There have always been people who have taken ideas and music from others without mentioning them, claiming authorship, or even making money out of it. In this episode, we show how this questionable practice has existed since the early days of flamenco, both in writing and in flamenco music itself. We hear some musical examples that clearly illustrate it. We also talk about how this practice, unfortunately, still exists.

Hit lists are a great way to get an insight into the most popular songs of a specific time frame. For this episode, we have curated a definitive list of the best flamenco hits, considering the recordings produced in the first two decades of the recording industry. We will thoroughly inspect the top ten highest-ranked flamenco songs (palos) on this remarkable list.

The Sevillian composer Manuel Font de Anta is perhaps best known for authoring some of the most emblematic processional marches of Holy Week, such as "Amarguras" or "Soleá dame la mano." What is not so well known is that Font de Anta also composed some flamenco works for piano. In this episode, we review some of these works, which are entirely unknown, and listen to some of them.

The name "the panaderos" was given to popular music and dance in Spain in the 19th century. They probably arrived to Spain from Mexico, where it was already being danced two and a half centuries ago. It was a common "palo" in the flamenco of the 19th century and somehow, as we see in this episode, never disappeared. We review the history of the panaderos in flamenco and listen to some of them from the 19th century, some of which still need to be discovered.

At the end of the 19th century, one of the most important European singers of the time, the French Anne Judic, triumphed in Spain, Mexico, and Cuba, singing one of the most famous flamenco songs of the time: the peteneras. In this episode, we review who Anne Judic was, how she arrived in Spain, where she learned to sing the peteneras, and why she drove half the world crazy with her voice. We also hear her own voice singing on an old wax cylinder and some of the flamenco compositions inspired by Anne herself.

The history of flamenco has been built through various theories. Some of them we call "mythical theories," which are those that, although they were formulated with arguments of dubious rigor, everyone has ended up accepting them as accurate over time. In this episode, we describe what we mean by "mythical theories," and we describe a couple of examples that refer to the same stick: the petenera.

At the end of the 19th century, a priest, the organist of the Cathedral of Seville, composed some of the most beautiful flamenco pieces for piano of his time. In this episode, we review the flamenco works of Buenaventura Íñiguez, a Navarrese who lived the last 37 years in Seville. We also listen to a good part of his flamenco compositions, some very virtuosic.

In this episode we talk about how flamenco guitarists had to create new toques throughout the 19th and early 20th centuries as new cantes were integrated into flamenco. For example, it is illustrated with the guajira guitar playing and some of its most characteristic falsetas, which were not created out of thin air and are perhaps based on music from countries thousands of miles away from Spain.