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en a communist for using rembetika elements in his compositions because they were part of his personal creation gail holst even today as gerard pierrat reminds us it is common in those who recognise the importance of rembetika and have become its more ardent propagandists to pretend to disassociate the words from the music that is the case of theodorakis who calls the music genial divine while he judges the lyrics as vulgar without interest until the first recordings of rembetika were made it was more or less tolerated but with the divulgation of the songs it was another story what was at stake was the health of the nation and notably of the working class rembetika musician markos vamvakaris remembers you have no idea of the general outcry that the bouzouki created in that time it was an instrument which was played by criminals by people sentenced to die today anybody can touch its strings without further thinking me when i hold one it s a sacred thing for it has survived the worst ordeals that was the reason the police were against it and against me also they were afraid of the contagion such was the power of bouzouki war and occupation of greece by the nazis lead to an extreme misery and repression the future seemed to promise only disaster and death and what else has the rebetis done for more than 20 years than to anticipate in his songs such an apocalypse it was not he who had caught up with events for which he continued to manifest a superb indifference it was the events which came to comfort him in his fatalism his intransigent pessimism the circumstances hard as they were his triumph could only be modest but his prestige grew secretly gerard pierrat mikis theodorakis tango this shameful birth this patronage of tough guys and of regulars of the night men as much as women made the tango a prohibited dance and more a dirty word that no one should pronounce if he pretends to be decent the high classes were horrified if someone mentioned it if someone dared talk of this heretical music but it is necessary to mention that the problems of the rejection of the tango were not only those of the high classes we say that any family which claims to be respectable would close its doors to it and we include in this those of the middle and working class as well ruben pesca the old wave the tango had yet the infamous presumption of a brothel dance for scandal of the families to dance it was in some way to contaminate oneself with its origin leon benaros the tango in the dancing houses 1977 one who was horrified by the tango was carlos ibarguren an illegitimate product that has not the natural grace of the country it is not properly argentinean but a hybrid phenomenon born in the suburbs and consisting of the mixing of a tropical habanera and a falsified milonga famous band leader julio do caro at the beginning of his career was ejected from his home when his father a music professor discovered that his son was a tango musician curiously after the tango became deep and serious after pascal contursi there were some who would still condemn it for being too moaning and regretted the carefree liveliness of the old tango indeed the world of the new tango is nostalgia going back with pain with melancholy to things of the past no matter what past as long as it is past because the tango was not made for singing what is owned but what has been lost the tango by essence belongs to the elegiastic genre jose gobello enrigue delfino and the tango cançion fado the most violent attack that the fado suffered in the last century was by rocha peixoto in his book portuguese country 1897 where he accused the fado of being the crystallisation of the evils of the nation among other epithets in 1909 antonio arroio in an extensive study also violently condemned the fado judging it a true national calamity it expresses the state of inertia and sentimental inferiority to which our country was attracted many years ago and from which it is urgent that it gets out in the same year happened the republican revolution of the 5th october shortly after in 1912 the hostilities against the fado were re opened without success in reaction to these negative statements avelino de sousa published the fado and its censors a critique of the detractors of our national song where he argued with men like samuel maia who described the fado as abject disgusting and albino forjaz the albino lacks authority to attack the national song for the lord forjaz when he frequented in his youth the taverna do alfaia was known to sing furiously the fado so this fadista colleague is a renegade for writing that the fado is a song of vagrants or a gathering of criminals in 1929 occurred a moment of crisis for the fado luis moita in eight conversations on the national radio engaged in a campaign against the moral and musical misery of the fado conversations later reunited in the book the fado song of the vanquished 1936 where he urged his compatriots to reject the influence of the fado and to fight it nobly with their virile enthusiasm luis moita launched the war with the hope that in the reconstruction of portugal the fado would be abolished dozens of fados of that era show the indignation that his campaign gave rise to they even call the fadistas ruffians of the pure school but tell me moralists what has more terrorists the fado or football with a superior disdain the fado rejected the comparison and the competition with the ball for the fadistas despite their attraction as the blackguard always claimed to be artists suffering poets the fado consists in a vocation as noble as it is irreversible and for this reason when its enemies accused it of decadence the lovers of the fado moved to the counterattack again the prestigious co operation of intellectuals was not lacking a vitor machado wrote the idols of the fado where were compiled the pro fado reactions that the attack of luis moita in the preface artur ines declared i like fado because it is the escape livre the free escape of the people it is the song of the sad the poor the deserted those who suffer to remove the fado from the people would be to take away its only valvula of respiration the same kind of argument was used by ramada curto the social drama that the fado reflects reveals itself more tragic and inhuman in other countries because they have not the magical solution the consolation of a guitar that weeps and a voice that rises sweet and sad to sing of fatalism and destiny but without doubt the most definitive rehabilitation of the fado was due to antonio botto the famous writer who from his position of authority wrote verses meant to be spoken at the guitar triumph and decadence rembetika in 1949 composer m hadzidakis gathered musicians markos vamvakaris and tsitsanis in a conference where he proclaimed to the athenian high society that the two gentlemen wisely seated on the platform were nothing other than the bach and beethoven of laika city music a delicious shiver ran through the audience that was just the beginning of recognition for rembetika the worldwide success of the film and the music of never on a sunday did more to convert the bourgeoisie than all the campaigns at home if new york london and paris placed the bouzouki at the top of their hit parades hesitations were no more permitted a new craze soon was all the rage going to listen to the bouzouki in the typical districts where it was traditionally performed the pioneers witnessed with