Tag Archives: coplas

Flamenco: sometimes “I can’t get enough” of something because it’s just so awful (even with a goddess like Estrella Morente); the limits of fusion; Andalucía to the Caribbean, ida y vuelta, or allez-retour; Spanish casticismo and crappy Greek reality TV

20 Sep

You know, you can’t just throw together anything you feel like…like, I dunno, the Pennsylvania polka with polyphonic southern Albanian orchestration or background singers, and call it music. There’s a great Greek expression for what would result: “May God call that [whatever] …” music, in this case; то есть, only God can give this thing the existential status it’s claiming for itself.

Fusion happens organically. Egyptian pop has a çifteteli rhythm Greeks like, and slowly Greek pop develops a whole genre that is heavily Egyptian sounding. Klezmer musicians, especially Romanian and Moldavian ones, heard Greek Balkan tunes in Bucharest and Constanța and Istanbul and incorporated them into their repertoire. Serbs are attracted to Greek music, to its tone and melodies and especially to its affective nature, so lots of the new starogradska music (which literally means “old city” music, meaning popular, but urban, not folk, like Greek λαϊκά) develops a deep Greek vibe. Greeks loved Bollywood in the 50s, so a whole genre (one railed against by many, including Tsitsanes, which is why I can’t forgive him), of some really beautiful music, developed out of some plain rip-offs, and some imaginative reworking, of the Indian material that Greeks liked in their movies.

I’ll soon bring you examples of all of the above. My point is simply that these intermeldings happen organically and if they’re forced, consciously and stupidly, the product kinna sucks.

I’m sure the intentions of the Khoury Projectfour Palestinian brothers from Jordan, with a last name that probably indicates Christian (“Khoury” means priest in Levantine Arabic) — are good…oh, Lord, please don’t let them be misunderstood. But the result is atrocious. It’s a little bit classical Um Kalsoum Arab suite, a little bit Balkan brass band or tamburaša, a little bit demek jazz improv’ — and it’s all made worse by the lust for speeeeeeeeeed our civilization suffers from, to cover up for lack of art, because form is sacrificed on the altar of cheap excitement, till form becomes illegible, rhythm becomes unfollowable, and melody disappears…and it all turns into a dog whistle that we can’t even hear.

Everything is like coked-up Bregović.

And what did that poor kanun do to this dude, that he’s banging away at it like it’s a heavy metal drum set, or like he’s hoping to snap a few of its strings?

Ok, there is one cool idea they’re working with, and that’s in the title: “RUMBA”. It’s not a ton of people who know that, but the musical and other cultural influences that Spain, especially Andalucía, sent to the Caribbean, were matched by the musical influences that the Caribbean, especially, of course, that heavenly font of music, Cuba, sent back to Spain. (You can probably trace the popular music of the whole twentieth-century world to either this one island of ten million people or the Mississippi Delta…or to the West Africa that both sprouted from.) Rumba, for example, is a flamenco genre, as is tango, though they don’t much look like their Latin American namesakes in their Andalusian gypsy forms (Morente gives us a moment of Cuban/Andalusian “rumba” dance moves at 6:56). But sevillanas and bulerías also have rhythmic structures and verbal phrasing and dance moves that have earlier Cuban antecedents.

The reason most people don’t know this is because there’s no more cliché-bound human than the modern tourist. And the academic tourist, who you think would have more outré interests to pursue when he travels, is often the worst of all. So as far as Spain goes, they’ll go to Barcelona, because it’s just such a “hip,” “cosmopolitan” Mediterranean (Christ, sometimes I hate that word) city, and skip the edgier, scruffy, by far more involving urban vibe of Madrid.* And if they’re under 35 they’ll go to Ibiza; over 35 will go to Mallorca. The MESA or other academic folk won’t go to either (if they want beach action they’ll come to one of our more remote Cyclades); rather, after Barcelona, they’ll do the Glories of Al-Andalus tour of Córdoba and Granada and then hightail it back home.

