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MURCIA EL VIDEO DE LA Arrixaca ARRABAL

A large Arab neighborhood has appeared in the excavations being carried out in Murcia for the construction of a parking lot. To a large extent, over 10,000 square feet formerly occupied by the Garden of San Esteban, is now uncovered part of what was a huge slum Andalus which developed extramural over the centuries XII and XIII.

Episodes of incorporation of the kingdom of Murcia to the Crown of Castile are deducted from the reading of The Cantigas de Santa Maria, where you can see the impression left on King Alfonso X El Sabio this land to the conquest of which comes in very early age. The Cantigas de Santa Maria is a set of four hundred twenty-seven compositions in Galician-Portuguese, the fundamental language of poetry cultivated in the thirteenth century in Castile and the wise king knew from having lived in his early childhood in Galicia. Are distributed in four manuscripts, one in the National Library in Madrid, two in San Lorenzo de El Escorial and the fourth is located in Florence.

In all of them and by explicit reference the monarch of the Arrixaca Arrabal, we are interested in ballad number 169, because it relates the miracle of Arrixaca. Also in this ballad is mentioned that as a concession suburb of King Alfonso Murcia from the Moors to live on it and be protected from attacks that were the subject by other Christians.

In 1266, from Seville, King Alfonso sent a letter to Murcia ordering the transfer of the suburbs Moorish walled for protection, calling for peaceful coexistence between the two groups:

"E on that he sent my letter to the honorable Mr. Mohamad, King of Murcia, which Fagan the Moors who move to the Arrijaca with all things of the day that saw my letter to forty days ... " (Cascales: Speeches, p ° 58-59).

This historic moment is captured in a miniature illustrated this ballad in which the city is reflected mora, La Arrijaca, walled and having its center at the mosque into a church. appear also represented the King Don Jaime, King Alfonso and a series of colorful characters who inhabit in the neighborhood and are pleading with the monarchs the demolition of the Christian church to clear its slums.

The king tells the miracle of Our Lady of Arrixaca. The miracle is really a series of events that condemn the destruction or removal of the Christian church and who repeatedly fail, even when they Jaime King Alfonso X and I accept the requests of the residents of the suburb, the Moorish king refuses to elimination.
Here are some of the verses that make explicit reference to the facts before us.


CANTIGAS 169 (Fragment)
is of an old church
do
were to gather outside was raised that the queen

unparalleled within
Arreixaca and where to
praying people of Pisa, Genoa
and Sicily will ...

(the church was outside the main wall and into the suburbs)

was saved by guards,

and therefore able

the Moors were not

for any damage to

in that holy place

or touch any of it,

although its scope was

and locked in their network ...

(although he was not touched on its premises and within their reach)

It happened after this

being in Murcia I

and even in the Arreixaca,

the

Aljama ordered me to the church including

removed and saddened me because it was painted

recently

color ...

(This verse is self-explanatory)

evil
Although my degree so I agreed

and Vios

assembly

the Moorish king come calling for its demolition

MAS heard him say

Not that he hates Mary

, has a bad end.

(the church is left standing as to the Moorish king refuses to touch)

Photos: Dinopas

Texts:

"The Galician-Portuguese songbooks as historical sources"

López-rained by Eugenio

Valladolid, 2008

Translation cantiga 169 of Galician:
Andrew Sovereign Alcayna, professor and poet

Mursiya map and its suburb of Arrijaca, which was made by superimposing the current route of Murcia:

"This map was made thanks to Google Maps. Overlaying the existing urban layout with of medieval Murcia. Lack to the alcazar (fortress) is the one seen to the right of the site and is the current Museum building Claras "

With the collaboration of José Luis Morales Limia

Counter Offer On Settlement

The issue as vital necessity. Interview with Jorge Herralde


Bibliálogos
The issue as vital need
Interview with Jorge Herralde *
For Israel Covarrubias and Ariel Ruiz Mondragón

was in the fall of 1967 when During the review of some booksellers Carmen Literary Agency Balcells, Jorge Herralde suddenly found what they would call his publishing project: Anagram, an adventure which officially began its activities a few years later. Over time, the publisher's catalog is increased as both the number and quality: on the threshold of 40 years, has published about two thousand 500 titles of authors carefully chosen and carefully edited (many translated our language), in addition to category awards and novel test are among the most prestigious of the English language.

Through the years Anagram has established itself as a publisher has succeeded in combining in its catalog literary creation and social policy thinking at the same time has retained its independence and quality over the monstrous corporate media prevailing in the field of books.

was on some relevant aspects of this intense work of four decades and some open issues by reading his book alphabetical order, we spoke with Jorge Herralde, a talk in which he spoke about the origins Anagrama resistance of the work of the editor, the importance of criticism and translation in publishing, the vicissitudes of the publishing business, the role of independent publishers, their relationship with authors and books representing Anagram. From this, one conclusion: for him, editing has been a vital necessity.

Herralde has gained many awards: National Award for Best Editorial Cultural Work (1994), Recognition of Merit Publishing International Book Fair of Guadalajara (2002), the Premio Nazionale per la Traduzione the Ministero per i Beni Culturali (2003). He also received the distinction of Honorary Officer of the Most Excellent Order of the British Empire and Grinzane Cavour (2005) and was named Commandeur des Arts et del'Ordre des Lettres, France (2006), among many other awards. Israel Covarrubias

(IC): The 40th anniversary of intense editorial work, we can start the conversation based on an idea that you know well: Roberto Calasso about what is an editorial, in which all books are catalog titles a single book. Based on this 40-year history, what book has Anagram? Jorge Herralde

(JH): A huge book, complete unit. Calasso say that bad books are as bad chapters of a novel. I hope that in Anagrama have few bad books.

In Buenos Aires, where I was not too long ago, I gave a lecture on the craft of editing, and I said to myself bored no more talking about the metaphor of the city and the catalog as a novel or a book that is an idea that we share with Calasso, with Christian Bourgois and many literary editors, "I propose a more urban, which is the catalog as a city. Then I was talking about the Anagram titles and authors, how were avenues, monoliths, spoke of the smile chaired by Wodhouse, topped by the Society of Tom Sharpe's laughter, the synagogue of Harold Bloom, the baseball field by Paul Auster and foremost a game relating to the authors of Anagram in urban vision.

Ariel Ruiz (AR): For the first years of Anagram, why did this editorial?, What is Anagram what distinguished from other publishers? In his book he speaks, for example, Pepe and Iberian Turn Martínez, Carlos Seix Barral by Javier Pradera in Editorial Partnership and some others. In this environment, what need was there that arose Anagram and that these and other distinguished imprints?

JH: I would say a necessity if you want selfish, but a vital necessity: what I wanted to do was devoted to publishing as a reader who wants to spread their enthusiasm in a very specific moments of great political turmoil and cultural - are the years of the counterculture, the French May, the opposition to the Vietnam War and so many other movements, "new schools of thought: structuralism, anti-psychiatry, Marxism, then absent from the literature in Spain.

I thought it was necessary to incorporate all this and give ground to the left heterodox. Publishers had friends, but we occupied different segments of the left: it was, for example, notebooks for dialogue, which was an editorial in Madrid, who was with us in the Liaison Group Distributions, and occupied the space of democracy Left and socialism, there was the group of Peninsula and Santadot Vicent de Castellet it was the Catalan and Marxism was Laia, who was the Eurocommunism. So I opted for the unorthodox, and then you get into the catalog of Anagram displayed from Bakunin, Che Guevara, Mao Tse Tung, Rosa Luxembourg and the French Situationists. All this creates a profile ...

