310
Long live my town!

00:45:08.920 --> 00:45:11.680
I could be rich in Madrid
but instead I came here

00:45:12.360 --> 00:45:14.800
I said "I don´t want Madrid,
I want my homeland"

00:45:16.090 --> 00:45:18.840
There was a change, let's say,

00:45:19.340 --> 00:45:22.520
when the democratic
city councils were instituted.

00:45:22.840 --> 00:45:25.020
And when the democratic
city councils started

00:45:25.020 --> 00:45:29.420
then the city councils entered
into competition with each other.

00:45:29.480 --> 00:45:32.570
And the flamenco artists

00:45:32.570 --> 00:45:34.570
took advantage of that competition.

00:45:35.100 --> 00:45:37.690
Until that moment, until the time
when the festivals began

00:45:38.090 --> 00:45:41.020
flamencos made a living in tablaos

00:45:41.020 --> 00:45:44.120
in the variety shows,
to put some name on it

00:45:44.590 --> 00:45:47.240
and at parties.

00:45:49.160 --> 00:45:53.800
Festivals were better for them,
specially in all their splendour.

00:45:54.010 --> 00:45:57.400
There were around 60 or
70 festivals in one summer.

00:46:04.250 --> 00:46:05.480
Doing things

00:46:06.190 --> 00:46:09.160
in a very rehearsed way and
with a lot of preparation...

00:46:09.500 --> 00:46:11.340
is a new notion.

00:46:11.400 --> 00:46:17.050
In the past the artists of
cante, guitar and dance

00:46:18.910 --> 00:46:20.330
those who knew how to dance,

00:46:20.540 --> 00:46:22.940
knew how to sing and knew how to play

00:46:23.040 --> 00:46:25.680
did not need to rehearse.

00:46:26.090 --> 00:46:29.210
Instead, everyone did what they did

00:46:29.450 --> 00:46:31.420
and always came out perfectly.

00:46:32.300 --> 00:46:34.600
I've always seen that artists

00:46:34.940 --> 00:46:38.380
have had a time
prior to their performance

00:46:38.680 --> 00:46:42.960
when they wanted to get a little
bit of confidence with the tocaor,

00:46:42.960 --> 00:46:45.580
"look, I'm going to sing this, listen
to me, be careful with this tone."

00:46:45.840 --> 00:46:47.340
Never!

00:46:47.680 --> 00:46:50.270
It was such a natural thing

00:46:50.270 --> 00:46:53.000
what that man sang and
poured out of his mouth

00:46:53.100 --> 00:46:54.560
that it was time to perform

00:46:54.560 --> 00:46:57.850
and sometimes you had to tell him
"Fernando, they have already announced you".

00:47:19.370 --> 00:47:22.940
Everybody sang according
to their mood.

00:47:23.230 --> 00:47:25.920
And Terremoto in that is,
let's say, a specialist.

00:47:25.920 --> 00:47:28.400
Just what I told you,
what he contributes

00:47:28.650 --> 00:47:30.720
in each of the recordings that remain

00:47:31.200 --> 00:47:33.850
it shows he is doing it because it is
sprouting out of him at that moment,

00:47:33.850 --> 00:47:36.620
there you can really see his personality

00:47:36.620 --> 00:47:39.580
and those little daggers that I was
talking about, because it is

00:47:39.740 --> 00:47:42.440
the inspiration of that
moment, and if you ask me,

00:47:42.830 --> 00:47:45.560
you can even say that
what they call "duende"

00:47:45.560 --> 00:47:47.820
it is precisely that moment of inspiration

00:47:47.820 --> 00:47:50.090
where he pours through his
mouth what has come to him

00:47:50.090 --> 00:47:52.880
and that is what becomes
the magic of the moment.

00:48:03.210 --> 00:48:05.400
To me, speak about my father...
What can a I tell you?

00:48:07.000 --> 00:48:08.440
I can't study my father.