And you can’t get a full picture of flamenco in any of those places. Yes, there’s clearly a gypsy community in Granada that has created its own sound (including Estrella Morente and the whole Morente clan). But “gypsiness” and flamenco are to be truly appreciated in lower Andalusia, the flat river-delta of the Guadalquivir (the al-wādī l-kabīr in Arabic, the “great river”, like the kabir in this blogs’ name.) The great (or “kabir”) flamenco palos or genres, the great flamenco singers and guitarists, are almost all from the Gypsy barrios of Seville, Jerez, Cádiz, Sanlúcar, Puerto de Santa María, or the large village/towns of the region, like Osuna, Écija, Carmona, Utrera. This was not just the entry point for Spanish contact with its American colonies; it was the region that soon after the Reconquista came to be made up of large estates, latifundia, and a large rural proletariat that worked those estates and a large urban proletariat that lived in semi-employed poverty. Unfortunately, this was the pattern that Spain exported to not just its American colonies, but to southern Italy and Sicily during the centuries that it ruled those lands. What’s so fascinating about Naples and Palermo (like, of course, Seville) is that they were the first large, third-world cities of European modernity, overgrown, over-densely populated, surrounded by a countryside where land ownership was wildly unbalanced, cities of fabulous wealth and a dispossessed urban proletariat that still characterizes the modern and post-modern megalopolis — from Bombay to New York.

The Guadalquivir

Unfortunately or not, the pressure-cooker of urban poverty seems to be the petri dish of fantastic music: whether it’s Havana or Seville or Naples or New Orleans or New York and Chicago or Smyrna or Piraeus. We owe it to the creators of this music, and their suffering, to not mangle it the way the Khoury Project has done in this and in many other videos of theirs.

That’s why I’m bringing you more than just one of the original versions of the Cuban classics that Morente and the Khoury project butcher beyond recognition. Take the time to listen to both: the several original versions and the shameless interpretations the new fusion versions bring.

At 6:15, Morente sings the historic Cuban song “Songoro Cosongo”. This was a “son”, an Afro genre from eastern Cuba that, in the early twentieth century, became the more or less national dance (out of which the mambo and then salsa grew) replacing, even in polite society, the danzón. The lyrics are not original “Afro”; they’re Art-Afro, from the Black Cuban poet Nicolás Guillén — y de allí you get into all kinds of questions of authenticity that basically lead you nowhere. What’s important is that this first version was sung by the Septeto Nacional, which was the first group of Black musicians who were allowed to play in the Havana Tennis Club in the 1920s, marking the entry of Blacker music into the social mainstream of Cuban life (or maybe that was the Sexteto Habanero?). Here’s the original version. For Colombians, forget the baldosa please and watch the first part of the video and incorporate some movement into the dance; drop the screwdriver step.

And here’s Hector Lavoe’s 1970s big band sound, salsa version:

The other Cuban/PR classic that the Khoury Project and Morente make kokoretsi out of (at 7:10) is the piece known alternately as “Mandinga” or “Bilongo” or “La Negra Tomasa”.

Here’s a Cuban έντεχνο version from pianist Rubén González of the Buena Vista Social Club:

And here’s the truly breathtaking salsa version, again from the 70s, of Eddie Palmieri, with singer Ismael Quintana: “Kikidi-boom, Mandinga, Kikidi-boom Mandinga….”

Y aquí la tienen, la Negra Tomasa:

La Negra Tomasa, like Mamá Inés (“ay Mamá Inés, ay Mamá Inés, todo’ lo’ negro’ tomamo’ café.”) It’s amazing how powerfully Pan-American this archetype of the Black woman is: Mamá Inés, La Negra Tomasa, Aunt Jemima, the Black woman who, despite the misery and servitude of her existence, still feels and expresses genuine love for those she has to care for. Here’s the scene from Gone with the Wind where Hattie McDaniel gave the performance that garnered her the first Oscar to go to a Black woman:

Ok…

And back to Estrella Morente’s outta space performance. I don’t want to sound like one of the judges on #MyStyleRocksGR (though I’d like to have a drink with Stelio Koudounare — below)** but, Estrella, you’re a magnificent woman. But you’re also a modest Gypsy girl. Don’t wear a strapless dress that you’re constantly tugging up for fear it’ll fall off and reveal your ample bosom. It cramps your style, especially for a number as fast this “Rumba”.

