María de los Ángeles de las Heras Ortiz better known professionally as Rocío Dúrcal was a Spanish singer and actress. In 2005 Dúrcal received a Latin Grammy Award for musical excellence, a prize, awarded by the Governing Board of the Recording Latin Academy to artists who have made creative contributions of outstanding artistic significance during their careers. Dúrcal began her artistic career by participating in various radio song festivals and competitions, secretly supported by her paternal grandfather, who always believed in her talent and became her first fan. In 1959, with the approval of her parents, she participated in the television program Primer Aplauso, broadcast by Televisión Española; the theme that she chose for the contest was the traditional song "La sombra vendo". Luis Sanz, a Madrid manager who watched the show, was impressed by her personality. Sanz contacted the address of the young contestant, her first film was Canción de Juventud directed by Luis Lucia. The plot of the film portrayed a teenager with her own personality.
The movie scored huge box office and critics success. This success was repeated in other Spanish-speaking countries. Dúrcal became the star of Rocío de La Mancha. Following this, she got her first record deal with transnational Phonogram; the songs the artist played in both films served to make her first album, Las películas de Rocío Dúrcal. In Dúrcal's third film, Tengo 17 años, she put aside her role of "child star"; that same year, she appeared in her first theater play, Un domingo en Nueva York, in which she was revealed as a great theatrical actress. In 1965 she filmed Más bonita que ninguna. In 1966, she shared the spotlight with Enrique Guzmán in the film Acompáñame, she began to perform duets with such singers as Amalia de Isaura. She co-starred in the film Amor en el Aire with the young Argentine singer-songwriter Palito Ortega. In 1968 she filmed Cristina Guzmán, the first of her films, aimed at an audience over 18, her last film was with Bárbara Rey in Me Siento Extraña in 1977. In 1970 Dúrcal married Filipino-born musician Antonio Morales.
In 1972, Antonio Morales began a series of television shows in Spain and Latin America singing with his wife as a duet. Their first child, Spanish actress Carmen Morales de las Heras, was born in December 1970. After the birth of their second child, Antonio Morales de las Heras, in April 1974, Morales decided to give up his career to devote time to their children. Dúrcal meanwhile continued her singing career. In 1979 she had her third child, Shaila Morales de las Heras, who took up a singing career under the stage name of Shaila Dúrcal and is a successful singer. In 1977, Dúrcal signed a contract with Ariola Eurodisc dedicating herself to the musical career; that year, while in Mexico, she met the Mexican singer-songwriter Alberto Aguilera Valadez, better known as Juan Gabriel, who decided to record a whole album of rancheras performed by Rocío Dúrcal entitled Rocío Dúrcal canta a Juan Gabriel. Without further advertising, the LP received high levels of sales, so Dúrcal and Juan Gabriel considered the possibility of a new recording together.
They ended up marking the revival of Rocío Dúrcal as a singer. The final collaboration between Dúrcal and Juan Gabriel emerged in 10 albums. Dúrcal's album named Canta A Juan Gabriel Volumen 6 is among the top ten best-selling albums in the history of Mexico. For this album Rocío Dúrcal received her first Grammy Award nomination; the collaboration of Dúrcal with Juan Gabriel was interrupted by disagreements between the artists and because of problems of Juan Gabriel with his record label, so Dúrcal continued to record albums with other songwriters such as Marco Antonio Solís and Rafael Pérez Botija. In 1988 she recorded the album Como Tu Mujer with producer Marco Antonio Solis. In 1990, she recorded her first album on CD format entitled Si Te Pudiera Mentir. In 1991, Durcal offered a concert at the National Auditorium in Mexico City, recorded in a double disc El Concierto... En Vivo. Between 1992 and 1993 she recorded the album Desaires, produced by the Mexican singer and songwriter Joan Sebastián.