00:48:08.830 --> 00:48:10.600
First, because it is
impossible to study him.

00:48:11.180 --> 00:48:13.520
He is not a cantaor by the
book that you can pick up

00:48:13.820 --> 00:48:15.720
"tercios" he is doing,
because he never sang the same.

00:48:33.640 --> 00:48:35.320
That happens to everybody

00:48:35.560 --> 00:48:39.130
happens to bullfighters,
to football players... everybody.

00:48:39.130 --> 00:48:40.570
You are not going to be
always at your best, right?

00:48:40.570 --> 00:48:42.760
There has to be some bad moments.

00:48:43.020 --> 00:48:45.200
And above all to the
singers of inspiration.

00:48:45.230 --> 00:48:46.080
Indeed!

00:48:46.080 --> 00:48:48.170
That you have to be
comfortable to be able to sing well.

00:48:48.170 --> 00:48:50.960
Maybe you try and you
can not do it, it is not in you,

00:48:51.160 --> 00:48:53.320
But maybe half an hour later

00:48:54.030 --> 00:48:55.640
you feel in your body that it´s the time...

00:48:55.640 --> 00:48:56.360
now!

00:48:57.150 --> 00:48:59.520
And you try, and you do it delightfully,
the way it has to be done.

00:49:09.180 --> 00:49:11.360
There was a special feeling,

00:49:12.090 --> 00:49:13.870
Because Terremoto never
did the same thing.

00:49:13.900 --> 00:49:16.590
Terremoto... sang…

00:49:16.590 --> 00:49:19.520
Well, you have listened
to Terremoto’s seguiriyas.

00:49:19.520 --> 00:49:21.520
The way Terremoto sang

00:49:21.920 --> 00:49:25.050
was very attractive.

00:49:25.050 --> 00:49:29.070
You knew that he could
do something amazing anytime.

00:49:43.800 --> 00:49:46.080
I'm going to tell an anecdote.

00:49:46.080 --> 00:49:48.540
It is really good
and also, it is true..

00:49:49.070 --> 00:49:50.540
In La Línea de la Concepción.

00:49:50.830 --> 00:49:53.740
I have not seen in my life more
gypsies together in one place!

00:49:53.740 --> 00:49:54.990
Then, it was time to sing.

00:49:54.990 --> 00:49:59.840
Juanito el Morao, Cabrero,
Chocolate and Terremoto.

00:50:00.300 --> 00:50:02.880
He performed first, because Fernando
always arrived to any festival

00:50:03.210 --> 00:50:04.120
and said "me first".

00:50:04.120 --> 00:50:06.490
Not for nothing, but because
he wanted to get out of the way.

00:50:06.490 --> 00:50:09.790
He sang... we have heard
what we have heard, right?

00:50:10.170 --> 00:50:11.930
Well, he sang even better.

00:50:12.600 --> 00:50:15.680
When he finished,
there was the presenter

00:50:16.060 --> 00:50:17.880
and Chocolate, who was
next to perform.

00:50:18.640 --> 00:50:22.460
and Chocolate
was saying to the presenter

00:50:22.620 --> 00:50:26.140
"Tell a few jokes and
try to calm people down".

00:50:26.250 --> 00:50:28.280
How would that gypsy sing!

00:51:57.690 --> 00:51:59.770
I remember it was in autumn.

00:51:59.770 --> 00:52:01.390
1980, I think

00:52:02.830 --> 00:52:04.680
They announced Terremoto.

00:52:04.680 --> 00:52:07.180
Fernanda and Bernarda were also there.

00:52:07.760 --> 00:52:10.250
I showed up to see him at the theater.

00:52:11.560 --> 00:52:14.090
Time passed and Terremoto
did not come out.

00:52:15.000 --> 00:52:17.660
There was a recess and Terremoto
still did not come out.