(There’s something that’s so interesting about the semiotics of Gypsy and flamenco sexuality, a really interesting interaction between the revealing and openly erotic and the puritanical and covered up — that’s maybe a real remnant Indian cultural trait. We had a long-time Gypsy tenant, Mandy, who rented a commercial space in a building we owned in Manhattan for her Tarot-reading business; how they made the rent for a midtown Manhattan space offa Tarot readings is anyone’s guess. And whenever I dropped by at that time of the month, she was always dressed kind of like Lola Flores in this video below of commercial, movie, kitschy but beautiful copla-flamenco [look up “copla”; it’s a critical bridge between flamenco and other Spanish popular music]:

A tight top, but with straps — please — and an ankle-length skirt, tight around the hips and flaring out from the knees, like Gypsy women all over the world wear. The use of the skirt in flamenco dance, the flipping and turning around, the gathering up of its ample folds and ruffles and waving them back and forth or stuffing them between the legs, almost up into the crotch…all of those moves become especially powerful because revealing of the lower body seems so taboo. Not to mention the similarities between the prop manipulation of the long skirt in flamenco and that of the cape in the corrida, or bullfight.)

всё…

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* There’s a wonderful expression in Spanish: “De Madrid no se ve el mar.” — “From Madrid you can’t see the sea” which condenses the whole personality of the city. Madrid is really nowhere. It doesn’t occupy a strategic position, like the older cities of old Castille. It’s not on an important navigable river. The weather sucks: the famous “nine months of winter and three months of hell” (“nueve meses de invierno y tres de infierno”), though I love the cold, sunny weather of a Castillian winter (“colder than a Lutheran” says one character in the film version of Alatriste), and the food is perfect for the climate. It was simply built by royal fiat as a court and imperial capital in the early 16th century because there was an old, Moorish town there in the geographic center of Iberia, on the high, arid and underpopulated central plateau, or meseta, of Spain.

And yet this isolated city — from where “you can’t see the sea” — in the middle of nowhere became the sophisticated, highly cultured and rich capital of a massive empire. The contradiction is that it couldn’t ever really evade or deny its roots. Madrid remained and remains a deeply castizo city. “Casticismo” is a complicated term that means “pure”, “[Spanishly] authentic”, “native”, “conservative” and even a solid melding of all of those together won’t give you the precise sense of the word. Casticismo is what makes Spain Spain. I’m tempted to find Greek analogies and thought that it might be Romiosyne as in versus Hellenismos. But no…

When you’re in a bar somewhere in the center of Madrid in July, and there’s a cold, sweaty caña, or half-pint, of beer and an equally sweaty few slices of ham in front of you, when there’re dirty paper napkins or toothpicks (or there used to be; this custom has sort of fallen out of style) or peanut shells on the floor (the more garbage there was piled up on the floor, the more it signalled to potential customers that, “oh, this is a fun bar that people like…let’s drop in here”) and you’re packed in with super-friendly, inquisitive Spaniards speaking at a totally unnecessary decibel level…and it’s only 11:00 am — well, that’s the right time to get a feel for casticismo, even if it’s just a sensory feel that you can’t express discursively.

And that’s kind of the essence of Madrid, a liberal, tolerant, mad creative, open place that’s still closed and stubbornly archaic and even anarchic: even cañí (tacky) or hortero (red-necky, rough, kitschy, or vulgar). As opposed to the dizque sophisticated-acting, cosmopolitan but actually staid bourgeois air of Barcelona, Madrid is more a microcosm of Spain: one of the West’s and Europe’s most progressive, advanced in every way, societies, that’s simultaneously not part of the West or Europe at all, but a wild, limit-pushing land that is something totally itself, where the grappling between the “raw” and the “cooked” is as interesting and powerful as anywhere.

