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diff --git a/_projects/2408migas.md b/_projects/2408migas.md
@@ -52,29 +52,29 @@ This session is the first part of a larger ongoing research conducted in collabo
 
 1. **Juan Talega - A Mis Amigos (1966)** <br> Juan Talega sings here one of the most primitive forms of Flamenco: the *Martinetes*. From *martillo* (hammer), or *martinete*, a tool with which hot metals were struck in the forge to give them the proper shape. It is a free genre, without meter, a reflection of a desolate state of mind that manifests itself in the form of a very sad lament. Juan Talega, an undisputed master of the ancient and legendary cantes, did not begin to sing in public until he was sixty years old[^Guia].<br>
 <br>
-1. **Munir Bachir - L'Orient En Andalousie (Sources De La Musique Espagnole) (1973?)** <br> Munir Bachir, famous oud player from Iraq, studied the arabic roots of Flamenco[^1] [^2], which he reflected in some of his compositions. The chosen song was recorded at a concert in Geneva, and we can hear harmonic elements of the Andalusian cadence and chords playing in an atypical way of the traditional lute.<br>
+1. **Munir Bachir - L'Orient En Andalousie (Sources De La Musique Espagnole) (1973?)** <br> Munir Bachir, famous oud player from Iraq, studied the arabic roots of Flamenco[^1] [^2], which he reflected in some of his compositions. The chosen song was recorded at a concert in Geneva, and we can hear harmonic elements of the Andalusian cadence and chords played in an atypical way for a traditional lute.<br>
 <br>
-1. **Field Recording of Sephardic Jews of Thessaloniki - La Rosa Inflorece (1917)** <br> Historical recording of songs of the Sephardic Jewish community of Tessaloniki, which before the 1940s numbered more than 90,000 people, and was almost exterminated by the Nazis (90% of the total population). This song is an old Jewish ballad from the Al Andalus period, preserved orally from generation to generation in an arcaic form of Spanish[^3].<br>
+1. **Field Recording of Sephardic Jews of Thessaloniki - La Rosa Inflorece (1917)** <br> Historical recording of songs of the Sephardic Jewish community of Tessaloniki, which before the 1940s numbered more than 90,000 people, and was almost exterminated by the Nazis (90% of the total population). This song is an old Jewish ballad from the Al Andalus period, preserved orally from generation to generation in an archaich form of Spanish[^3].<br>
 <br>
 1. **Niña de los Peines - Peteneras nº2 (1911)** <br> Peteneras is a flamenco palo that, as José Romero Jimenez[^4] states, comes from the old Spanish Jewish tradition. Sometimes even the lyrics have a Jewish theme with scenes in Synagogues[^Sinag].<br>
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-1. **Flora Benamol -  En ca de mi padre, Field Recording of Sephardic Jewish women in Tetuan (1954)** <br> This fantastic record[^5] contains spanish medieval romances (ballads), wedding songs and piyyutim from a comunity of Sephardic Jews of Morocco. They are sung in the old Judeo Spanish dialect of the region called [Haketia](https://en.wikipedia.org/wiki/Haketia), spoken until today in Northern Morocco. Incredibly, some of the songs featured here where still sung too by the Sephardic Jews of Thessaloniki, and they are present also in the previous record.<br>
+1. **Flora Benamol -  En ca de mi padre, Field Recording of Sephardic Jewish women in Tetuan (1954)** <br> This fantastic record[^5] contains spanish medieval romances (ballads) and wedding songs from a comunity of Sephardic Jews of Morocco. They are sung in the old Judeo-Spanish dialect of the region called [Haketia](https://en.wikipedia.org/wiki/Haketia), spoken until present day in Northern Morocco. Incredibly, some of the songs featured here were still sung by the Sephardic Jews of Thessaloniki, and they are present also in the previous record.<br>
 <br>
-1. **Reinette l'Oranaise - Lik Nechki / Emchi Ya Rassoul (1986)** <br> Reinette L'Oranaise was an Algerian Jewish singer from Oran. She studied with another famous Algerian Jewsih musician, Saoud l'Oranaise (killed by the Nazis in 1943), and learned Arab Andalusian music from him. She did an important work of transcribing Arab Andalusian oral repertorie, and broadcasting it to broader audiences[^Reinette]. The chosen song is a traditional composition that begins by narrating a poem by Cheikh Fadhel from the 18th century, and ends with an anonymous Arabic Andalusian poem from the 13th century.   <br>
+1. **Reinette l'Oranaise - Lik Nechki / Emchi Ya Rassoul (1986)** <br> Reinette L'Oranaise was an Algerian Jewish singer from Oran. She studied with another famous Algerian Jewish musician, Saoud l'Oranaise (killed by the Nazis in 1943), and learned Arab Andalusian music from him. She did an important work of transcribing Arab Andalusian oral repertorie, and broadcasting it to wider audiences[^Reinette]. The chosen song is a traditional composition that begins by narrating a poem by Cheikh Fadhel from the 18th century, and ends with an anonymous Arabic Andalusian poem from the 13th century.   <br>
 <br>
-1. **Abdessadeq Cheqara - Lalla Meriem (197?)**<br>Born into a family of poets and musicians in Tetouan, Cheqara is one of the most important musicians of Andalusian music. He helped popularize the genre among a wider and less elitist audience, becoming one of the most important voices in Morocco.[^C] He also innovated by incorporating elements of the Chaabi into the Andalusian repertoire and vice versa. In this case, we have an Aïta Jeblya song (see next track note) with Andalusian elements, such as his way of singing. <br>