AR: After Party also called the Invisibles, which came from the Italian Operaia Autonomy ...

JH: That was later. There were also some texts Il Manifesto, Ross Rosand, in Anagram Papers, which was a whole spectrum of libertarian texts. In Anagrama was where he met the great family heterodox.

IC: In this regard, when speaking of this great family of heretics and dissidents Can you say that, to paraphrase Albert Camus in The Rebel are those who say "no" to say "yes" as a form of resistance?

JH: Exactly. Besides Camus The Rebel is a piece of theater, his first piece, in which there is a character who does not speak for the whole show, and suddenly had the last word is "no."

IC: So if the "no" is to say "yes", what else you said "no" to build a "yes" biographical and publishing in these 40 years?

JH: Look, the certainty of "no" is greater than "yes" (laughs). Is "no" against the Franco regime, is "no" against the dictatorship, the "no" against bourgeois morality, the "no" against religion, then bets on greater freedom, utopian ideas, such as the "new man" in Cuba-which turned out a disaster. In any case, the larger the rejection of belief in certain utopias or in some cases, willing to believe, but at the same time with a critical distance in this regard.

AR: In the book you give much importance to literary criticism in that sense, I noticed how you recover Julian Barnes, who says that the critic is a failed writer, but a critical failure (laughs). Reproduces many of the critical judgments for or against their books. What has been the role of criticism in the development of Anagram?

JH: Good critics are the natural allies of the literary editors to do a little sounding board. That is, every good book that has not been a product marketing reads through word of mouth or word of mouth. To facilitate this, we need to be present in good libraries, supported by good criticism, good supplements and good reviews, so that from this sum impact is conducive to word of mouth. Therefore, it is very important to good reviews.

For example, the collection passwords, which began in the late seventies and that is a collection of marginal literature, wild, outlaw (so labeled), was strongly supported by certain kind of counterculture magazines, but viewed with some indifference by critics more dedicated.

criticism is important, what happens is that now there has been slippage on the lowest overall space devoted to criticism. In general, magazines and supplements gets smaller cultural space critical. The role of the mandarins, who had Critical certain supplements, for example, some years ago in El Pais Rafael Bridge was like the official pope, and some years later it was Ignacio Echevarría is much more blurred and less space.

Moreover, there have been many interviews with the writers, who are sometimes more useful, because the reader and supplements is a very determined player, many people browsing the supplement and throws it, as I pull the engine or housing. In contrast, in the regular pages of the newspaper reader encounters an interview with a writer, which is why the interviews are very important.

But now we speak in a moment Spain, but also other countries in which there is a certain economic crisis, a crisis of advertising-there is less publicity because of the economic crisis, and there is a tendency to cut the space of books on culture daily, so fewer and fewer interviews. For one or two years, is a progressive trivialization and a tendency to make the newspapers and cultural sections in a sort of Sunday supplement: short texts, many photos and so forth. So today we are fighting a commonplace trend.

IC: One thing that catches the attention of the catalog is the central role Anagram he has given the general translation: English, French, Italian ...

JH: More or less an almost mathematically exact, is two-thirds of translations and third in English.

IC: That means, perhaps, spreading within the language a number of cultural centers, reference "other"?

JH: Yes, and it seems to me fundamental.

IC: What does today, when in fact it seems that the zeitgeist is, in large measure to counter? For example, in the United States means very little.

JH: At a minimum, and England is the same, but in others countries.

IC: Yes, but this pole-call Anglo-Saxon culture, what future holds for the translation?

JH: I think that historically, both in the United States and the United Kingdom, translation has always been very low. Literatures are also very powerful. In England, for example, have been absorbing all the Anglo-Indian literature, literature calls angloexóticas. But this is in decline, that is, by the growing perception that "American readers and readers are reluctant to English translations, now in principle means little, they are generally more commercial books, with exceptions glorious as Roberto Bolaño, who, with The Savage Detectives, is both a critical success and sales. But except for the last 20 years, maybe.

But if I'm patriotic about something, it is of great literature, wherever it occurs. A central role the issue is precisely the incorporation of the best international literature in the language of their country, in this case in Spain and Latin America. This happens in English, but also, for example, in France, which is the country of the great tradition of translations and the great reception of oriental literature. It has also been a country that has hosted many political exiles, and has had many authors Japanese, Chinese, I read them in French.

Pascal Casanova, in a book called The World Free Republic , I published years ago and I think an excellent analysis, says that now the great door of the literature is in the U.S. and Britain, but that role that could be central, because it is not translated. Instead, it is France, which, after centuries of glorious literature, now has a minor role, but, instead, remains where it is translated more and which produces the internationally renowned writers. The decisive victory in Paris is also for international irradiation.

AR: In the book you make a summary of the analysis of Pierre Bourdieu on the publishing industry, in which he speaks of the book as a commodity and significance, making the editor a double character that has to balance the art and money . Bourdieu was a pessimistic conclusion, as saying that the literary capital growth leads to the commercial hub, and all he can do is slow down the movement editor. How has reconciled these two poles, the artistic and the commercial?, You see the pole go inevitable commercial?

JH: I think not necessarily proof of this is that we are in this interview. Ie there are spaces of resistance in certain publishers, in many countries and in certain essential libraries for it. I agree in some ways Bourdieu's pessimism and the pessimism of Andre Schiffrin, great friend of mine, whom I was discussing on television because he is more pessimistic than I, perhaps for his career, he was expelled because of his publishing and created another , New Press. The example of New Press, who wants to do more general, is very unusual: it has gotten money from a number of U.S. foundations, which are his patrons. But this is not easy or extrapolated, against which I argued that there are good and very independent literary publishers in all countries-not many, but a few-that there are good libraries without which our work would be much harder, because if we had to sell everything in large stores, 99 percent of our catalog disappear. But as good booksellers persist, while maintaining those publishers and while there are good readers exist.

There are also many unusual reader who buys books because it is the Premio Planeta or becomes fashionable because Dan Brown, and in his circle of friends, which is not widely read, are topics of conversation. But I think the majority are non-readers or new readers who did not read before, ie the level literacy, education, university degrees, have led to a much greater number of readers, though many of them are Hans Magnus Enzensberger called 'functionally illiterate', ie they could read and write, but for practical things, not interested in the literature.

There is also a thing that makes me laugh by Umberto Eco, who speaks of 'literacy distracted "from reading online, and sporadic attention that lends itself to a short time, which is not reading the required concentration.

IC: In keeping with this, and so likely to be a bit fatalistic, it seems that as a form of resistance not just the production of books, but in other similar cultural expressions, there is always this revival to do things to alleviate the crisis, but simply to resist it in a more polite. This is sometimes the adventure of many small publishers who publish independently. In this case, what today means to edit independently, or be independent publisher?

JH: It's a very tricky word. The term "independent publisher" is really a moot concept, because thousands of independent houses they have no cultural or literary interest, but is dedicated to publishing books on farming the rabbit, for example, and are independent. But I'd say it's cultural editing career which could perhaps refine it. Sometimes I have discussed this with bosses of the major groups in Spain, who get very angry with the independent publisher.