The go-to book on casticismo is by my saint-hero-philosopher Miguel de Unamuno who wrote it in the early 20th century, when the question of identity — especially after the disastrous Spanish-American War of 1898 when Spain lost its last colonies to the United States — and how Spain needed to generate some kind of new dialectic between its “deep” identity and the modernity it had to face was a red hot, controversial issue. As a Basque, he had a particular insider-and-outsider take on Spain and if you read Spanish or can find an English translation — which I’m not sure there is — it should be on your reading list before your next visit there.

En torno al casticismo (“Regarding casticismo”)

Miguel de Unamuno 1929

** Yes, don’t ask, I’ve totally regressed:

Stelios Koudounares, Greek fashion designer and guest judge on #MyStyleRocksGR

I’ve never been even remotely interested in fashion. I mean, I like to know that what I’m wearing looks ok, but in terms of high-end, concept fashion that nobody really wears…nothing’s ever bored me more. So don’t ask why I’ve gotten hooked, and on a daily basis, to #MyStyleRocksGR. Yeah, I like Stelio, but it’s basically because the judges and contestants on the show are all having so much fun…and when it’s mean it’s because there’s some serious Greek shade being thrown around that, ultimately, no one takes seriously. Any way, I’m addicted.

Next: between occasional blogging and working on my translation of Polites’ Stou Hadjifrangou, I’ve also gotten addicted to reality show #BigBrotherGR. (Owning up: I was addicted to Jersey Shore too.) The other night I sat transfixed through three-and-a-half hours of the special live Friday night broadcast they do, because I was afraid that my favorite room-mate, Demetres Kehagias (Δημήτρης Κεχαγιάς) below, was going to get booted off the show.

I don’t like Kehagia just ’cause he’s good-looking. I like him ’cause he’s echt-Greek/Rhomios. He’s always grouchy and irritated about something and someone and getting into fights with everyone around him, talks a mile a minute in thick Athenian attitude and intonation… And then suddenly becomes all loving and caring and sweet in a way that makes everyone around melt. Luckily he survived.

Here he is in rare form against his nemesis room-mate, the woman with the fried peroxide hair, Anna Maria from Chania (that’s just what they were missing on this show, a Cretan woman of a certain age with fried, peroxide hair…) Check them out in this video below; the fun starts at around 2:17. Yes, the two guys in the black t-shirts are identical twin brothers (makes for all kindsa nuttiness), Zac (Ζαχαρίας) in the Marine t-shirt says and does absolutely nothing in any episode except look pretty, and the zaftig chick in the fuchsia top with the fan, splendidly named Aphrodite!!! is the loving Big Mama that me and apparently all Big Brother addicts in Greece — so say the polls — adore, and she spends lots of her time trying to de-escalate arguments like these. Enjoy. This is a perfect Greek kavga, the Turkish word we use for pointless, steam-letting, “let’s-have-some-fun” arguing. I’m not going to translate or tell you what it’s about….because it doesn’t matter!!! It’s not about anything! They’re just arguing!

I started watching ΣΚΑΪ (SKY) because it’s the of right-of-center channel that still maintains (despite these trashy shows I’m into) some sense of cultural and social standards out of all Greek TV stations. And also because a right-of-center good friend of mine got voted in as MP in Greek Parliament this year and he appears as the go-to expert on Greece’s international relations — especially at a tight time in Greek-Turkish relations like now — on ΣΚΑΪ‘s news broadcasts. But then I get back to work and leave the television on with no sound. Explains how I got hooked on these shows.

Addendum: they’ve also been broadcasting American Crime Story: The Assassination of Gianni Versace these past two weeks. It’s fascinating. Because it’s not about Versace almost at all. It’s about his tragically psychotic murderer, Andrew Cunanan. And it leaves you with the very disturbing sense that he wasn’t so distantly psychotic from the rest of us, that he just wanted what we all want; things just came together in a way that pushed him over the edge. It’s on Netflix; check it out.