00:52:19.740 --> 00:52:21.080
No matter what they say

00:52:22.160 --> 00:52:24.320
I saw him in quite a few festivals

00:52:24.320 --> 00:52:26.320
and the truth is that
I don't remember Terremoto

00:52:26.320 --> 00:52:27.760
bolting in any
single one of them.

00:52:28.320 --> 00:52:31.120
I think he went there, complied,
and generally quite well

00:52:31.310 --> 00:52:33.000
We can verify it in the newspapers.

00:52:33.400 --> 00:52:35.520
But in this case he
did not appear.

00:52:35.960 --> 00:52:37.980
And, of course,
the fuss was getting bigger

00:52:37.980 --> 00:52:39.980
because the show was ending

00:52:40.080 --> 00:52:43.290
At a certain moment,
Fernanda comes out and says

00:52:45.070 --> 00:52:46.840
“Fernando is a little sick

00:52:46.840 --> 00:52:48.750
and he won´t be able
to sing at all.

00:52:49.960 --> 00:52:53.400
But he is going to make an
effort and sing a fandanguito”.

00:52:53.560 --> 00:52:55.200
And so Fernando came out

00:52:55.360 --> 00:52:57.960
in a somewhat comatose state.

00:52:58.160 --> 00:53:00.650
For a period of time he was a little...

00:53:01.470 --> 00:53:03.280
he was not fine.

00:53:03.320 --> 00:53:05.710
He was singing and
sometimes he forgot the lyrics

00:53:07.160 --> 00:53:07.880
Many times.

00:53:08.430 --> 00:53:09.130
But he was there!

00:53:10.090 --> 00:53:10.720
And was required

00:53:10.720 --> 00:53:14.330
by everybody that loved
authenticity and "cante grande"

00:53:14.680 --> 00:53:16.360
Fernando, in many occasions

00:53:16.640 --> 00:53:18.360
used to get rid of the lyrics

00:53:20.200 --> 00:53:22.320
in his expressive ways.

00:53:22.920 --> 00:53:26.320
That became abstract sounds

00:53:27.080 --> 00:53:30.560
that I think were
more effective

00:53:31.000 --> 00:53:32.940
than words themselves.

00:54:27.800 --> 00:54:33.820
He did not have a
very perfect diction

00:54:34.040 --> 00:54:35.450
but quite the opposite.

00:54:35.740 --> 00:54:37.800
But in Fernando’s case
it was not required.

00:54:38.300 --> 00:54:39.760
Just a sound from him

00:54:40.060 --> 00:54:43.530
was enough to evoke so many
things and to say so much

00:54:43.950 --> 00:54:45.800
that lyrics were not necessary.

00:55:08.010 --> 00:55:10.680
Last time he sang was in Ronda.

00:55:11.920 --> 00:55:13.280
And he was already ill.

00:55:14.670 --> 00:55:16.410
Because his liver was...

00:55:17.880 --> 00:55:18.800
...screwed...

00:55:19.660 --> 00:55:22.920
and of course,
that extented to his heart...

00:55:24.010 --> 00:55:24.810
You know?

00:55:29.840 --> 00:55:31.050
As soon as we found out

00:55:31.070 --> 00:55:33.800
that Fernando had come
from Ronda unwell

00:55:35.600 --> 00:55:38.090
and that this indisposition
was getting worse

00:55:39.080 --> 00:55:41.050
then the word spread.

00:55:44.700 --> 00:55:46.120
It was also an outcome...

00:55:47.320 --> 00:55:49.640
It was not expected
because it was not...

00:55:49.950 --> 00:55:51.600
dying after a…

00:55:51.600 --> 00:55:53.050
It is unpleasant to talk about this.

00:55:53.500 --> 00:55:54.220
He went to sing

00:55:54.220 --> 00:55:56.870
and felt unwell,
that indisposition

00:55:56.870 --> 00:55:58.350
got worse

00:55:59.210 --> 00:56:01.930
and he could not react
to the medication

00:56:02.990 --> 00:56:04.400
they gave him

00:56:04.650 --> 00:56:05.500
and died.