Actually, the final diagnosis is simple: the typical animal squint with one eye on the culture and with an eye on trade. Now his eye is much more to trade, and the catalog is completely different than it looks to the culture. Then, almost say, let us analyze labels and catalogs, ie, the catalog is the one who tells the truth, and their analysis by someone who knows the literary status the time is final.

The catalog does not lie, the editor and analyst can do all sorts of linguistic acrobatics more or less bright on their work, but eventually the catalog tells the truth.

AR: Schiffrin, which you mentioned, has denounced the tendency of large groups near monopoly not only books, but media that are appropriate, have bought a lot of publishers, "process is well described in his book The editors edit without . In that sense, what future have these independent publishers call this media to the monopolization?, Have you received any offers some of these groups to be of Anagram?

JH: Anagram started receiving large groups since the late eighties, when it begins the process of monopolization, and it makes sense to be made. It is logical that a publisher with some authors and deployment as Anagram, is the object of desire for large groups that constantly seek to expand and go buy stamps, as they have bought Seix Barral, Destination, South America and Joaquín Mortiz. That is their business logic.

thing is that I have always refused, because I've always been able to do the kind of issue that I wanted to do. Occasionally there is a blow and take away an author with some advances impossible to match, but authors are also sometimes large groups, unhappy with the treatment and the habitat to which they are confined. There is a very classic case is Ricardo Piglia, published in Metro and Seix-Barral, who has spent at Anagram, and now we have all his work.

seemed that in the late nineties and the field was determined, and once and for all had three or four major publishers, independent publishers a few veterans, and little else, if anything, some of which began -. But the most significant issue in this first decade of the twenty-first century is the emergence of numerous independent publishers in Spain, Argentina, Peru, Italy, France, which also is a structural thing: large groups leave spaces because they seek the maximum return, then, most of these new publishers are doomed to excellence and self-examination. Many of these titles are being nourished by great authors already published 20, 30 or 40 years, published by large groups but that they consider unprofitable and its re-release print, and republish the new publishers, who do not need to sell 10 000 copies, but two thousand and they jump for joy.

As usual, these new publishers, now in Spain have come out about 50 - maybe in 20 years are only five. When I started Anagrama, Link founded distributions, in which five disappeared, then another, Lumen was sold to Random House; as Anagram and Tusquets remain independent.

AR: Another interesting aspect of the editors is the relationship with authors. I remember reading a Mario Muchnik, who, when the writers were going to another publisher, broke relations with them. In your book you raised two positions on this problem: Korda, who was a friend of the authors, and the Entreguí. Do you prefer?

JH: I, obviously, of Entreguí, they say, if I recall, "also in love, statistically, most of the time a relationship breaks down and begins another, and why not people stop and join in love, though he may assume that statistically have a destination, as I said Frederic Beigbeder on a book called Love lasts three years . Well, it may take longer, but statistically not last long. So, if you had in mind than friendship with an author can actually break-breaker, mutilate a very enriching. Naturally, what happens if after an author leaves the editorial in which it has been discovered and encouraged him, and suddenly you have one offer The Godfather type, can not refuse, obviously you hurt and understands, but friendship is weakened. Professional treatment becomes friendly, but professional support friendship weakened.

is also another very painful issue: When you say "no" to a writer who has never published, because it is very painful, but less than if you have posted one, two or three books, which for him is a trauma and for the editor is very nasty as nasty, maybe.

But these are tricks of the trade that work in both directions.

IC: To continue with the question of the authors, is there some authors who have complained of not having published, which you yourself have gone chasing the but never wanted to publish in Anagram, because they can not get the rights for translation or because he got one of these holdings publishers put a lot millionaire and took him?

JH: First of all I would say that, with almost 3 000 titles and with this impressive array of authors, my degree of bulimia in that regard have been quite satisfied. Now, for example, to me, I was an avid reader of Borges, which he had read everything, I would love to publish it, there was a time when Whiley, the famous agent, got the rights and, knowing my taste in literature, I proposed the issue. He had not properly analyzed the status of contracts, came to Barcelona, \u200b\u200bwe were talking and said, "Unless the contracts have expired, I do not think, Borges is published by Emecé and Alliance." Then, finally had to negotiate with these publishers to renew the contracts of Borges, in other countries such rights were not tied, as in Italy, for example, as my good friend Roberto Calasso Borges managed to publish because he "always author has been a minority, and more-translation had been recently sold in Italy. In contrast, in Spain and Latin America, although he was never a bestseller , it is an author of any publisher would logically retain.

AR: Of the approximately two thousand 500 titles published, what are the five titles most representative of what has been Anagram?

JH: That is a question that should not answer, but I will, as I did earlier this year in Princeton, where we were invited to several publishers. One of the issues we had to answer was that of the five most representative titles of publisher, and I said: "Five? With an alternate, to be six. "I said they were often not my favorite books of authors, but those are more important symbolically about these authors and the publisher.

The first is details of Hans Magnus Enzensberger, the first title of the collection veteranísima arguments, which is still active. I have published 20 titles of Enzensberger, who was an author of a quite extraordinary sharpness, very personal, very often against the very controversial. I think an author intended symbolic of what the library Topics: anti-academic, where the critical imagination present. And besides him, who read English and speak it because it was a long time for Latin America in Cuba was even translator of Vallejo, García Lorca and Neruda, for example, was a member a few years jury's Anagram Test, then had many commitments that would not let him be, but it was very exciting to have him. Another is

Lolita, Nabokov, but I like a lot and almost prefer Pale Fire. But in any case Lolita is the figurehead of the Library Nabokov, who is one of the Anagram companies that I liked to do, and, symbolically, from the collection of narratives Panorama. One more is

The hero of the attics of Mansard first title published by Alvaro Pombo, our first prize novel, dye also symbolic: first prize of the collection Narratives and Narratives first issue of Hispanic, an author unknown and superminoritario, who has now won all the academy awards have or might have in Spain. I think it's one of the top three or four current English authors.

The fourth is Brooklin Follies, Paul Auster, the author is now more readers abroad with Anagram, not my favorite novel either, I prefer others to him. I think it's a great novel, but it has the greatest number of readers. In addition, coincided with the Prince of Asturias Prize, which was a revolution. Then Auster, already sold much, much more was sold under this title, reaching nearly 200 000 copies.

The fifth is, of course, Roberto Bolaño with The Savage Detectives. Maybe I would have preferred 2666, but was more significant that it was almost dark where shot to stardom with our award and the Rómulo Gallegos, and there began his great international career.

Pongo as a substitute, if I am accepted, Ebony , Kapuscinski, a great author of Anagram, as was the title after 15 years and five or six titles published to rave reviews and poor sales, shot and not only became a bestseller , but that made his previous books bestsellers in semi , and revitalized.

* Interview published in Metapolítica , vol. 13, no. 66, September-October 2009. Reprinted with permission from editorial director.

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From 18 to 24 December in AR art space

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ALFONSO THE WISE AND THE KINGDOM OF MURCIA MURCIA

That's the title of a book I found at the school on the occasion the transfer and cataloging of library books. Just after starting the first page, I find a text that reads:

" is not often found in English history and identity as intimate union between a king and his people, as was perpetuated between Alfonso X of Castile, called the Wise, and the people who on the Kalends of the thirteenth century formed the Kingdom of Murcia.

recognized for this affection between monarch and subjects had to place the conjunction of two basic elements interaction and coexistence.

