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κάψουν τη βαστίλη σε όσα μάτια και να πίστεψα δεν έμαθα εγώ τη μοναξιά μου κόκκινη την έβαφα κοιτούσα τη βαστίλη τη σημαία ανέμιζα στο χέρι ένα μολύβι και μόνο μ αυτό την γκρέμιζα και γέλαγα και τώρα πια κατάλαβα πώς κέρδισες ποτέ μας δεν επιτεθήκαμε σαν μέλισσες ποτέ δεν πάλεψες για κάτι που δε θέλησες εδώ παίρνουν εκδίκηση τ αδέρφια που μου στέρησες κοίτα πώς χύνεται το αίμα απ την οθόνη σου εσύ κοιτάς κι αυτοί σε πνίγουν στο σαλόνι σου ταμπέλες βάζουν για να μπερδευτούν οι δρόμοι σου πουλώντας διαφημίσεις διαμορφώνοντας την γνώμη σου γι αυτό και κάνουνε κουμάντα οι ανήθικοι ποτέ μας δεν επιτεθήκαμε σαν πίθηκοι τουλάχιστον γράφουν στιχάρες οι μικρότεροι θα επιτεθούμε κάποια μέρα σα ρινόκεροι κι αυτή η βαστίλη όλο παχαίνει και καμώνεται και μες στην κλούβα κάτι βρώμικο ζυμώνεται αν έρθουνε για μας μη με ρωτάς τι κάνουμε θα έρθεις θα με πάρεις αγκαλιά και θα πεθάνουμε τις φυλακές σας κανίβαλοι τις σιχαίνομαι γι αυτό τρελαίνομαι με νοιάζει πιο πολύ να βλέπω απ το να φαίνομαι με νοιάζει πιο πολύ να καίω απ το να καίγομαι εκεί κυμαίνομαι τις φυλακές σας κανίβαλοι τις σιχαίνομαι και πού θα γείρετε όταν ολόκληρος ο κόσμος εξεγείρεται πόσο να δείρετε εμένα οι φίλοι μου θα σκοτωθούν στην πύλη μ αυτούς που ονειρεύονται να κάψουν τη βαστίλη july 27 2022 july 27 2022 rogue βαστίλη στίχοιμα leave a comment the gangster reformed a study in musical parallels fado tango rebetiko της πόλης μουσική article by joão dos santos in musical traditions no 7 1987 introduction a close investigation of some musical traditions from different parts of the world and apparently unconnected reveals that they were in fact created by the same formative elements that translated into various forms of expression anthropologist joaquim reis de brito summarised in a few lines this phenomenon the parallels in the evolution of some musics are in some cases so obvious that were it not for the specificity of the musical structure and or choreography and the diversity of ethnic elements one could not guess at their respective identity thus if we take together the fado of lisbon the tango of buenos aires and the rembetika of athens we will note firstly that all of them emerged a little before or after the middle of the 19th century in poor districts of the big port cities of the nascent industry attracting people from the country or from abroad and who were confined to a marginal existence and if we look for other parallels in the development of these urban popular cultures we will find them again first their obscure and repressed beginnings then their discovery and appropriation by elements of the higher social classes later their acceptance and admission by the establishment often after their success outside of the native land before ending as a subject of tourist explorations surprisingly most people writing about one or the other of these musics were and are unaware of these facts the following article by choosing numerous extracts from their works is an attempt to show that while they proclaimed the uniqueness of the genre which concerns them what these people were relating is actually the same story in many and parallel ways note all the books are written in the original language of the country concerned except where stated the origins of rembetika as far as we know the story of rembetika begins towards the end of the 19th century in a number of urban centres where greeks lived the jails and hash houses were the cradle of rembetika in the prisons instruments were made and songs were composed these songs became widespread among the world of the rebetes singular rebetis the underworld and together with songs about hashish smoking were already a form of rembetika in 1922 as a consequence of the war against the turks 1½ million greek refugees from asia minor went to live in greece mainly in the cities where they exerted a strong influence on rembetika now there were homeless jobless refugees who swelled the total population of greece by at least 25 in a small underdeveloped country like greece this sudden influx could not possibly be absorbed without hardships the refugees may not have been part of the underworld but it was not surprising that many of them joined the rebetes or mangas in their loosely organised subculture or were attracted to the hashish smoking cafes to which they were accustomed in turkey from gail holst road to rembetika 1975 in english tango argentinian author jorge b rivera in his world in transition 1976 dates the presumed origins of the tango around 1880 a key moment in many ways for the understanding of modern argentina buenos aires 1936 men of the 80s were suffering from the complex of the deserted and so tried to raise the number of inhabitants by way of european immigration in buenos aires where lived 181 838 people in 1869 the population grew in 1895 to 663 854 of which 5 were immigrants there was a complex and contradictory relationship between the creole native and the gringo immigrant in an