00:56:08.360 --> 00:56:10.060
That was something tremendous.

00:56:10.060 --> 00:56:13.690
That happens with all the people
who have so much relevance.

00:56:14.080 --> 00:56:15.000
That was a scandal.

00:56:15.000 --> 00:56:16.250
The neighborhood was cram-full

00:56:16.280 --> 00:56:17.880
because of the hundreds of people

00:56:17.880 --> 00:56:19.180
who were in Los Dolores Street

00:56:19.210 --> 00:56:20.170
where he lived.

00:56:20.510 --> 00:56:23.280
This was a hive of people.

00:56:24.410 --> 00:56:26.240
On the day of the
funeral, what can I say,

00:56:26.240 --> 00:56:27.070
that was boisterous,

00:56:27.230 --> 00:56:28.360
that looked like…

00:56:29.290 --> 00:56:30.120
that was tremendous.

00:56:30.160 --> 00:56:32.430
People could not believe
that something like that

00:56:33.610 --> 00:56:35.260
could happen to a man his age.

00:56:39.600 --> 00:56:41.360
I became fatherless at the age of 24.

00:56:43.180 --> 00:56:44.460
We felt hopeless.

00:56:46.220 --> 00:56:48.030
My father was not a
person who was ill

00:56:48.030 --> 00:56:49.920
and that we could accept
that he was going to die.

00:56:50.250 --> 00:56:51.600
It was like that!

00:56:51.600 --> 00:56:52.880
He got up at nine in the morning

00:56:53.180 --> 00:56:54.030
said ow!

00:56:54.030 --> 00:56:54.640
and he was gone.

00:56:55.560 --> 00:56:56.110
He left us...

00:56:57.770 --> 00:56:59.230
I miss everything from him.

00:56:59.840 --> 00:57:00.270
Everything.

00:57:00.540 --> 00:57:02.060
I have been missing the father figure

00:57:02.300 --> 00:57:04.400
for 34 years.

00:57:04.600 --> 00:57:05.240
Imagine that!

00:57:06.360 --> 00:57:08.880
And I am speaking as a
daughter, not as a fan.

00:57:43.900 --> 00:57:45.600
When the star breaks

00:57:46.270 --> 00:57:47.980
that sustains the silences,

00:57:49.310 --> 00:57:51.310
and the wine assumes
in the glass

00:57:51.920 --> 00:57:53.610
great pain without remedy,

00:57:54.910 --> 00:57:55.980
Terremoto

00:57:56.320 --> 00:57:57.660
shouts rebellious

00:57:58.040 --> 00:57:59.850
of flamenco's laws.

00:58:00.160 --> 00:58:01.850
Voice of underground flow

00:58:02.830 --> 00:58:04.490
deliver his command.

00:58:06.200 --> 00:58:07.880
The bustle takes its course

00:58:08.960 --> 00:58:10.620
Oh yeast of thunder,

00:58:11.120 --> 00:58:12.620
to hurt us in the flesh

00:58:13.360 --> 00:58:14.860
to stop time.

00:58:15.340 --> 00:58:17.240
It grows in his mouth

00:58:17.290 --> 00:58:19.000
a fire poppy

00:58:19.950 --> 00:58:21.550
and Terremoto arises

00:58:22.200 --> 00:58:23.690
faithful sound of the black

00:58:24.080 --> 00:58:25.690
or a tower with a bell

00:58:25.690 --> 00:58:27.690
always ringing to announce death.

00:58:29.260 --> 00:58:31.980
It is his bitter seguirilla

00:58:32.490 --> 00:58:34.410
or the voice of grief

00:58:35.980 --> 00:58:37.110
The party,

00:58:37.480 --> 00:58:39.040
temple of cante,

00:58:39.320 --> 00:58:41.040
in it his creed cries out

00:58:41.580 --> 00:58:43.370
Terremoto the gypsy

00:58:43.680 --> 00:58:45.770
officiating his mystery.

