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Flor Silvestre
Birthday:
August 16
Birth Name:
Guillermina Jiménez Chabolla
Biography
I'm happy. My children, all of my children that God gave me - I say that the only thing left for me right now is to ask God for the health of all of them.
I'm happy. My children, all of my children that God gave me - I say that the only thing left for me right now is to ask God for the health of all of them.
[describing her daughter Dalia Inés] She dances beautifully. And everything from Veracruz to huastecas, she dances everything beautifully. She is even more folkloric than I am! I love her ballet and how she loves Mexico and how she choreographs the singers and the dancers with those costumes.
[describing her daughter Dalia Inés] She dances beautifully. And everything from Veracruz to huastecas, she dances everything beautifully. She is even more folkloric than I am! I love her ballet and how she loves Mexico and how she choreographs the singers and the dancers with those costumes.
[describing her daughter Marcela Rubiales] Marcela is the beautiful, precious girl that each day I pray to God that she be very happy, that all her goals and wishes come true; because she is a beautiful, beautiful person. I say that, in feelings, she resembles me and that's why we get along very well because we're very similar. We're identical.
[describing her daughter Marcela Rubiales] Marcela is the beautiful, precious girl that each day I pray to God that she be very happy, that all her goals and wishes come true; because she is a beautiful, beautiful person. I say that, in feelings, she resembles me and that's why we get along very well because we're very similar. We're identical.
[to her daughter Dalia Inés] I am proud of you, because I have seen the programs and I am very proud to see that you embrace our folklore, that you like it, that you have so much [songs and dances] from all the states of the Mexican Republic and you do it with such dignity, daughter, that I really congratulate you.
[to her daughter Dalia Inés] I am proud of you, because I have seen the programs and I am very proud to see that you embrace our folklore, that you like it, that you have so much [songs and dances] from all the states of the Mexican Republic and you do it with such dignity, daughter, that I really congratulate you.
Almost all the films [Antonio Aguilar produced] were made around my house and I preferred to stay at home and wait for him to come back after filming, because it did make me very angry that he kissed [other actresses]. I did not like it.
Almost all the films [Antonio Aguilar produced] were made around my house and I preferred to stay at home and wait for him to come back after filming, because it did make me very angry that he kissed [other actresses]. I did not like it.
[recounting the moment when Antonio Aguilar began to romance her, while filming a movie] I don't know if I liked him or not, but he was very gentle with me and helped me in recording my songs when we had to make a movie. Every day we went out horse riding and that way we got to know each other much better until one day we got lost and when we got to the farm...
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[recounting the moment when Antonio Aguilar began to romance her, while filming a movie] I don't know if I liked him or not, but he was very gentle with me and helped me in recording my songs when we had to make a movie. Every day we went out horse riding and that way we got to know each other much better until one day we got lost and when we got to the farm, we went to the stables and he gave me some sugar cubes to feed my horse and then he got behind me and gave me a kiss. That's when I said, "What is this?" And that's how it started.
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[on her husband, Antonio Aguilar] When we got married, I said, "I will never make movies with anyone again". And he could kiss other women [in his movies]. That's why I didn't like to go and see him [when he was acting with other women].
[on her husband, Antonio Aguilar] When we got married, I said, "I will never make movies with anyone again". And he could kiss other women [in his movies]. That's why I didn't like to go and see him [when he was acting with other women].
[on her stage name] I loved it, and Dolores later reclaimed it. At a dinner in [the nightclub] El Patio, [Dolores del Rio] told [Emilio Fernández], "Hey, she does not have to call herself 'Flor Silvestre'. I am Flor Silvestre!"... [He replied,] "In the film. But she is a songstress and her name is Flor Silvestre."
[on her stage name] I loved it, and Dolores later reclaimed it. At a dinner in [the nightclub] El Patio, [Dolores del Rio] told [Emilio Fernández], "Hey, she does not have to call herself 'Flor Silvestre'. I am Flor Silvestre!"... [He replied,] "In the film. But she is a songstress and her name is Flor Silvestre."
[on her documentary] What you see, is what my husband and I were, and it's there.
[on her documentary] What you see, is what my husband and I were, and it's there.
[on her career] God has been very generous with me.
[on her career] God has been very generous with me.
I worked with all the comedians.
I worked with all the comedians.
[I would like] the public to remember me with my songs and my performances, that would be beautiful.
[I would like] the public to remember me with my songs and my performances, that would be beautiful.
[on El Patio, Mexico City's top nightclub, where she worked as a singer] Emilio Azcárraga, Gregorio Walerstein, who was the tsar of cinema, went there every day, and everyone saw me there and everyone hired me without me asking for anything, everyone called me and called me, and that is how I started on the XEW [radio station]. They signed me for five films....
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[on El Patio, Mexico City's top nightclub, where she worked as a singer] Emilio Azcárraga, Gregorio Walerstein, who was the tsar of cinema, went there every day, and everyone saw me there and everyone hired me without me asking for anything, everyone called me and called me, and that is how I started on the XEW [radio station]. They signed me for five films. I started [my career] since I was 13, but by this time I was already between 15 and 18 years old when I began making films.