On the one hand, the presence of the young prince Alfonso when taking possession of the Kingdom of Murcia on behalf of his father King Fernando III the Saint, and the affection and loyalty that the hospital engaged in Murcia without ethnic discrimination, and later partnerships tested repeatedly, which makes the king carried in his heart and never forget this noble people, generous and hardworking, with whom he reached the relevant actions of social and political prestige on its strong path to prevail and then repopulate and pacify, a land border with Moorish Al-Andalus. "

The fine sensitivity of the Wise King, his creativity, their desire to pick up and the story written for all the knowledge of how far their time and the creation of centers where researchers, inventors, musicians, writers ... were welcome and support ... allowed schools were formed under its momentum and its leading proponents, people of Murcia between Jews, Arabs and Christians built a unique and harmonious set of knowledge, still admired by the balance and the time in which these contributions were in the Middle Ages.

Alfonso X el Sabio Murcia found their dream paradise where the vegetation was a hymn to life and hope. Warlike people if they were claimed to feats of arms, or witty and spontaneous when the king called for imagination and effort ... [...]; ( King ) ... to which both wanted and always successfully attended to seek justice or protection for their trouble. "

They continue more than two hundred interesting pages!

The book will be during the second quarter at your disposal in the classroom library.

HAPPY HOLIDAYS A TOD @ S !

Source:
ALFONSO NAVARRO, Serafin
Alfonso X the Wise and the Kingdom of Murcia
Cultural Work Cajamurcia-1997
Photo:
thumbnail S XIII (In the flyleaf of the book)

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girls: Perhaps you wonder xq qe no posteo long ago, the truth is I muuch qe x things to do at school and I still qdan ... among other things pending familiares.Así qe throughout December will not be able to post or update my blog, BUT I WILL RETURN! :) Xq promise you not want to close the blog, so qe acuedense NOT closed but QE Check later! I hope
qe understand me sorry ...
Jonaticas bsos and bye!
is not a goodbye but a see you later ...

Leiluu -

Expressing Condolences Verbiage Jewish

in the twelfth and thirteenth

" My heart welcomes all faiths ... I follow the religion of love only where camels are routed. My only faith is love and my belief. "
Abenarabi

The cartoon on "The last years of Madinat Mursiya" economic and social center that was originally Murcia, since it was founded back in 825 by order of Abd Al Rahman II Cordoba until its disintegration, due in part to the strength of the Christian kingdoms, is a continuation of the previous and recounts events of the period in which Ibn Hud, the second emir of Murcia, recalls the splendor of the city. The script, 24 pages, is entirely of Peter, the monkeys of the artist and becomes a bit more "comiquero" as above, by Adventure treatment but without distorting the historical reality. With 2,000 copies, will guide the exhibition "From Muslim to Christian in the thirteenth century Murcia" in which, through various panels show the archaeological remains of this period and some frames of the comic (not original sets of the same Thanks to Allah). I think the comic give away at the expo. This, you do have time, will open to the public from May 10 to July 23, within the activities comprising the VII International Festival Murcia Tres Culturas and can be seen at the City Museum, located in the garden Powder. Comic

twenty-four pages based on the exhibition of the same name and which served as a catalog, design and drawings by Manuel Martinez and Pedro Jiménez archaeologist indent Castillo. The last years of Madinat Mursiya presents the adventure of a young man named Ibn Hud that eventually becomes the leader of the Andalusian revolt against Almohad power. Following the success of the revolt fixed capital in Murcia and it reaches the last moment of glory Islamic our city, between 1228 and 1238, before succumbing to the treachery of his allies and pressure from its enemies. Five years after the signing of the Treaty would Alcaraz, putting the city under the command of Prince Alfonso de Castilla, the future King Alfonso X. The means chosen to recreate this historical period and that was the setting Murcia comic is a contemporary element that can facilitate young people's approach to this issue. It is also the ideal to show what they looked like the most important buildings of the city, and to understand the lifestyle of the time.

Muhammad ibn Mardanis (Peñíscola 1124 - March Murcia 1172) known by Christians as the Wolf King of Mozarabic origin became king of the entire eastern area of \u200b\u200bal-Andalus.
Descended from a family of aristocrats Muladíes , went down in history as one of the most controversial men of his time, among other things, its libertine character.

From the hand of Ibn Hud buildings as we enter the Minor Fortress, we see the walls, bathrooms, glass workshops, the souk and shops, the castle of Monteagudo ...

research being carried out (in the last years of the twentieth century and early twenty-first), both archaeological and written documentation, are to demonstrate that there was a Kingdom of the Visigoth king Tudmir Teodomiro from 713 to 825 which was then to the 1031 an ancient province or kora (Kura, chora) of the territory of Al-Andalus, probably created after the administrative reforms promoted by Abderrahman I to proclaim the independent emirate.

And many of the keys to that period in the history of Murcia are coming out at the site of St. Stephen!

A for them!

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THE REIGN OF CHARLES I OF SPAIN

marriage policy of the Catholic Monarchs crystallized in his grandson Charles, who, in 1516, brought together under his rule a vast inheritance. As we know, the son of Juana and Philip, sons turn of the Catholic Monarchs and Maximilian of Austria and Mary of Burgundy respectively, and therefore, Charles became the greatest king of Europe. Not only inherited large areas of his four grandparents, but also was appointed Emperor of Germany under the name of Carlos V, a title that did not involve territories, but that he stood above the rest of the monarchs on the continent.

Their titles were:

1. Sovereign of the Netherlands (1506)
2. King of Spain (Aragon and Castile) 1516 King of Sicily
4. 1516 1519 Archduke of Austria King of the Romans
6. 1519 Emperor of the Holy Roman Empire 1520 King of Naples
7. 1516

During his reign, the progress of the American territories was very fast. However, in Europe, the continuing conflict eventually exhaust the kingdom. Carlos said four wars with France and faced the German princes. They had decided to follow Luther, founder of a new Christian church separate from the Pope's authority, known as evangelical Protestant church or Lutheran.

Finally, in 1556, Carlos gave to his son Philip the most of their possessions, while his brother Ferdinand bequeathed to the Austrian territories and the title of emperor. He then retired to the monastery of Yuste, in Extremadura, where he died two years later.

Detail of the cloister of the Monastery of Yuste

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SHIELD

Coat of Spain
From Wikipedia, the free encyclopedia

Model official institutional use of arms of Spain.


The first of the shields can be considered to some extent as Coat of Spain is the one with the eagle of St. John as support, chose Ferdinand II of Aragon and Isabel I Castilla as common weapons in 1475. In this shield were represented the two largest political entities existing in the Iberian Peninsula late fifteenth century: Corona de Castilla and the Crown of Aragon , which brought the present autonomous communities of Aragon , Catalonia, Valencia and Balearic Islands, and other non-mainland territories, scattered around the Mediterranean basin.
The coat of the Catholic Monarchs consisted of a barracks alternating the arms of Castilla (gules, and a golden castle, battlements of three slots, with three tributes, the middle one tribute more and each also with three turrets, grouting sable and azure clear) and Leon (silver and purple lion, crowned with gold, sole and armed gules) with those of Aragon (gold and four bars gules) and the Two Sicilies (flanked party chief and tips gold and four bars gules, a silver flanks and an eagle sable, crowned with gold, chopped and dismembered gules). Later, after the conquest of Granada in 1492 added the emblem of the kingdom (of silver and a grenade natural, Gules, two carved and hojada leaves Vert).

