ABSTRACT
Ask anyone mildly interested on Judeo-Spanish folksongs for the most popular item in this repertoire and you will most certainly receive the answer: Cuando el rey Nimrod (after the opening line of the song) or Abraham avinu (after its refrain). The story of this song, more than the story of any of the other songs discussed in the previous chapters, shows how rapidly imagined meanings of time and place are constructed by the practice of folksongs in the post-tradition era through, or rather because of, mass communications.
