A Quote by Rosalia

Flamenco is dark - it's about tragedy and intensity. — © Rosalia
Flamenco is dark - it's about tragedy and intensity.
I discovered flamenco when I was 14, before I even got involved with jazz music. I was so crazy about flamenco music. I wanted to be a flamenco guitar player.
The flamenco of the Gypsy has nothing to do with the flamenco for tourists. Real flamenco is like sex.
Flamenco is the reflection of the street. It's that thing that's so beautiful, that comes directly from the people. It has so much truth, tragedy, falling in love, falling out of love, flamenco has it all. You can learn so much, that's why it's so incredible and so beautiful.
There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.
Flamenco was probably the first music that I may have heard as a baby, because my father played flamenco.
I feel like flamenco is part of this Latin music culture. It's from Spain, but flamenco has always been connected to Latinoamerica.
As far as current inspiration, I'm listenting to a lot of flamenco, because the techniques used for flamenco can be adapted to playing bass.
My music pulls from flamenco plenty; it wouldn't make sense without that genre. I also have a lot of love for flamenco and I'm very happy if I can be an ambassador for it.
I like the way that Dexter mixed humor, dark humor and tragedy, in a way I don't think that I've seen another show do. To handle those tonal shifts with so much confidence. Normally, you can mix humor and dark humor, you can mix dark humor and tragedy, but to mix all three... There are just moments with Robin and Reuben, the next door neighbors, that are just funny.
I grew up with a strong Spanish influence. I tried to learn flamenco when I was younger. But it's like my teacher said: 'It takes a lifetime to learn flamenco.'
I am rooted in flamenco. At 13, I fell in love with it, but I couldn't sing it. To sing flamenco is like being a kind of opera singer. You have to learn how.
Robby had a flamenco and folk music background. I was so enamored with watching Robby's fingers crawl across the flamenco guitar strings like a crab.
Flamenco is connected with so many types of music. It has Jewish culture inside, Arabian culture inside, Russian culture inside, Spanish culture inside. It's linked to African music too, because African music has the 'amalgama' rhythms you can find in flamenco. You can find everything in flamenco. That's why it's so beautiful.
We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.
I was really surprised at the success of 'House of Sand and Fog,' because it is so awfully dark. Believe it or not, when writing it, I never had the word 'tragedy' in my head - I wasn't trying to write a dark book at all.
If you are involved with the intensity of crescendo situations, with the intensity of tragedy, you might begin to see the humor of these situations as well. As in music, when we hear the crescendo building, suddenly if the music stops, we begin to hear the silence as part of the music.
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