16 she could not sing in the tablaos, so she falsified her date of birth, adding two more years by saying that she was born in 1944 instead of 1946. Artistic life Professionally, Rocío Jurado emerged with a repertoire mostly of copla, an Andalusian traditional genre that was beginning to lose force which she revitalized with energetic performances, as much in voice as in stage presence. Popular in the 60's and early 70's, in part on account of some appearances as an actress in television and film as in the Curro Jiménez series, Rocío made the leap to international stardom by adopting a melodic repertoire of romantic ballad with orchestral instruments and a personal image (make-up, hairdressing and costumes) in accordance with the European style. Rocío alternated the flamenco tailed dress (bata de cola) with sumptuous evening dresses, sometimes highly commented on for their audacity. In the 70's and 80's Rocío recorded her most unmistakable successes: "Como una ola", "Señora", "Como yo te amo", "Ese hombre", "Se nos rompió el amor", "A que no te vas", "Muera el amor", "Vibro"... Many of them composed by Manuel Alejandro and recorded by José Antonio Álvarez Alija. The prolonged celebrity of Rocío lies in the romantic songs rather than in its purely Andalusian folkloric facet. She was famous for these ballads also in Hispano-America, where perhaps she remained in fashion for longer than in Spain, which explains her later scores with Mexican and Caribbean rhythms: "Me ha dicho la luna", "Te cambio mi bulería"...She recorded duets with famous figures from that continent: with José Luis Rodríguez "El Puma" the song "Amigo amor" and with Ana Gabriel the ambiguous song "Amor silencio". In 1990 participated in a show of tribute to Lola Flores in Miami, in which she recorded the duet "Dejándonos la piel". Nevertheless, the romantic successes of international reach did not remove Rocío from its more Andalusian facet. The most convincing declaration of Rocío Jurado in this sense would arrive years later when already she was an outstanding interpreter of the copla and ballads. In 1982 she applied her extraordinary talents to flamenco singing in a double LP with the collaboration of two main figures of this genre: the guitarist Manolo Sanlúcar and the singer Juan Peña "Lebrijano". Titled Ven & Sígueme, she discovered that the famous singer also moved with ease on the roads of Cante jondo. In spite of an