00:59:02.030 --> 00:59:04.830
I loved him very much, because
I knew him since he was little

00:59:06.650 --> 00:59:09.820
and because we were family,
because he was my brother-in-law.

00:59:10.090 --> 00:59:13.800
And I supported him a
lot, promoted him a lot

00:59:14.110 --> 00:59:16.570
I defended him a lot, naturally

00:59:16.970 --> 00:59:17.840
but for good reason.

00:59:18.590 --> 00:59:21.370
And I was very fond of him.

00:59:21.880 --> 00:59:24.120
To me, there are people
who have never died

00:59:24.120 --> 00:59:25.480
and will never die.

00:59:26.760 --> 00:59:28.720
That happens to me with Fernando Terremoto.

00:59:29.960 --> 00:59:30.910
In his time

00:59:30.910 --> 00:59:32.910
Fernando was a revolutionary

00:59:34.410 --> 00:59:37.180
and therefore, these
people that are

00:59:38.110 --> 00:59:41.880
so exclusive in their
way of expressing art

00:59:42.760 --> 00:59:46.160
are hard to imitate, it is
difficult to follow them.

00:59:47.320 --> 00:59:48.410
It was a unique case.

00:59:49.310 --> 00:59:53.850
But he left a very deep mark
on the history of flamenco.

00:59:54.460 --> 00:59:57.770
He was one of the
last ones of that quality

00:59:58.040 --> 01:00:01.040
of that level of "cante gitano".

01:00:01.390 --> 01:00:04.320
That way of singing

01:00:04.360 --> 01:00:07.040
that my father had

01:00:07.080 --> 01:00:10.200
so far there is nothing like that.

01:00:10.810 --> 01:00:13.640
We are talking about a man

01:00:14.010 --> 01:00:15.880
that was a completely anarchic cantaor.

01:00:16.190 --> 01:00:19.120
That kind of singers
are one-of-a-kind.

01:00:20.010 --> 01:00:21.500
They are inimitable because

01:00:21.560 --> 01:00:24.350
it is very difficult to
imitate something

01:00:24.440 --> 01:00:26.350
that even they do not
know how it is done.

01:00:26.880 --> 01:00:30.960
The only person that
resemble him was his son

01:00:30.960 --> 01:00:33.040
and that was justified.

01:01:32.940 --> 01:01:36.000
Terremoto is inextricably linked to the

01:01:36.460 --> 01:01:39.000
political, economic and ideological conditions

01:01:39.230 --> 01:01:40.280
of that time.

01:01:40.460 --> 01:01:43.420
It is impossible to emerge

01:01:43.550 --> 01:01:46.670
in Jerez for an illiterate cantaor

01:01:47.040 --> 01:01:52.200
whose only idea in the world is cante

01:01:52.480 --> 01:01:55.560
that he only knows how
to express himself through cante

01:01:55.560 --> 01:01:58.220
and that cante is his
life 24 hours a day.

01:01:58.220 --> 01:02:00.460
That´s unimaginable, it´s impossible.

01:02:00.600 --> 01:02:04.840
Terremoto is a singer who
throughout the history of flamenco

01:02:04.960 --> 01:02:07.020
is fundamental to understand flamenco.

01:02:07.480 --> 01:02:08.800
He was a genius!

01:02:09.550 --> 01:02:12.750
I think his importance
has not been recognised.

01:02:54.590 --> 01:02:58.110
Terremoto had an echo and
an extraordinary voice.

01:02:58.760 --> 01:03:02.140
Unfortunately, those voices are over.

01:03:02.140 --> 01:03:03.920
They do not come out anymore.

01:03:04.030 --> 01:03:04.890
I don't know why

01:03:05.050 --> 01:03:08.570
but hopefully one day
they will come out again.