House of Austria (1516-1700)

Coat of arms of Charles I of Spain and V of Germany.

As a result of the policy of matrimonial alliances of Catholic Monarchs, Ferdinand's death in 1516, inherited the crowns of Castile and Aragon, his grandson Charles of Habsburg , Joanna son "la Loca" and Philip I "the Fair" and grandson of Emperor Maximilian of Austria patrilineal.
weapons Carlos I added to those of Castile, Leon, Aragon , Two Sicilies and Granada, present in the front shield, those Austria (gules and a strip of silver), Burgundy old (bands of gold and azure bordure gules), Burgundy Modern (Azure, strewn with golden fleur de lis and changes bordure ponada, Canton silver and gules), Brabant (saber and Golden Lion, crowned proper, sole and armed gules), Flanders (gold and a lion sable, armed gules and sole) and Tirol (Party silver and gules eagle, crowned, minced and Member of gold, filled the breast of a trefoil-sufficient growth of the same). Carlos I also includes the columns of Hercules with the legend "Plus Ultra", on behalf of overseas empire, and around the shield with the collar of the Golden Fleece as sovereign of this Order.
Being crowned Emperor in 1519, the escutcheon with the imperial crown and generously padded the double-headed eagle the Holy Roman Empire . As of 1520 added to the block corresponding to Aragon and Sicily, one in which weapons are included Jerusalem, Hungary and Navarra.
The successors of Charles I, download the shield of external ornaments, replaced by the imperial crown royal open (or four rosettes and four crowns, three of them seen), maintaining the Fleece that thereafter remain in all the royal coats of arms.
In 1580, Philip II of Spain proclaimed king of Portugal (silver and five escutcheons in cross azure five positions bezantes or put money in silver and looped, bordure gules seven golden castles) and incorporates arms to shield the new kingdom, which remained until it recognizes the independence Portuguese in 1668, reigning Carlos II, the Bewitched .

Coat of Philip II of Austria

Pitchers Canning Jars

The Jonas with fans of Dublin! Photos

Source: OceanUp

Ikea Build A Pax Custom Closet

JUANA DE CASTILLA, SPAIN THE FIRST QUEEN OF ROBINSON CRUSOE


Juana la Loca and Philip the Handsome rest in the Cathedral of Granada next to the Catholic Monarchs

History has not been very lenient with Juana, the daughter of Ferdinand and Isabella, the Catholic Monarchs. His nickname of La Loca us that has not had very good press in the annals of history.

Juana was born in Toledo on November 6, 1479. His education was marked by the severity of both their mothers and their teachers. Soon he expressed a mystical vein that sought to channel it becoming a nun, but her parents had another attractive target for Juana and when he turned 16, was arranged her marriage to the Archduke Philip of Austria, known by the nickname of The Beautiful .

Joan had six children over seven years, the last when she was a widow. His life is full of stormy times caused by the jealousy that the affairs of Philip caused it. Jealousy, anger, abandonment, reconciliation, were undermining their health and seemed that their relationship was going through a quiet time until September 8, 1506. That day, Philip played a ball game in Burgos. When finished, sweaty and thirsty, drinking a sip of cold water which caused a few hours I had a fever that made him weaker until, on 25 September of that year, died.

Psychiatrists who have examined the figure of Juana believe that suffering was a paranoid type schizophrenic psychosis. Her mental delirium is exacerbated by the loss of her husband. Not eating, washing and so Jill can not reign. The decision is residing in the castle of Tordesillas (Valladolid), then it is confined to not be able to govern destinations of the kingdom of Castile.

In 1516 Ferdinand died, and will, his kingdom of Aragon passed to Juana, which do not accept most of the nobles, a situation that takes advantage of his son Charles to be crowned King of Spain in its name and its mother.

SIX FAMOUS SONS Juana

1. Leonor: was queen consort of Portugal to become the third wife of Manuel I and death of the married Francis I of France.
2. Carlos: was king of Spain as Charles I and Emperor of Germany under the name of Charles V.
3. Isabel: became queen consort of Denmark and the Kalmar Union to be the wife of Christian II.
4. Fernando: was king of Hungary and Bohemia and Holy Roman Emperor by the name of Fernando I to succeed his brother Charles in the post. Together they created and espeñola Austrian line of Habsburg.
5. Mary was queen consort of Hungary and Bohemia, and wife of Louis II. On the death of this became governor of the Netherlands.
6. Catalina: born when his father had died and she was queen consort of Portugal when she married John III.

That link was part of the foreign policy of the Catholic Kings, by this marriage and his heir John and Margaret of Austria, sister of Philip himself, sought to isolate his greatest enemy, France.

Source: HISTORY OF OLD IBERIA

Spain History Magazine No. 43

Rubbermaid Store In Mississauga

sonidero The beginnings of the movement. Interview Ramón Rojo


sonidero The beginnings of the movement
Interview with Ramón Rojo 

Ariel Ruiz Mondragón

Mexico City has just over a quarter century low vibrating power chords of music-mainly Afro-Caribbean, Farewell but not exclusively, by powerful sound systems that have occupied rooms and, especially, the streets, to accommodate and benefit to young dancers most popular neighborhoods, which has been called sonidero movement, which has spread many other areas of the country and even the United States.

From small player that set the party, the apparatuses of the sonideros were becoming increasingly large and sophisticated not only in terms of audio, but also light, which made them win many followers. So, sounds like "Amistad Caracas", "Condor", "Fascination", "Rainbow" "Conga", "Caribalí", "Pancho" and, on another front, "Polymarchs" have become a necessary presence of the urban cultural scene in recent decades.

One of most important founding fathers of this movement, who remains in force after 40 years of intense bustle sonidero-making it the most representative example of this cultural expression, "it is the owner and director of the King of Kings Sound" La Changa "the tepiteño Ramón Rojo Villa, who spoke with us about the beginnings of his own legend.

With you, "Chchchchangaaa !!!".

Ariel Ruiz (AR): When and where were you born?

Ramón Rojo (RR): I was born on June 2, 1948 in the populous neighborhood of Tepito, just across the street from Charity 25 interior number 4, in a neighborhood that still exists, along with a very famous film, the " Morelos, and later became the Art Film Tepito.

We had the good fortune to be born in that neighborhood, which has given boxers, footballers and now sonideros.

AR: You started with the sound about 20 years old. How do you like the music began tropical, especially the Sonora Matancera?

RR: I was a restless young man in question dance. I liked the guy dancing from, since the days of Bill Haley and His Comets, Carlos Campos, the Marimba Cuquita, Sonora Santanera danzones of Acerina, and most of all I was struck by the music of the Sonora Matancera with all the singers, like Celia Cruz, Nelson Pinedo, Daniel Santos, Bienvenido Granda, et cetera.

At that time the economy was like that, I think, we will begin to suffer here. Having a TV was having a lot of money. There I started dancing worm. Every weekend, there was a man on the street for Charity 13 that had a record player (because before there were sounds, but record players) and rented every week for teenagers and for weddings. I was tickling go dancing, and was looking for that sir, "they called" The Morsolote "- to see where it played. I wanted to be your friend, but he felt artist, he was uff ª! I approached to see the disks that was playing and at that time not spent talking or songs like this, just stood acetate disk 33, 45 or 78 revolutions. I stare at her assistants, and I ran very ugly.

