10 years in a residence, after a life of pain and glory

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10 years in a residence, after a life of pain and glory





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‘El Príncipe Gitano’, in one of his performances. (RTVE)


In the collective imagination will always remain his version of ‘In The Ghetto’, famous song by Elvis presley, which was rediscovered by the new generations, sometimes from irony, but always from affection and respect for an artist who triumphed in the Olympia Paris, as he liked to remember in his interviews, and he had such a strong imprint that it is inimitable, which is unusual to say about an artist. The Gypsy Prince was unique and unrepeatable.

He himself, in 1978, in the ‘Cantares’ program of Lauren Postigo, was defined without false modesty: “I am an artist, that God gave me a very great personality. I do not know if I am better or worse than anyone. Being an artist is born, not done. I was born an artist. I am an artist. I have my name. I am not only known in Spain, also in Europe, in America, even in Japan. Artists who have come from there have told me that the girls have my records under their arms and that they think I am a real prince, that I am the prince with green eyes.

It was his daughter, Lola Castellón, who confirmed the sad news to Europa Press: his father has died a victim of Covid-19 at the residence La Paz de Mandayona, in the province of Guadalajara, where he lived for ten years. Completely removed from public life for a few more years, the artist, who has died at 88 years of age (other sources estimate that he was 92), was married to his youth girlfriend, María Gómez Martín, with whom he had three children, and leaves behind him a trail of legend, not in vain gave great opportunities to other great stars of the time, and as the journalist Manolo Román publishes, who met him in private, until Rita Hayworth she fell in love with his physical attractiveness.


Enrique Varegas, in a performance between friends in the 60s. (EFE)


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Enrique Varegas, in a performance between friends in the 60s. (EFE)


The artist, who debuted at the age of 14 at the Teatro Calderón in Madrid in a show with Lola Flores, was the first to interpret the Porompompero, which would cover Manolo Escobar, also discarded from his repertoire ‘I am afraid’, which would Rocío Jurado, and was the architect of ‘Obi, Oba, I love you more every day’, which years later would reach a universal dimension thanks to the Gipsy kings, They did know how to capitalize on a success that now more than ever we must claim to do, at least, poetic justice.


Dolores Vargas, The Earthquake. (EFE)


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Dolores Vargas, The Earthquake. (EFE)


The artistic life of Enrique Castellón Vargas, who was his real name, was closely linked to that of his sister, Dolores Vargas ‘The Earthquake’, who died a victim of leukemia on August 7, 2016, at the General Hospital of Valencia, where she had been hospitalized for a few days. Like her brother, she had also been away from music for a long time, although in her case it was for different reasons. When her husband died in 1987, the famous interpreter of ‘Achilipú’ decided to withdraw from everything and only sang in church, as her brother, guitarist Juan José Castellón Vargas, stated to confirm her death, although, apparently, she had received very offers succulents to return and sing, in addition, with another of the kings of the Catalan rumba, Peret.

Dolores had performed her first songs with her brother Enrique, who, paradoxically, and despite having more than remarkable achievements, has no Wikipedia entry. The artist, who reached an enormous international dimension, attesting to his time on the emblematic television program of Ed Sullivan In the United States, he was stage meat and his career was neither planned nor due to marketing strategies. Although one of his great vocations was to be a bullfighter, this was not the prophecy in which he managed to make his way, but music, which also opened the doors of the cinema, where he intervened in titles such as’ El alma de la copla ‘,’ El miracle of cante ‘and’ Españolear ‘.

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