For decades, the backbone of Spain has rested on the lives, misfortunes and families of two tonadilleras: Isabel Pantoja and Roco Jurado. Much of the gossip continues to be generated by folklore, bullfighters and civil guards, as in a story by Prosper Mrime.
You probably haven’t noticed, but we live in a simulation. Matrix deception consists of this: when we go out into the street, the reality that appears before our eyes is that of a Reasonably prosperous and modern Spain where it is possible to have breakfast vegan quinoa salad and read corny poetry on the smartphone as we drive the electric car to the coworking. But if an outside agent gave us the red pill and managed to disconnect from the trompe l’oeil to observe the real world without deception, then we would discover the hard truth: We are still stuck in the 19th century.
They can take the test by logging into Telecinco daily or by consulting old copies of Ten minutes when they go to the dentist. Don’t get distracted by decoys like Rosala’s new tattoo: most of the content is still generated folklore, bullfighters and civil guards, as if it were a fairy tale Prosper Mrime located in those pleasant landscapes of Despeaperros below. There is no way to live a single day in this country without hearing from Isabel Pantoja or José Ortega Cano and there came a time when you can change channels but you can’t change celebrities.
The past few weeks have been overdone. About José Ortega Cano, for example, we have a deeply indigestible embarrassment now that the rumors of separation with him are intensifying. Ana Mara Aldn -the other day the right-hander came out to say that he was fed up with Telecinco, because there are more images of him than minutes of advertising-, but that comes a long way. We made the mistake a few years ago, when he was widowed, of considering Ortega – there is only room for one Ortega in Spain – as written off, that he would have nothing left new to give away. We took it for granted that his pinnacle as a character would be his marriage and those clapping por buleras he gave to Massiel in full ecstasy.
Big mistake: Ortega Cano emanated a line of monsters media that causes great astonishment -Gloria Camila and José Fernando, who are hard to distinguish from Raphal Varane-, black spain came back with him and, to lighten it, he gave us a new image after his recent aesthetic operations in which he invented the concept ‘Aznar’s Mustache Eyebrows’.
FOLCLORE APOLILLADO
The right-hander from Cartagena may ask not to appear on TV and in magazines, but it is inevitable: if the simulation of a sustainable and resilient Spain could not hide something, it is the formidable barbarian that we love, that moth folklore and that jubilant in the mountains, already all very decadent in appearance, but very lively in interest. An important fact: Telecinco obtains excellent audience data in the Basque Country (14% share over the whole of 2021) and in Catalonia (12.4%), not too far from Andaluca (17.3%). The asymmetrical thing in Spain can work for some things, but not for gossip.
The practical and current example of Ortega Cano is only the starting point to observe a deeper reality: for years and decades, the backbone in Spain revolves from the lives, misfortunes and families of two tonadilleras: Isabel Pantoja and Roco Jurado. It would make sense to include Lola Flores as well, except that her family preferred to work and just talk. This duo included by Tophile Gaultier in his novel, The Maja and the Bullfighter -which sums up the picturesque Spain of the 19th century so well-, remains well anchored in the collective psyche.
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If this is not the case, it is not understood that we are more interested in the sex life of Henry Ponce that Miguel le Muoz, when surely the second is more entertaining. In the end, if these terrestrial archetypes really arouse interest, it is not only by the detail of the trades, but by the way in which they exalt the passions. The Jurado and Pantoja clans They are among those who force casual and save the start of Anna Kareninabecause their miseries are a reflection of the small-scale dramas in any vernacular family: the ungrateful daughter, the naughty and spoiled son, the exploited cousin, jealousy with the ex, the new girlfriend who scrambles the legitimate, and other outgrowths of the mind.
Stations for choosing families built from symbolic modelsthe sagas of bullfighters and cupletistas are much better than those of influencers retreads imposed on us by the Yankee model: a liposuction by Anabel Pantoja is much better than a Kim Kardashian gluteoplastyRocito’s emotional pornography is much more generous than the dirty videos of Paris Hilton. If this takes us back to a typical, ancient Spainthat we cannot overcome, no matter how many PSOE governments, we will have to accept it. tena raznand saw in the soul of Spain an essence that we insist on denying, until Antonio David Flores appears and brings us back to reality.
More than 20 years ago, in a production of the opera Carmen created at the Peralada festival, Calixte Benoit was gifted in the ancient myths of the folk space, which is also Lorca: Benemrita, banditry, black market, gypsy and blood in the sand. I decided to set the scene in the 70s, rather than at the time of Curro Jimnez. The thing worked just as well, and it still hasn’t lost its strength. That Spain still exists and it won’t go away.
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