In this album she reprises ranchera. In 1995 she launched her production Hay Amores Y Amores, with songs written and produced by the Argentine Roberto Livi. For this album she is nominated again to the Grammy Awards in the category "Best Latin Pop Album". In 1997 the double album Juntos Otra Vez brought Rocío Dúrcal and Juan Gabriel together again for the last time; that album was made by an engagement with the record company and not by the desire of both artists to continue to cooperate. In 1998, under the direction of her discoverer Luis Sanz, Dúrcal starred in the Spanish TV Show Los negocios de mamá, broadcast by Televisión Española. In 2000, she celebrated 40 years in the industry. In that year she returned to ranchera music with the album Caricias, under the production of songwriter and producer Bebu Silvetti. In 2001 Rocío Dúrcal recorded Entre Tangos Y Mariachi, again produced by Bebu Silvetti, an album that includes 10 of the most famous Argentine tango arrangements interpreted with ranchero/bolero style like her previous album.
In the summer of 2001 Dúrcal made a successful tour after 13 years of no shows in Spain. After a year and a half absence, she returned to the stage on 19 September 2002
Father Cami's Wedding
Father Cami's Wedding is a 1979 Spanish drama film directed by Rafael Gil and starring José Sancho, José Bódalo and Manuel Tejada. José Sancho as Juan Camí José Bódalo as Padre Antonio Bissus Manuel Tejada as Ricardo Blanca Estrada as Luisa González Manolo Codeso as Paco Ventura'Chapete' Gemma Cuervo as Sra. de Cuéllar Fernando Sancho as Blas Isabel Luque as Lidia Ricardo Merino as Ernesto Carmen Platero Juan Santamaría Rafael Hernández as Pedro Helga Liné as Mujer del'Marqués' Alejandro de Enciso Mary Begoña as Marta Francisco Piquer Mabel Escaño Manuel Alexandre as Alcalde de Reajo del Pino Yolanda Farr Manuel Torremocha Mayte Pardo Luis Induni Alfonso del Real as Padre del Bosque Juan Luis Galiardo as José Lloret Tomás Blanco Ángel Ter Emilio Rodríguez Eva Robin Carlota Bilbao Charly Bravo Silvia Robin Estanis González Sergio Mendizábal Guillermo Hidalgo Jacinto San Emeterio Valentín Gascón as Paco Ventura'Chapete' Antonio Vico as Los Jóvenes Estudiantes Emilio Álvarez as Los Jóvenes Estudiantes E. Lostal as Los Jóvenes Estudiantes F. Marín F. Marín as Los Jóvenes Estudiantes Javier Viñas as Los Jóvenes Estudiantes Bentley, Bernard.
A Companion to Spanish Cinema. Boydell & Brewer 2008. Father Cami's Wedding on IMDb
Antoni Asunción Hernández was a Spanish politician of the Spanish Socialist Workers' Party. He was Minister of Interior between 1993 and 1994, he served as member of the Congress of Deputies during the V Legislature. Asunción was born on 12 July 1951 in Manises, he started his political career as alcalde of his hometown in the 1970s. He was elected in the 1983 municipal elections, he subsequently became Deputation President of Valencia. In 1988 he was named Director General of the Penitentiary Institutions under Justice Minister Enrique Múgica Herzog. During his period as director he was one of the main designers of the dispersion policy of ETA prisoners. To establish the policy which tried to break ETA prisoner discipline he worked with the leader of the Basque Nationalist Party, Xabier Arzalluz. In the 1993 general elections Asunción obtained a seat in the Congress of Deputies for the Electoral District of Valencia, he would serve until 1996. In 1994 he became Minister of Interior in the government of PSOE Prime Minister Felipe González.
During this time Luis Roldán, former Director of the Guardia Civil, was accused of corruption. Asunción promised that Roldán would be persecuted, that he would not be able to leave country; when Roldán fled the country Asunción, having been in office for five months, offered his resignation to González, who refused. Asunción stated that he would just stop coming into work and González subsequently accepted. In the 1999 provincial elections Asunción was elected to the Corts Valencianes, he tried to become President of the Valencian Government but lost out to Eduardo Zaplana of the People's Party. Several months he left the Corts, having served between 13 June and 20 September. Asunción left politics and focused on his business venture for several years. In 2010 he unsuccessfully tried to become Secretary-General of the PSOE of Valencia; the PSOE suspended his membership in 2011, stating that Asunción made numerous allegations of electoral fraud without evidence. In 2013 Asunción supported the Moviemiento Ciudadano of Albert Rivera.