amazement this earthquake they were not able to resist for long it was their turn to move from their joints to go playing for fabulous sums to delighted mundane audiences the old melodies soon mixed with the smell of kebabs and retsina from 1955 on bouzouki competes with the acropolis and mycenæ patiently bus drivers wait behind the door of the taverns before talking back their stock of tourists filled with exoticism the genre moved toward light music creating one day idols the orchestras were now composed of 2 or more electrified bouzoukis 2 baglamas 2 guitars drums a bass a piano a harmonium electronics and psychedelism gave it the finishing blow customers would break plates and burst baloons while a waiter quickly adjusted the bill a true disaster but we mustn t scandalise too soon this caricature that rembetika gives of itself is the more eloquent form of suicide in such an outrage to deny all that it was one cannot help thinking of this old gangster turned later in life into the manager of a respectable hotel and cursed be the stranger who comes to remind him of the past prison hashish the old damnation all that is very excessive in an interview given to me by singer sotiria bellou she insisted on this one point the audience of rembetika was composed from all time of what she called the cream of society at least the new generation has well understood one has only to see the fervour it puts to save the old recordings to find again the original purity its rejection of all adulterated airs gerard pierrat as markos dragoumis declared in rebetika the old genuine rembetika music is unique when you hear this music you feel that something very deep and important is taking place that you are encountering one of the great achievements of the human heart tango the evolution didn t concern the middles and high classes here the tango continued not to be talked about but something unexpected was ready to occur the high society of paris was tired of the old dances it was necessary to try something new the tango intact attractive exotic different was the perfect candidate paris was going to dance the tango which soon triumphed in the capital cities of the whole of europe not all argentineans in fact only a few accepted without reserve that it was just this expression of marginal people which would claim for itself any attribute of national representation horacio ferrer the book of tango 1977 a magazine with a very limited circulation el hogar would comment as it is known the aristocratic society of the french capital have adopted with enthusiasm a dance which here because of its very bad tradition is not even named in the homes will paris manage to make accepted in our good society the argentinian tango probably not while paris so capricious in its fashions will do all which is possible for that the journalist of course was wrong and good society would soon open its doors to the tango and now with an irreversible enthusiasm the entire city repeated the verses of the tango all morning all afternoon and all evening it was a collective fever as if the people living until then unaware that they have heart have just discovered it francisco garcia jiminez the tango a history of half a century 1964 one fine example is the well known tango tiempos viejos old times do you remember brother the fair mirella that i took away from the valiant rivera one night i almost committed suicide for her and today she is just a pitiful beggar do you remember brother how lovely she was we used to make a circle to watch her dance when i saw her the other day so old in the street i turned my head away and started to cry dario canton observes fatalism predominates in the tango the idea of man as a creature of initiative able to modify the world which surround him is foreign to it destiny is almighty and ever present what helped the tango to spread beyond its birth place was a mechanical instrument another mechanical process for hearing music was the phonograph the record industry saw the tango as a possible commercial product mainly for dancing houses where records could reproduce the music for less money than was needed to pay musicians ruben pesca the old wave in the mid fifties began the alteration of argentinean society and the decadence of the tango jose gobello in talking about tangos 1976 gives a subtle explanation of this phenomenon the tango seems to start from the notion that human nature is perverse that man is bad at heart and in front of this perversion it puts forward ethical values at best the decline of the popularity of the tango is a result of the decline of ethical values in an age of generalised divorce fidelity means nothing much in an age when one is killed from behind physical courage looks antiquated in an age of generational gaps the viejita the poor old mother of the tango is only a fantasy and the tango which expresses these values which exalts them has of necessity to suffer the fate of all obsolete things some believe that the tango must abandon this category of values to adopt those in fashion the social or ideological values as expressed in some modern songs very successfully and profitably i don t think so i think that after praising loyalty for so long the tango has the obligation to be loyal to itself some day it will receive the reward for its faithfulness because man sooner or later will understand that it is not the system which makes us better or worse it is ourselves who make the system better or worse fado since the attack of luis moita the fado became ever richer and victorious from song of the vanquished it passed to be in fact the national song of portugal before ending up as one of our tourist attractions antonio osorio this commercialisation gave birth to lyrics of nostalgia for the fado castigo pure classical as can be heard on a record in the form of an humorous dialogue between two singers a desgarrada female voice i am the new fado i don t like fatalism you will see me in the winter i am part of the tourism male voice but i am the old fado my tone is husky come and learn to sing with me so you will know what fado is female voice as for singing no one can teach me i am so much in vogue and frequent only well mannered persons the 60s increased the number of these fado houses or casas tipicas and often the one time bastions of fado became in reality bastions of tourism you wish to hear the fado at quiet hours with guitars and women and after getting drunk clap your hands knock with knives and forks upset the wine glasses then break all the crockery to the sound of ai mouraria but if you like a fadhino then listen if not stop that craziness frederico de brito as mascarenhas barreto said today the fado victim of the lucrative aim of the tourist policy commercialises itself some of these casas de fado have also folk dances and songs it is necessary to discern where begins and where ends the fado in conclusion i will quote anti fadoist antonio osorio responsible for much of the information included in this article side by side in the same barricade were reunited by the caprice of the occasion an artur ines and a vitor machado a carlos amaro and a ribeiro dos reis a ramado curto and a màrio saa men of opposite political ideas because the fado joining when it is necessary the left with the right has the virtue to put everything in confusion joão dos santos musical traditions no 7 1987 january 22 2022 rogue fado ρεμπέτικο joão dos santos 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