urban environment in full process of modernisation when these men often alone were looking for distraction they went to dancing clubs which served more or less as brothels as well and which were the first settings of the tango the hermanos bales bales brothers in their history of the tango of 1936 confirm that the tango lived in its infancy and a good part of its adolescence in very second rate dancing houses in whore houses a typical figure of the tango of that era was the canfinflero or compadre fado in his book fadista mythology 1974 antonio osorio writes that the fado in its definitive form appeared in lisbon in the middle of the 19th century in a time of great catastrophes in portugal the french invasion the english domination the revolution of 1820 the independence of brazil and the civil war of 1832 1834 the fado was born in a convulsed country becoming poorer devastated by successive wars among the much oppressed classes osorio adds that the return of the court in 1822 with its suite of coachmen bullfighters gypsies contributed in no small way to the favourable atmosphere for the appearance and the divulgation of the fado in 1923 a musicologist g sanpaio describing the origins of the fado wrote that in 1833 existed scattered in lisbon tavernas later transferred to safeguard people s morals to distinct quarters of the city and where fadistas were provoking disorder and singing a languorous song that they call fado the participants the rebetis according to elios petropoulos co writer of rembetika in english the rebetis was a person who lived outside the accepted standards of the traditional greek society and who showed contempt for the establishment in all its forms he scorned work helped the underdog smoked hashish bitterly hated the police and considered going to jail a mark of honour it seems the rebetes made their appearance a little after 1821 when greece received its independence from the turkish empire they frequented specific neighbourhoods in athens where they had their own tavernas and cafes they controlled smuggling the hashish market the gambling clubs and the whorehouses and trafficked in stolen goods the rebetes always had their own style of dress tight trousers made in the best imported material a dark collar less shirt usually black or purple narrow pointed shoes with high heels and a fedora that was pushed far back on his head or so far forward that he had to turn his head back to see the rebetis carried a knife or revolver in his belt and in his hand a cane made of hard cherry wood which he could use as a weapon in fights he walked with a subtly arrogant manner the police persecuted the rebetes and the upper and middle class ignored them and wished they didn t exist the canfinflero historian jose gobello in the origin of tango lyrics states the canfinflero was not an industrialist of the woman trade he exploited generally only one woman sometimes two manuel galvez gave the following portrait of the canfinflero he dresses in an original way a black suit tight trousers a silk neckerchief a trilby with a tilting brim and a pair of pointed shoes the canfinflero is dangerous of an impulsive aggressiveness he seeks fights for tiny reasons he is devoid of any moral sense insensible to punishment and pain he spends in card games the money given him by his ladyfrlend for whom he feels no affection he beats her insults her requires money from her robs her all this kills the tenderness of the woman faithful as a dog that the well loved master punishes as we have seen the tango was first played in brothels mainly as an instrumental music when it was sung the words did nothing more than reflect the surroundings that gave them life obscene or arrogant in a tango by angel villoldo the canfinflero describes himself in this way i feel no pain nor offence and don t complain about my fate to live it up i was born and so i ll do until death the fadista of this new social category the fadista ramalho gave in 1878 a colourful description in no other city of europe exists a word with a meaning such as this the fadista to be a fadista signifies to be a tolerated criminal assembled with others of his kind constituting a class the fadista lives by the exploitation of his neighbour he is usually fed by a prostitute that he exploits systematically he has no regular address living successively in a tavern a brothel or a police station he is totally atrophied by idleness by sleepless nights by abuse of tobacco and alcohol he is anaemic stupid and is possessed by a secret disability and various parasites of the skin o fado josé malhoa 1910 even a great lover of the fado tinop in his history of the fado written in 1903 said ironically of the fadista of his time that he is an heteromorpheous product of all vices attaining the ideal perfection of ignominy psychologically he is the crystallisation of all the deadly sins except miserliness and an abject scoundrel his life keeps on being a constant melodrama with unexpected coups de theatre a wandering