In June 2015 Asunción was indicted by judge Santiago Pedraz of the Audiencia Nacional, he was charged with fraudulent bookkeeping and criminal conversion in a case concerning the sale of his share in the company Acuigroup Maremar to the Banco de Valencia. Asunción had founded and owned of the company together with Társilo Piles, President of the Fundación Valencia CF, since 1999. In a response before the Audiencia Asunción blamed the intermediaries of the bank of destroying the company. In December 2014 he had been cleared of the same charges by the Audiencia of Valencia, he died on 5 March 2016 in Valencia, aged 64, after having suffered from an illness for several weeks. Asunción was a cousin of actor José Sancho
Destiny (Queen of Swords)
Destiny is the first episode and origin story of the syndicated television series Queen of Swords airing October 7, 2000 Tessa Alvarado returns to Spanish California on the death of her father to find her home in ruins and the area under the control of a tyrant, Colonel Montoya. From a dream about her dead father and his'Avenging Angel', Tessa becomes the Queen of Swords. Cast as listed at the beginning and end of episode. Tessie Santiago as Tessa Alvarado/The Queen Anthony Lemke as Captain Marcus Grisham Elsa Pataky as Vera Hidalgo Peter Wingfield as Dr. Robert Helm Paulina Galvez as Marta the gipsy Valentine Pelka as Colonel Luis Ramirez Montoya Jose Sancho as Don Rafael Alvarado Tacho Gonzales as Don Gaspar Hidalgo Teresa del Olmo as Rubina Enrique Rodriguez as Fernando Anthony De Longis as Maestro Juan Torres Antonio Mayans as Carlos Jaimie Palmer Colom as Corperal Leandro Gabriel Garcia as a shopkeeper Santos Villodres as a shopkeeper In Madrid and during 1817, Tessa Alvarado is having fencing lessons, that her father might not approve of, from Maestro Torres when her servant Marta the gypsy, who has looked after her since she was sent to Madrid at the age of seven to complete her education, arrives with a letter.
Expecting it to announce her father's arrival, Tessa is shocked to find it contains news of his death after a fall from a horse. Unbeknown to Tessa her father had been chased by soldiers and killed by a rifle shot by Captain Grisham. Tessa decides. Arriving by ship, Tessa and their luggage are being transported by carriage and wagon inland to the Alvarado Hacienda; when they stop to assist a broken-down wagon, they are set upon at gunpoint by masked robbers. Tessa recognizes the voice of the main robber as her father's manservant and when she confronts him, he takes off his mask, confessing his family is starving. Tessa, seeing his desperation, gives him some money. A shot rings out and Carlos is wounded in the arm as Captain Grisham and his men ride up. Grisham introduces himself and returns the money to Tessa, offering to escort her and Marta to the Alvarado Hacienda while his men take Carlos to town; when they arrive at the Hacienda, they find it is in disrepair, Captain Grisham points out that when her father died, there was no money to pay the workers and that back taxes are owed to Colonel Montoya, but the colonel would loan her the house for a few days and they are invited to a party the colonel is holding that evening.
Tessa and Marta go to Santa Helena and find Carlos in the town square tied to a post while his wife, tries forlornly to give him some water, but a soldier is preventing this until Tessa intervenes. She promises to speak to Colonel Montoya about her husband. Entering the rose garden and Marta find Montoya entertaining the Dons and their wives by playing the violin. Don Hidalgo is present with his young wife and recognizes Tessa but before they can speak Montoya interrupts and asks Tessa to dance. Seeing an opportunity to plead Carlos's case, but to no avail, as a group of Flamenco dancers begin their routine, Tessa hears a commotion in the square and goes outside to find Carlos is about to be shot by a firing squad headed by Captain Grisham. At the climax to the dance, Carlos is killed. Tessa learns that execution is not murder when it is the law and Montoya is the law; that night and back at her hacienda, an angry Tessa is shadow fencing determined to send a message back to Spain, but Marta points out that Spain is still recovering from the wounds of Napoleon and would not be interested.