What I wanted was to feel the atmosphere of the Lord, until I got to accept me as your friend. Then I started to help, carrying the horn, trumpet, the disks. It was going to play every week to the vicinity of the neighborhood of Tepito.

My mother scolded me because I was very late, I was a kid who had to be, when too late, at 10 pm at his home (now there is that, already lost the moral and respect, laughter -). My mom told me: "Here you have to be, at best, at 10 and fourth, just not you come and shut the door, and see where you get to sleep." Then, I danced two or three pieces and as I returned to my home.

But knowing that man, I liked the atmosphere, and I became like a vice and dance music, and started to accompany him. So we arrived at one or two o'clock, and rather than go home, because I was in hers. The next day her mother made us lunch. And so it began this movement.

I did not do it in an effort to give me a salary, but to go with him. I helped my uncles used to buy things for home: old bedrooms, closets separable, moons of Louis XV French antique things at the time, people did not know their value and sold them. My uncle always used the Bisno with a partner.

AR: How started playing in public?

RR: At that time I was going to streets of Argentina, where there was a movie called "Alarcon," that no longer exists, and in front there was a nightclub. I approached the tent, listened to records and I spellbound listening to music, so much so that the lord knew me there. "Do you like music?", "Yes", "What kind of music do you like?", "For the Matancera. Played records of Matancera, and I loved it. I sent orders, and took me for listening to music.

One day, this man made an announcement: "Leasehold disco, discs and furniture." He said: "I will finish However, I'm tired and want to go to bed. "" Hey, and how much you want? "" Sixty thousand pesos, "at that time there were millions. I turned on the focus, I went with my uncle, and said, "What do you think? Selling a closed club, all drives and all the furniture, consoles, televisions. " "Where?", "Facing the film Alarcón." "How will", "For 60 million." "" And what you see? "" Well, okay, "" Let's see. " Total

we went to the record store, there was the lord and presented it to my uncle. This is encouraged and bought the discs and the store closed. He said: "Changa, go to the van." I went to rent one and we lay like five-disc trip down here and I aside those of Matancera. "Quiobo, quiobo, quiobo, what you're away? Just look, yet not a fucking hard sell and it's you're away. Shove them over here. "Were the discs Matancera which interested me, until my little heart beating, put them in a box of" Rome ", a lot of jewels that I started making my collection. We

Tepito market to download apparatus, and my uncle stacked disks, which were sold on the ground. We got off the aircraft, including a subwoofer, and when I loaded it, you could hear something loose, and was a speaker. I screwed, take a cable and said: "How do you hear?".

For this, people passing, but did not sell records. Then I said: "If you ask the amplifier provided to members of the White House?" So I went, "Hey, sister, lend me your amplifier," Why? "" Well, I dropped my uncle baffle and I want to try, to see how it sounds, "" Rain, you bring me a little while. "

I took the amp, I bought cable, and being on the ground in the markets, as I said to a creamery to let me connect: "Yes, what will you wear?", "Music." I connected the subwoofer with speaker Philips 12-inch, with a Purmo of 25 watt bulbs out, and began to test the discs. You could hear very cool. People started coming, "Hey, kid, how much is the disc you are playing?", "For 20 pesos," "Let's see, échamelo. Put another. " And began to approach people, and since then was a record Trocadero. Unwittingly, it was vintage. That gets my uncle, "Quiobole, What? "" Well, I'm testing the discs and am selling them, "Well, okay, follow him playing, ching."

Then a brother of the members, and saw that I was doing business with the appliance envy you came and went and told his sister: "What do you think? This bastard is doing business with the machine that will lend "," No, Vesela to ask. "Arrived this man," Hey, my sister says that if you return your device. " I said, "Here, there is." Then my uncle told me: "What happened to music?", "No, they have already taken the amp, "" How, then who was it? "," For the members, "Ahh," must cost as much those monsters? "" Do not know "," What now? "" Well now what if there is no device. "

But I nailed my records and I nailed my wool. When the harvest ended, I called my uncle, I paid 35 pesos. But they grab it and tell them about my Clavelitos, and they were 800 pesos, which in full swing!

I had already located a device like the Hidalgo Market, the Doctors, in one accessory of a man who bought tool Monte de Piedad and everything that came in the auction, and sold it in place. There I saw the amp. Then I get retempranito, was just opening the curtain on sir, I had my 800 pesos to and my return ticket. I see the price of the amplifier: 950 pesos. "What did you want?", "How much is the amp?", "There it is: 950. It is brand new, do you want to hear? "" Yeah, right? ". He grabbed a trumpet horn unit, and connected. "How do you see, what are you wearing?", "No, do you know what, I'm short," How tag, "Eight hundred dollars," "No, because what has happened. Put 900 and you take him, "It's because I do not bring money," and that I take the wool. "Rascal, I'll give in eight and a half, just pa'persignarme." "In the eight", "Well, just because I'm going to cross themselves with you, see, check it." I gave the amp, I threw in a box, tied with ropes and came very happy with my bill and everything. I got retempranito

market until my heart beat; I found a bench, put the amp, I plugged the speaker, got the records, I asked the light at the creamery, and sell. Was my uncle, "What happened?", "For this amplifier provided me," Let's see if they are not to screw it back to. "

Days passed, I passed a pepper and said, "Hey, how beautiful you hear that baffle", "No, it is that it is an amplifier" "And you, apart from selling here, you also rent your turntable ? "," Yes "" And how much they charge an hour? "" Why, how far? "," I live up to the colony Claveria, in Azcapotzalco, "Wow, is relax and I have no transport "," I pay the taxi, but how much you charge? "menso and said," Five dollars an hour. " Not interested me the business and did not know what to charge. "Hey, it's cheap. I about five short hours are 25 pesos, here are 10 pesos, I give the address. I pay the taxi to and from coming. Is this Saturday, is the presentation of my three years. "

No, because I well contentote," left ten pesos to me. " But it was not the money Bisno, now everybody grab the sound Bisno to make money, and this is born, not made. When God says: "You are going to be a carpenter" because is a carpenter, but my God gave me the gift of being sonidero. And so I started.

Saturday came, and my mother (God rest her soul) I was rather embarrassed: "Now what you got?" "Is that going to play", "To play what?", "For the record player "" You reloc. "Yes, a lady hired me to Azcapotzalco, to Claveria," "And how much?" "Well, I will pay the taxi to and from coming to take the speaker, the amplifier and discs. For this, and I bought a trumpet. Five dollars an hour. " "What, five pesos time? You reloc, man. How many hours are going to play? "," Five "," Twenty-five pesos to reveal all night? Not crazy. Do not know or charge, would have claimed more than mens'. But my boss helped me get the equipment and discs. What I wanted was music, not the end of doing business, as now.