bohemian on the borders of a stable society his hereditary defects continue to be irriductible to the surveillance of the police and to the coercive action of tribunals his loves are always selected from the women who lived and live in the microbian atmosphere of the infamous districts when it was still confined to this sordid world of fadistas the fado was associated with the name of maria severa the soul the mother of the fado and until today the most important myth the fado has known the illicit love affair of severa mezzo soprano of the conservatories of vice tinop with the count of vimioso has inspired many verses and is at the origin of the aristocratisation of the fado which spread little bit little from the middle at the 19th century in all the social classes mostly in the cities manuel barreto in fado lyrical origins and poetic motivations written half in portuguese half in english in the 70s recalls together arm in arm back to the past we went more than a century ago when severa and vimioso were cause for scandal together and the fado was still in its youth aristocrats and singers whose behaviour caused concern and shocked the bourgeois class for daring to be fadistas and rowdies sometimes too the count of vidigueira would come from lus de pedreira to fetch the marquis of belas and then with castelo melhor they d do the rounds of the fado in taverns and narrow streets the word fado it must be said is derived from the latin fatum meaning fate destiny what has been foretold by the oracle and which nothing can alter you cannot flee from your fatal destiny that an ill star dominates you can lie to the laws of your heart but ai whether you will or no you have to comply with what is written amadeu do vale the fadista eyes half closed a tense face as if in a trance an air of deep mourning and as if not enough the gravity of a long black shawl the accessories of misfortune are few but well worked out a osorio rembetika another description from gail holst the rebetes were the drop outs the nonconformists of their day they could be jailed beaten chased out of town but they would continue to live the mangas life speak the mangas language wear the mangas clothes and it was this refusal to be brought into line with the mainstream society which caused him to be feared both by the representatives of established authority and by the representatives of organised opposition sakis papadimitriou adds in rembetika the rebetes spoke and still speak their own argot which is exceptionally rich in expressions and hand gestures the womb of rembetika was the jail and hash houses it was there that the early rebetes created their songs rembetika does not long for social change or urge revolt and this is why the greek left has ignored its existence they were considered the immoral songs of drug addicts prisoners the poor and uneducated for this reason the middle and upper middle class as well as any other form of establishment did not accept the rembetika and indeed held it in contempt for gail holst again the songs of the rebetes reveal a reliance on fate to control and excuse their actions while gerard pierrat in mikis theodarakis a book written in french will say that the rebetis is not able to imagine the upheaval of society refuses it and substitutes escapism for revolution tango jose sebastian tallon in the tango in its stage of prohibited music 1959 mentions that with pascal contursi the first poet of the tango the canfinflero opens his heart for the first time to expressions of sorrow in the tango mi noche triste my sad night of 1918 the first tango cançion or tango with a story jose cobello confirms while the compadre of villoldo didn t know suffering contursi in his tango mi noche triste sung by carlos gardel and others that followed like flor de fango and ivette inaugurated the theme of the canfinflero who weeps deserted by his companion the first tangos of caledonio florès another poet of the tango margot and mano a mano described the same characters and situations singer azucena maizani dressed as a compadre 1936 interestingly these tangos were sometimes sung by women like azucena maizani the interpreter of malevaje yesterday afraid of killing instead of fighting i started to run away i thought of seeing you no more and i trembled if i who never feared anguish by night burst into tears say for goodness sake what have you given me i am so changed i no longer know who i am in later years the content of the songs moved beyond the restrictive world of delinquency and compadres but always kept melancholy and nostalgia as essential features incidentally europe never understood the dramatic content of the tango here the tango is seen as an easy listening type of music which it never was in argentina only in recent years this grave misconception has begun to disappear thanks to among other things the work of exile argentinian musicians fado pain sadness nostalgia to sing both by night and by day is 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