Marta has learned that Tessa's father had been murdered. At the same time, Colonel Montoya visits Captain Grisham, in bed with unfaithful Vera, his lover. Montoya, concerned about Tessa, wants to ensure control of her land by having Grisham propose marriage. Grisham can not refuse; the next morning. Tessa visits Rubina and her teenage son, who holds Tessa responsible for his father's death much to Rubina's disgust. Rubina refuses to answer questions about Tessa's father but when given some money for the children, she tells Tessa to ask the Dons. Visiting Don Hidalgo, he is not forthcoming and advises her patronizingly to go home, find a husband, find fulfillment in marriage. Interrupted by one of Grisham's soldiers with an invitation to lunch at a beach with Grisham. At the beach Grisham, talks about marriage, but Tessa only wants to talk about her father's murder. Tessa ask Grisham to take her back to town; as they arrive back in town, Rubina's son has been accused of theft by a shopkeeper. But Tessa said.
The boy spits at Captain Grisham, incensed. But Tessa asks for mercy and Grisham agrees that the boy will not be executed, but given 50 lashes the next morning; that night, while Tessa sleeps Marta reads some tarot cards, which mirror a dream that Tessa is having about her father, who speaks to her about his wine and his murder. But she should do nothing. Waking, she goes to Marta, who knows what has happened. Going to their cellar, they find the wine in the dream and the bottle in the rack is a handle to a secret door into a concealed room. Within, they find Don Alvarado's hidden valuables including gold and a sword, a rapier in the family for generations, for the son he never had. There is a portrait of Tessa as a seven-year-old titled "Tessa my Angel." Looking in a mirror with the tarot card of the Queen of Swords, Marta asks what she sees, Tessa replies ”My destiny!” Further into the night, Tessa dressed as the Queen of Swords goes to the jail in Santa Helena and, by surpr
Live Flesh (film)
Live Flesh is a 1997 Spanish erotic romantic drama thriller film and directed by Pedro Almodóvar, starring Liberto Rabal, Javier Bardem, Francesca Neri. The film is loosely based on the 1986 book Live Flesh by the British crime writer Ruth Rendell. Madrid, Christmas 1970; the Spanish State has declared a state of emergency curtailing civil liberties. A young prostitute, Isabel Plaza Caballero, gives birth on a bus to a son she names Víctor. Twenty years Víctor Plaza shows up for a date with Elena, a junkie with whom he had sex a week earlier. Elena is waiting for her drug dealer to arrive and orders Víctor to leave threatening him with a gun. Enraged, Víctor wrestles the gun from her. A neighbour calls the police. Two cops respond to the report; the older cop, Sancho, is an unstable alcoholic. The younger cop, David is sober. Through the window they catch sight of Víctor physically struggling with Elena. Sancho is ready to storm the apartment; when they enter, Víctor holds Elena hostage at gunpoint.
David tries to calm him down and get him to drop his gun, but Sancho sabotages his efforts by threatening Víctor. David puts his gun to Sancho's head and gets first Sancho and Víctor to put down their guns. David orders Elena to flee. Sancho lunges for Víctor, as they wrestle for the gun it fires. Two years Víctor, in jail, watches a wheelchair basketball match. David, now paralyzed from the gunshot two years earlier, is a star player in the 1992 Summer Paralympics. Elena, now his wife, cheers him on from the sidelines. Víctor has made good use of his time in jail, taking a correspondence course in education, working out, enriching his mind with a variety of subjects, including the Bible. Four years he is released, his mother has died, leaving him a house in an area scheduled for demolition. Víctor visits his mother's grave. Without identifying himself, he offers her his condolences. Before leaving the cemetery he encounters Sancho's wife Clara, who has arrived too late for Elena's service, they leave together and she visits his apartment.