I took a taxi, climb things, and brought the address: "Take me to this street of Claveria. We arrived at home, which was his own house with a corridor that overlooked the street. There were balloons, and heard, "and was the player", was not sound, "things went down and asked: "Is not the lady?", "Yes, I'm young, pass. What do you need? "," For a table to put the amplifier, "as it did the other gentleman. Focote went out to buy a 300, I connected and everything, and started playing, but played the Matancera pure, that was my repertoire. He left the lady and said, "Hey, what can not touch anything else? When I see you put Tepito rancheras, danzones "," Those are for sale, ma'am, "" Well, those are the ones I like, this music as it is a bit unrefined. Please even the Beatles or the Creedence " "No, they just bring you one of Mungo Jerry," In the summer, '"" Well, that touch your. " Got that, and put another disc Matancera, and then the lady took from Ray Coniff, Creedence, and several more. There, the situation began 40 years ago.

AR: And how do you spread your fame?

RR: Then I started doing popular in Tepito, there were some girls who was late on Sunday behind the church of St. Francis, in 18 of La Rinconada, a girl named Alejandra. "Do you have your player", "Yes", "To what cobras time? "," Ten bucks, "What do you play?", "Pure of Matancera" that was my simple mole. "Well, we want to go play on Sunday," "Yeah, right", "I want five hours," "All right."

arrived on Sunday, arrived with the girls, I put my focus, my trumpet, my amp, my subwoofer and my records. At that time no-Locuto or not, sent greetings, just ran the disc. I started there, and they liked the girls. For this, they began to spread the word among friends in the neighborhood and the next Sunday he started going a little more people. But I did not know that these girls were placed in the hub of the hall, and the person charged for entering you get to dance, they were not stupid.

For this, every Sunday was an evening that PRI organized the street González Díaz de León and Ortega, in the cube of a building, and had several turntables, and pulling people from the colonies Guerrero, Santa Julia, Buenos Aires, Mexico Farms, people came from other neighborhoods. But fame began to grow.

For this, I thought to name the player. I came the name of "Birds of the tropics," but to me the whole neighborhood knew me as "The Change." This nickname came because I was a kid active, restless, precocious, I climbed to the roof like a monkey, I was skinny, and I started to fly kites. That was my hobby. They said: "Where goes the Changa?" "Well, up there on the roof, as always, flying kites." And the neighbors were angry, because I was jumping on the rooftops, saying that the leaks caused brincadero them at home.

fame began to grow, and then I sent to the amplifier, which had a cover, an ad beveled mirror, and put my "Birds of the tropics." But I said: "Instead of 'player', you must put another topic. Then we put 'sound', it is a sound. " Hence derived the question: Sonido Birds of the tropics. And there began the issue of sounds and sonideros name.

reputation grew I played discs of the Sonora Matancera was not heard on the radio, as "The Tibiri Tabara," I am not handsome, "" The Bus ", Miguelito Valdés with" lard rice " "Linda caleñita." I started to find more music to motivate the Sonora strange. In Tepito chachareros came the crockery that would change by chatter in residential areas, and I was on the lookout for records they sold, and there was the jewel jewels I say to rare records, Cuban or American brand. There was the gold ground in music. Both

I made the hobby that I said, "Someday I have to know the Sonora Matancera." It was my concern.

remember I started doing the dances of these kids, who began to charge more at the entrance because I saw that started to get more people. I started to pull people who had the PRI. By organizing these dances that he got the information that they were doing some dancing behind the church with a guy they called "the Change." Then, he grabbed a Sunday and I will see, and I said, "You bastard, I did not think it was you who were playing. And no people left me, you bastard, do not stain. Here how you get paid, "" You're paying 80 bucks every Sunday, "" I'll give you 100, dude, but move over there with me, "Really?" "Yes, if you pay once and you but go for Sunday. " I said, "Oh, dude, 100 pesos to!, And rose." "I do not know how you gonna do, dude, but you get me. From Here to eight days and want to see you there. "

Total, that Sunday will I told the girls: "You know what? This business is over. " Yes, I saw growing up every Sunday afternoon, and saw that all the time changing clothes, buying shoes, which came from the shows. "No, we do not do that because we gave you to know", "No, I did not get to know you, I myself known for my music, you hired me, nothing more." I thanked them and went to there.

No, because in the new place I started to pay 100 pesos, and then I went up to 150, 200, and it was a fortune. People heard me and the Doctors of Santa Julia, Mexico Farms. "Hey, how cobras time? "," No, for it dearly collection: 50 pesos per hour "," No, because we have about 15 years. " I started making my schedule, and I started going out to these and other colonies: New Atzacoalco, Buenos Aires, and so on. I started to let me know and in other neighborhoods.

AR: How started playing elsewhere?

RR: In the colony where I live, Gertrudis Sanchez, was a man, Enrique Torres, who came and said, "Hey man, how you charge the time", "100 pesos", "Aww, man!" "Yes, because I have to pay for transportation," because then I hired a guy who removed the seat of his car and got my equipment there and my subwoofer, and my albums, trunk, and it was paying transportation every eight days. "No, because you need at a christening," "Where?", "In the Gertrudis Sanchez."

Then there was a program on Radio Onda, from 8:00 to 21:00, called "Idols Matancera. I heard the program, and heard that put pure Matancera, but the catalog: "Yerberito modern," "Burundanga", "At Sea", all Peerles catalog. I had some jewelry not heard on the radio, Seeco Records, U.S. and Panart, Cuba. The announcer said José Luis Almada: "Thanks to the company Peerles, we have the fabulous collection of Matancera, consisting of twenty as LPs, and I do not think there are more records of Sonora." No, because I said " sesentaitantos I bring. " I dialed the phone: "Hey, mister, how many albums have the Matancera?", "We have a fabulous collection of twenty LPs", "uuuhh, I will win: I have more than sixty LPs", "No, I is you kidding " "No, I have them. Do you know 'I am not handsome, "with Vicentino Valdes? Do you know the 'Tibiri Tábara' with Daniel Santos? Is a collection that I have "," Just seeing if you come and bring us this collection, "" Tomorrow, "" Really? "," Yes. " Total

, radioed: "We just spoke to a person claiming to have a collection of sesentaitantos Matancera discs. Actually, I do not believe him, but let's see if it is true, he said that tomorrow comes. "

I go to another day, carrying my crate, truck truck, and came to the Core Radio Insurgentes Mil. I came in with the receptionist and the Cajot sweating of the LPs sesentaitantos Matancera, and said, "Who comes to see?", "Mr. José Luis Almada, of the 'Idols Matancera'" " By whom? "and I told you my name. And beneath that: "Let's see who is the person bringing the discs?" "I", "You're the one who spoke yesterday? Come on, show me the disks, and beginning: "Here is Miguelito Valdés, 'The Bus' with Celia Cruz ..." "No'mbre, you have a good collection. This is important, you have to spend in the air. Let's see, get your box. "

Once in the air, said:" Do you remember someone told me I had more disks Matancera? Well, what have we here, what is your name? ", And you interviewed me. "Let's see, how we started," and I start with "The Tibiri Tabara" and from there I went up the program and more, because they lent the music and they paid me announcing my dances. Total

arrived the day of baptism, and announced through the radio, and no'mbre, it was a sea of people at six in the afternoon, the street was filled from corner to corner. I put a trumpet in front, and also a speaker. I said the party: "Hey, brother, if the party is ours, not yours", "No, is that the radio announced," Well, what the ads. Just look at what people, there is more to my guests. Well, you touch her. "

then that Mr. is set on the focus, as was the police, he said, "What if we do afternoon here outside, you disperse them?" Then later he saw the business, and I said yes.

AR: That is the origin of the shows on the street?