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[on her stage name] In those days they were screening the film L'ouragan (1943), starring Dolores del Rio. That is how they named me Flor Silvestre.
[on her stage name] In those days they were screening the film L'ouragan (1943), starring Dolores del Rio. That is how they named me Flor Silvestre.
I have been singing ever since I was eight years old. My father would make me sing because he would hear my songs, and I would learn old songs completely.
I have been singing ever since I was eight years old. My father would make me sing because he would hear my songs, and I would learn old songs completely.
[her acceptance speech, when Ignacio López Tarso presented her with the Diosa de Plata Lifetime Achievement Award] For me it is a great honor and even more so because this great man gives it to me. I dedicate this Diosa to you, children, to my five children [Dalia Inés, Marcela Rubiales, Francisco Rubiales, Antonio Aguilar hijo, and Pepe Aguilar] and to that...
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[her acceptance speech, when Ignacio López Tarso presented her with the Diosa de Plata Lifetime Achievement Award] For me it is a great honor and even more so because this great man gives it to me. I dedicate this Diosa to you, children, to my five children [Dalia Inés, Marcela Rubiales, Francisco Rubiales, Antonio Aguilar hijo, and Pepe Aguilar] and to that man who made me so happy for 52 years, who is in Heaven seeing us right now: Mr. Antonio Aguilar Barraza.
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[on the Aguilar family's international rodeo show, in which she performed with late husband, Antonio Aguilar, and their two children, Antonio Aguilar hijo and Pepe Aguilar] The four of us. It was a very nice clan. We were the four musketeers always everywhere.
[on the Aguilar family's international rodeo show, in which she performed with late husband, Antonio Aguilar, and their two children, Antonio Aguilar hijo and Pepe Aguilar] The four of us. It was a very nice clan. We were the four musketeers always everywhere.
[when asked by Don Francisco if she was going to keep singing] Yes. I think that's what my husband, who is in Heaven, will like: that I continue with Toño [Antonio Aguilar hijo]. That is what he wanted all his life: to take Mexican music wherever you can, to the small villages, to the cities... Until God decides that I no longer be here, but in the meantime,...
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[when asked by Don Francisco if she was going to keep singing] Yes. I think that's what my husband, who is in Heaven, will like: that I continue with Toño [Antonio Aguilar hijo]. That is what he wanted all his life: to take Mexican music wherever you can, to the small villages, to the cities... Until God decides that I no longer be here, but in the meantime, yes, I will continue with Toño. I wanted to go fast behind him [Antonio], but God's will be done.
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Flor Silvestre
Flor Silvestre, one of Mexico's greatest recording artists, was also a major star of classic Mexican movies from the 1950s and 1960s. She was born Guillermina Jiménez Chabolla in 1930 in Salamanca, a city in the State of Guanajuato. She inherited her talent from her parents, Jesús Jiménez Cervantes and María de Jesús Chabolla Peña, who were fond of singing mariachi music. Her mother wanted to live in Mexico City, so her father sold everything they owned in Salamanca and moved the family to the nation's capital. She made her debut at the age of 13 singing at the Teatro del Pueblo, a venue located in central Mexico City. Her first radio performances were broadcast by XEFO, Mexico's national radio station. Journalist and announcer Arturo Blancas suggested she change her stage name from La Soldadera (the title of one of her first songs and a play she was in) to Flor Silvestre (the title of a 1943 Dolores del Rio movie). She then won a singing contest sponsored by XEW, Mexico's most famous radio station, and sang in revues at Teatro Colonial. While performing at the Colonial, a showman offered her a contract to tour with his company. The company toured northern Mexico and later Central and South America. In 1950, she returned to Mexico City, where the showman gave her a contract to perform at Mexico's finest nightclub, El Patio. In short time, after producer Gregorio Walerstein invited her to become an actress, she made her film debut in Primero soy mexicano (1950), co-starring Joaquín Pardavé (who also wrote and directed the film) and Luis Aguilar. She also signed her first recording contract with Columbia Records. Her first hits include "Imposible olvidarte", "Pobre corazón", "Que Dios te perdone", and "Guadalajara". Following the success of the aforementioned film, she became one of the new, promising starlets of the '50s cinema of Mexico. Her most notable films from the 1950s are El bolero de Raquel (1957), with Cantinflas; Pueblo en armas (1959), with Armando Silvestre; and La cucaracha (1959), with María Félix. In 1959, she married her recurring co-star Antonio Aguilar. Her most prominent performance is, arguably, featured in Ismael Rodríguez's Animas Trujano (1961), which was nominated for the Academy Award for Best Foreign Language Film. In the 1960s and 1970s, she became a cinematic symbol of the Mexican Revolution, due to her portrayals of soldaderas in films such as ¡Viva la soldadera! (1960), Lauro Puñales (1969), and Benjamín Argumedo el rebelde (1979). Her last film appearance was in Triste recuerdo (1991). Overall, Flor Silvestre is known in Mexico, as well as in other countries, as an extraordinary singer and a prolific film actress.
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