They establish a tentative relationship. Elena, now off drugs and operating an orphanage, tells David of her encounter with Víctor. David warns him not to go near his wife. Víctor challenges him to prevent him from doing whatever he wants, but David punches him below the belt. David leaves. Clara, drawn by Víctor's enthusiasm and good looks, agrees to teach him how to make love while pampering him with gifts and affection, she falls in love with him. Víctor is accepted as a volunteer by the orphanage, which accepts the qualifications he earned in prison and discovers he is good with the children. Elena can offer no compelling argument against Víctor. David discovers that he works at his wife's orphanage, he confronts Víctor again, Víctor denies responsibility for firing the shot that put him in a wheelchair. He demonstrates how Sancho made him squeeze the trigger because Sancho knew David was having an affair with Clara. Afterwards, David tells his wife what Víctor said, admitting that he was having an affair with Clara.
Elena is disgusted, but still plans to leave the orphanage to get away from Víctor. Víctor tells Elena that his original plan of revenge was to become the world's greatest lover, make love to Elena all night long, abandon her, but that he now loves her too much to do so. Víctor tells Clara that they should stop meeting, they break up. While Víctor is working overnight at the orphanage, Elena arrives to remove her belongings and offers Víctor a night of passion on condition he never contacts her again. Elena tells David about this night of infidelity, she tells him she will remain his wife. David is intent on avenging himself against Víctor. Clara, unable to bear Sancho's abuse any longer, leaves him in a violence scene, leaving him bloodied. David arrives and helps Sancho clean his wounds before showing Sancho photographs he has been taking of Víctor and Clara. Sancho and David drive to Víctor's house, arriving just as Clara has finished writing Víctor a farewell letter. Sancho and Clara hold each other at fire.
Clara falls dead and Sancho is wounded. Sancho kills himself. At the end, David narrates a letter written to his wife from Miami, where he is spending Christmas with some friends, apologizing for the way everything turned out. At the orphanage, a pregnant Elena goes into labor and on the way to the hospital, she and Víctor get stuck in heavy traffic. Víctor is reminded of the circumstances of his own birth, tells his unborn child that the Spanish people no longer live in fear as they did at the time of his birth. Javier Bardem as David Francesca Neri as Elena Liberto Rabal as Víctor Plaza Angela Molina as Clara José Sancho as Sancho Penélope Cruz as Isabel Plaza Caballero Pilar Bardem as Doña Centro Álex Angulo as bus driver Mariola Fuentes as Clementina Yael Be as Chica Josep Molins as Josep Maria Rosenfeldt as Niña Almodóvar’s twelfth film premiered on 12 October 1997. Produced by El Deseo, CiBy 2000, France 3 Cinéma, Live Flesh enjoyed positive reviews in Spain by critics who had dismissed Almodóvar’s work criticizing the plot structure of his films.
José Arroyo in Sight and Sound praised the film
The Great Galeoto
The Great Galeoto is a 1951 Spanish drama film directed by Rafael Gil and starring Ana Mariscal and Rafael Durán. Valeriano Andrés as Pedro Manuel Arbó as Secretario de Ernesto Rafael Bardem as Gabriel Francisco Bernal as Peón del coto de caza Xan das Bolas as Cochero Raúl Cancio as Alcaraz María Cañete Manuel de Juan as Miembro del consejo Mary Delgado as Mercedes Rafael Durán as Ernesto Acedo Juan Espantaleón as Don Severo Villamil Fernando Fernández de Córdoba as Uceda Concha Fernández as Castita Félix Fernández as Enciso Enrique Herreros as Nicasio Heredia de la Escosura Casimiro Hurtado as Senén Manuel Kayser as Faquir José María Lado as Don Julio Villamil Julia Lajos Helga Liné as Adelina Ana Mariscal as Teresa La Bisbal Ramón Martori as Don Ángel Acedo Nieves Patiño Manuel Requena Antonio Riquelme Santiago Rivero as Moisés José Sancho Sterling Fernando Sancho as Vizconde de Nebreda Vicente Soler as Tomás Juanito Vázquez as Marcel Ángel Álvarez Gabriel Llopart as Actor en la obra María Luisa Ponte as Invitada a la cena José Prada as Hombre que cura a Don Julio José Villasante as Hombre con toga de España, Rafael.