RR: Yes, that was the first time. He got permission to be late, then worked with the police. Every week and ads, and we did Friday and Sunday afternoons, and full, here on the street.

A wife of mine, who has already died, and the wife of Mr., were charged by those who were dancing, they put a listoncito and charged them for dancing, at five dollars per person. It was a world of people ... I started to pull

people of all colonies of the City, is heard on the radio, and began to be popular. After that there were "Birds of the Tropics", but "La Changa". In fact, when I started doing popular, I made my cards with my e-Charity 25. I played in the neighborhood, and I rented for weddings or 15 years, and people came while my grandmother was watching television and playing it. My grandmother, who was already big, replied: "Who?", "Do not know where to play Ramon?", "Ramon does not live here, go look at your house!" And got angry.

So I said, "How do I get that knock on the grandmother?". Then I buy a board, and there read: "Played in such street, hung it and I was going to play. Already reached the people, not the grandmother played and I was to follow.

AR: How much to private parties?, Where else started playing?

RR: Up to private parties, forget it. Then I came and fixed Afternoon special: it started out the show "Los Pepes", the Eastern Agricultural Wednesday, and Saturday I got in the Hall "FBI", which was a yard where Mr. Fernando Briones raised pigs. This man sold pork tacos, and they arrived the guys dancing on Wednesday of "Los Pepes" had a jukebox and they would dance. They said, "Hey, why not a few evenings ago here in your land? "," No, it is that I have my pigs, "it holds the pigs," "But who bring" "Well, La Changa", "What's that?" As a sound plays. Bring it, and will pull a stream of people. "

One day was Don Fernando to hire a "Los Pepes", "How do we work?", "For the fifty-fifty." Sent to their propaganda, I rented for the first time, and it was a llenazo-we are talking about 500 people.

Usually I played every day, not only on Saturdays. When I started to leave the "FBI" on Saturday, I went out and went to events 15 years or weddings, and all the kids with their cars, they followed me, was like a caravan behind me to see where I was going to play. Were chopped and chopped the ball of suck, and they continued to "Change."

AR: What years are we talking about?

RR: In the seventies, early eighties, which was the golden age of sound, when little was invested and earned more, far more is invested and earns little.

Well, Mr. Brown worked "La Changa", so much so that left the business of pork, pigs and sold everything he earned he began to throw cement floor and roof construction for a living.

were a tremendous smash, "Los Pepes" on Wednesday, the "FBI" on Saturday, Tuesday went to Santa Anita, Iztacalco, then moved on to COYU, to show "Mirrors." They played, until finally the day came that I was to venture to the United States.

AR: Matancera Besides, what other music playing?

RR: I started playing cumbias the coast of Colombia, Andrés Landeros, Alfredo Gutierrez, the same Sonora Dinamita - "It I lost my chain "was an album that I brought. I started traveling to Colombia since 1978 and was twice a year for music. Spend from my pocket for a plane ticket and money for organizing my hotel, taxis and purchase music. Thus began the movement of "La Changa".

also began to travel to Toluca, Puebla, Pachuca, Leon.

AR: Where he began to get out of Mexico City?

RR: A Toluca, Puebla. In Puebla, the first time I was six in the afternoon and the place was called "The Cuescomate" in the neighborhood of La Libertad, was completely filled. I came this time with a camionetita "I thought I was coming with a trailer, with my wardrobe, my trumpet, my twitters and a beacon of light aircraft with a spinning motor. They already had a pyramid of baffles little ones, like home, and that is coming "La Changa" with two wardrobes and their trumpets: "What, that's" La Changa "? Uuuhh, because we're going to turn, we have a lot of speakers. " But they saw what kind of horn brought me a 22 for bass. When they start to sound the changazos "Chchangaaa!" And start talking, because people liked. There

started having success in everything that is Puebla, motivation for all young people of that time, and so began to grow, "La Changa".

AR: Within the Republic, until it has come to play?

RR: I've been in Tijuana in the Hall "The Flea", Acapulco, Oaxaca, people always respond.

AR: What other sounds did you start switch?

RR: Going back to when I played in the afternoon in the Gertrudis Sanchez, who was a success, one day a girl came up to me and says, "Hey, bro, do you know the sound 'El Rolas'?" " No "," This is a guy who plays well father is Beyond San Juan de Aragon. I'm going to bring for now and in eight days, to get it there, "" All right. "

anything I did not speak in sound, a microphone brought those of the tamale. Sunday came, and she told me: "Look, I present the 'Rolas'," "Hello, nice taste." The girl continued: "Let him speak." "Here I am presenting to the Sound 'El Rolas'." And caught 'El Rolas "and said:" Ladies and gentlemen, good evening, I spoke XRHH Sound' Rolas', straight from Las Lajas, Penon de los Banos. And I said, "Aahhh! I want to talk like this bastard. "

started doing a head to head between 'El Rolas' and 'La Changa' the eight days he played cumbias pure Majagual Los Corraleros, and I played pure Matancera. From there we started to do a dumbbell that lasted 11 or 12 years.

AR: That meeting gave you for speaking into the microphone.

RR: For me to talk, and him to get the music I had. We dumbbell, and we play every Friday and Sunday in a movie called "Cinco de Mayo", here by Eduardo Molina. I premiered music, and getting eight days him, but I already took out another one. Then, the winning was the audience.

That was nice, because now it has lost the essence, glamor sonidera to music. For example, "El Condor", which already has its way, we do not know if rock and roll, if disco ... He spends a lot of the Leper, rudeness, so no, that's not my style. The public deserves respect, I say bad words, but in disguise, do not tell lipped mouth, and I say so strong nor direct. For example, this "fuck your mother who does not dance!", For what it is? And gets rock and roll music. Formerly the mental itch to music: if you I play a track, I have a better one, to see if you have it. That was nice, and coming out winning was the audience.

AR: With what sounds did you start switch?

started doing that dumbbell "El Rolas" and "Changa", and we did that motivate people. Began a cronyism, but as always when there is money, there are problems. There came a time when "El Rolas" and felt more than "La Changa", and then decided that everyone on the other hand, everyone grabbed their way and doing better. One day we went wrong with the "Cinco de Mayo" became a dance on November 2 with a Super Group Colombia and more, plus sounds like "Fascination", "crystallite Porfis", "Leo." The dance was beautiful. But all the money it took "El Rolas", I did not give me a dime. He told me that because I "what I did," for what he did, because I always come to work, I said. "But you hit her or advertising, or did you get permission, and I did all that work. Or hire orchestras, what did you do? "

I said," So I do not touch anything "," No, and do it like you want, I'm not going to give anything. "From there we drifted apart Mr. and me, and that we were buddies. But everything has a punishment: over time, where he is and where I am. That night of the dispute saw competition, which was the Deportivo Leon, in New Atzacoalco, and Sound "Festival Latino" spoke to me and said, "Why do not you come here?" "Well yes. "

announced by microphone So I was going to change for Deportivo Leon on Sunday, and no longer would be to "Rolas. People followed me there, and left without people. And then he dropped the price of the ticket, and at one point that even for free, and even then the people came. He took "La Changa".

also alternated with "crystallite Porfis", "Fascination" Sound "Maracaibo", "Caribalí", "Rainbow", all those people of yesteryear.


* A shorter version of this text appeared in Replicante , no. 18, Spring 2009. Reproduced with permission of the publisher.