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ted 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 what is written my fate dr antonio de braganca while a fadista today denotes a interpreter or a lover of the fado and not necessarily a hoodlum this fatalism so prevalent in fado lyrics has caused him to be fought from early on by people psychologically unable to understand his philosophy of life the fado is resignation conformism at the extreme apathy total renunciation the question is not to be happy or unhappy but to accomplish the destiny for which one is born says osorio for whom the often made comparison with the blues is not even valid sure there are some parallels the blues was also born of a state of ancestral subjection but the pain which is expressed in the blues doesn t constitute generally as in the fado this labyrinthine form of resignation my only sin is my skin says louis armstrong and many blues singers whose singing is a war cry against their own subjection tinop who made a detailed study of his clothes said of the fadista of 1850 that he had the innate idea of bohemian elegance he wears a long jacket with a woollen cloth handkerchief in the pocket the buttons are made of pearls while the shoes from the skin of a frozen kid have laces of black ribbons he also uses a cane made with reed from india swinging it tightly held between the middle finger and the forefinger waddling with some air of bravery the smart guy some wear the jacket on the left shoulder so they can parry the blows with it while releasing the right arm for attacking with a knife that they handle with virtuosity leaping with the feline gymnastics of a tiger the years of controversy and contempt rembetika it may be a slight exaggeration to say as petropoulos does that rembetika was once considered as dangerous as leprosy but it is true that the songs were credited with a surprising power to influence people in the pre war period rembetika songs were banned bouzoukis and baglamas smashed by the police even the dancing of zebekiko forbidden less understandable was the attitude of the left or more specifically of the communist party to rembetika in an article in the literary periodical epitheorisi technis in 1961 tassos vournas described rembetika as the art of the oppressed masses saying that it encouraged people to submit and sought to bind them in a vicious circle in the same year an interesting inquiry was held in the left wing newspaper avgi where people of the musical and literary world were asked to state their opinions about rembetika one or two were enthusiasts but the majority condemned rembetika as impure musical slang decadent irresponsible arkanidos went as far as to say that he had warned the greek intelligentsia in 1949 about the power of rembetika but excused composer theodorakis then 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 ...