Directory of Spanish and Portuguese film-makers and films. Greenwood Press, 1994; the Great Galeoto on IMDb
The biblical Magi referred to as the Wise Men or Kings, were – in the Gospel of Matthew and Christian tradition – distinguished foreigners who visited Jesus after his birth, bearing gifts of gold and myrrh. They are regular figures in traditional accounts of the nativity celebrations of Christmas and are an important part of Christian tradition. Matthew is the only of the four canonical gospels to mention the Magi. Matthew reports that they came "from the east" to worship the "king of the Jews"; the gospel never mentions the number of Magi, but most western Christian denominations have traditionally assumed them to have been three in number, based on the statement that they brought three gifts. In Eastern Christianity the Syriac churches, the Magi number twelve, their identification as kings in Christian writings is linked to Psalm 72:11, "May all kings fall down before him". Traditional nativity scenes depict three "Wise Men" visiting the infant Jesus on the night of his birth, in a manger accompanied by the shepherds and angels, but this should be understood as an artistic convention allowing the two separate scenes of the Adoration of the Shepherds on the birth night and the Adoration of the Magi to be combined for convenience.
The single biblical account in Matthew presents an event at an unspecified point after Christ's birth in which an unnumbered party of unnamed "wise men" visits him in a house, not a stable, with only "his mother" mentioned as present. The New Revised Standard Version of Matthew 2:1–12 describes the visit of the Magi in this manner: In the time of King Herod, after Jesus was born in Bethlehem of Judea, wise men from the East came to Jerusalem, asking, "Where is the child, born king of the Jews? For we observed his star at its rising, have come to pay him homage." When King Herod heard this, he was frightened and all Jerusalem with him. They told him, "In Bethlehem of Judea. Herod secretly called for the wise men and learned from them the exact time when the star had appeared, he sent them to Bethlehem, saying, "Go and search diligently for the child. When they had heard the king, they set out; when they saw that the star had stopped, they were overwhelmed with joy. On entering the house, they saw the child with Mary his mother.
Opening their treasure chests, they offered him gifts of gold and myrrh. And having been warned in a dream not to return to Herod, they left for their own country by another path; the text specifies no interval between the birth and the visit, artistic depictions and the closeness of the traditional dates of December 25 and January 6 encourage the popular assumption that the visit took place the same winter as the birth, but traditions varied, with the visit taken as occurring up to two winters later. This maximum interval explained Herod's command at Matthew 2:16–18 that the Massacre of the Innocents included boys up to two years old. More recent commentators, not tied to the traditional feast days, may suggest a variety of intervals; the wise men are mentioned twice shortly thereafter in verse 16, in reference to their avoidance of Herod after seeing Jesus, what Herod had learned from their earlier meeting. The star which they followed has traditionally become known as the Star of Bethlehem.
The Magi are popularly referred to as wise kings. The word magi is the plural of Latin magus, borrowed from Greek μάγος, as used in the original Greek text of the Gospel of Matthew. Greek magos itself is derived from Old Persian maguŝ from the Avestan magâunô, i.e. the religious caste into which Zoroaster was born. The term refers to the Persian priestly caste of Zoroastrianism; as part of their religion, these priests paid particular attention to the stars and gained an international reputation for astrology, at that time regarded as a science. Their religious practices and use of astrology caused derivatives of the term Magi to be applied to the occult in general and led to the English term magic, although Zoroastrianism was in fact opposed to sorcery; the King James Version translates the term as wise men. The same word is given as sorcerer and sorcery when describing "Elymas the sorcerer" in Acts 13:6–11, Simon Magus, considered a heretic by the early Church, in Acts 8:9–13. Several translations refer to the men outright as astrologers at Matthew Chapter 2, including New English Bible.
Although the Magi are referred to as "kings," there is nothing in the account from the Gospel of Matthew that implies that they were rulers of any kind. The identification of the Magi as kings is linked to Old Testament prophecies that describe the Messiah being worshipped by