+1. **Abdessadeq Cheqara - Lalla Meriem (197?)**<br>Born into a family of poets and musicians in Tetouan, Cheqara is one of the most important musicians of Andalusian music. He helped popularize the genre among a wider and less elitist audience, becoming one of the most important voices in Morocco.[^C] He also innovated by incorporating elements of the Chaabi into the Andalusian repertoire and vice versa. In this case, we have an Aïta Jeblya song (see next track note) featuring notable Andalusian elements, heard for instance in the singing style. <br>
 <br>
-1. **Mokhtar Al Aroussi - Aji Ya Ghzali (197?)**<br>This song is from the repertory of Aïta Jeblya, a musical genre from northwestern Morocco, that is characterized by Andalusian and Mediterranean influences[^Jeb], with a richer orchestration than other Aïta styles.<br>
+1. **Mokhtar Al Aroussi - Aji Ya Ghzali (197?)**<br>This song is from the repertoire of Aïta Jeblya, a musical genre from northwestern Morocco, characterized by Andalusian and Mediterranean influences[^Jeb], with a richer orchestration than other Aïta styles.<br>
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 1. **Manolo Amaya - Zambra Arbola (1983)**<br>From the Andalusian Arabic voice *zamra* (gathering), it is a descendant of an Andalusian Muslim celebration that involved music and joy. Forbidden in the 16th century, it continued to be practiced clandestinely in the weddings, especially by the Roma communities in the caves of Sacromonte in Granada[^Guia].<br>
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-1. **Mohamed Agair - Tikchbila (197?)**<br>This song originates from a Moorish romance dating back to the 15th or 16th century. Today it is a popular children's song in Morocco, but the lyrics narrate the expulsion of the Muslims from Seville and their persecution in the Iberian peninsula [^Tikchbila].<br>
+1. **Mohamed Agair - Tikchbila (197?)**<br>This song originates from a Moorish romance dating back to the 15th or 16th century. Today it is a popular children song in Morocco, but the lyrics narrate the expulsion of the Muslims from Seville and their persecution in the Iberian peninsula [^Tikchbila].<br>
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-1. **Cristobalina - Balcón de Flores (1974)**<br>Cristobalina was a singer born in 1936 who never dedicated herself professionally to singing. Based in the Sevillian town of Lebrija, in this track she sings bulerías, one of the most popular flamenco palos, typical of parties and dance.<br>
+1. **Cristobalina - Balcón de Flores (1974)**<br>Cristobalina was a singer born in 1936 who never dedicated herself professionally to singing. Based in the Sevillian town of Lebrija, in this track she sings bulerías, one of the most popular flamenco *palos* (subgenres), typical of parties and dance.<br>
 <br>
-1. **Agujetas - Siguiriya (1974)**<br> The song performed here by Agujetas is a seguiriya: a tragic, somber and painful flamenco genre that appears at the end of the 18th century and that contains the basic values of pure and deep (*hondo*) flamenco. It expresses nothing but deep feelings, a radical tragedy, the tragic condition of man[^Guia]. Agujetas was a singer born into a flamenco family, oral inheritor of basic cantes and one of the most suffering voices in flamenco. <br>
+1. **Agujetas - Siguiriya (1974)**<br> The song performed here by Agujetas is a seguiriya: a tragic, somber and painful subgenre of flamenco appearing towards the end of the 18th century which contains the basic values of pure and deep (*hondo*) flamenco. It expresses nothing but deep feelings, about the tragic condition of humankind[^Guia]. Agujetas was a singer born into a flamenco family, oral inheritor of basic cantes and one of the most heartfelt voices in flamenco. <br>
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-1. **Lole y Manuel - Alquivira (1976)**<br>Lole y Manuel was a flamenco duo formed in 1972 by musicians Dolores Montoya and Manuel Molina Jiménez, key figures in the Flamenco modernization movement known as New Flamenco. Both with a North African connection, as Lole's mother was born in Oran and Manuel himself was born in Ceuta, they tried to explore the Arabic roots of flamenco in their compositions. Lole grew up listening to great figures of Egyptian music, which she sung by ear, and even recorded and performed with the *Sono Cairo Orchestra*.[^Lole].<br>
+1. **Lole y Manuel - Alquivira (1976)**<br>Lole y Manuel was a flamenco duo formed in 1972 by musicians Dolores Montoya and Manuel Molina Jiménez, key figures in the Flamenco modernization movement known as New Flamenco. Both deeply connected to the Maghreb region of North Africa, as Lole's mother was born in Oran and Manuel himself was born in Ceuta, they explored the Arabic roots of flamenco in their compositions. Lole grew up listening to great figures of Egyptian music, which she sung by ear, and she even went on to perform and record with the *Sono Cairo Orchestra*.[^Lole].<br>
 <br>
 1. **Cheqara, José Heredia Maya - Encuentro Final (Tarara) (1983)**<br>In 1982, Cheqara meets José Heredia in Granada and develops the idea of merging the popular music of Tetouan with flamenco singing. The result of this meeting is this play, *Macama Jonda*, that was performed and recorded in Granada in 1983. This song, which closes the play, is the result of the mixture of *La Tarara*, a popular Spanish lullaby, with Bent Bledi, Cheqara's own composition[^C].<br>
 <br>