Darren Kriss as Andrew Cunanan in The Assassination of Gianni Versace

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Bodegas

10 Oct

Spanish flag demonstrators

I’ve been color-numbed by the red and yellow of both Spanish and Catalan flags recently.  As a consequence though, a theory I once had that the color scheme of New York bodegas comes from the colors of the Spanish flag has resurfaced in my consciousness.

bodega 3.jpg-shot4 Philly or NYC

It’s not that far-fetched an idea.  The first large group of Spanish-speaking immigrants to New York originally came from mostly Galicia and Asturias in northwestern Spain in the late nineteenth century and settled in what are now the streets north and south of West 14th Street and in the meat-packing district.  That’s why there are still so many mediocre Spanish restaurants in the far West Village and Chelsea and there’s also the still spectacularly good El Cid on West 15th.

Unfortunately Riomar — on the corner of Greenwich Street and Little West 12th, one of the most ambient-blessed bars that this city has ever seen: a real dive, with horrible food, stale potato tortilla and sweaty chunks of bad chorizo tapas and Goya jarred red peppers you ate with toothpicks, dirt on the floor, a dismal wine list and great jukebox, the feel of a real sailors’ bar in Almería with a “manchado mostrador” out of a Concha Piquer copla, where you went to have an after-dinner argument with your girlfriend which no one paid attention to because everybody else was having their own vicious spats, interrupted only by a good merengue or when Don Can’t-Remember-His-Name from Burgos, chef and owner of El Cid, pulled out his guitar — left this world about fifteen years ago.

Riomar was one of those bars that got busy with after-shift restaurant workers (including those of El Cid) who needed a post-combat drink and the scene would really pick up after around midnight or 1:00 a.m. when the kitchens let out, and if you hung out long enough, the Nuyorican meat workers would come by for a caña before work (guess like Sheryl Crow, they liked “a good beer-buzz early in the morning”), and then you went for breakfast with the other meat-workers and the drag queens at the much-loved Florent around the corner on Gansevoort Street (three over easy on a roll for the butchers, eggs benedict for the gay dudes; this old diner managed to cater brilliantly to both its clienteles for decades), also now gone.  Infuriatingly, Riomar was replaced by some over-priced piece of mediocrity called Serafina Meatpacking with the gallingly named Gansevoort Meatpacking NYC Hotel across the street (“trendy hotel with a rooftop bar & pool, wi-fi, 259” says Google Maps).  Actually, have you seen the size of the rooms in most of these ’boutique’ hotels? “Meatpacking” might actually be the most accurate term.

Florent has been replaced by something called Bubby’s High Line.

(Grrrrrrrr….  Why did I let myself go there?  Now I’m pissed.  Does anybody even want to live in this sterile Manhattan that’s replaced that one anymore?)

Vanishing New York Jeremiah Moss

Ok, bodegas.  A lot of the Galician and Asturian immigrants who settled in that neighborhood often came through a generation’s or less immigrant experience in Cuba or Puerto Rico, Spain’s last Caribbean colonies; if you know Havana (saludos to my pana Yusuf who does) you know two of the most imposing buildings in the city’s center are the Centro Gallego and the Centro Asturiano.  One of the innumerable fascinating things about Cuba is that while it has perhaps the richest and most vibrant Afro culture of any society in the Americas, it also has some of the closest, organic ties to Spain of any Latin American country as well.

They bring the red-and-yellow color scheme?  Why?

The only place in the Spanish-speaking world where “bodega” means a cruddy, smelly grocery store that you can’t live without is New York.  Why?

And what you call the dank grocery is the same word as the word on the label of your $300 bottle of Rioja.  Why?

Because “Bodega” in Spanish simply means warehouse or cellar.  That’s why your wine, sherries especially, comes from “bodegas” in Spain.  But in Cuba and Puerto Rico, the sugar plantation or ingenio/refinery company store, where first slaves collected, and then indentured workers later bought, their basic food stuffs, was the company’s warehouse — the bodega.  And take a sec even today to look at the merchandise in your corner bodega, other than the beer, cigarettes and soft drinks, that really moves: plantains, yuca, yautía, malanga and other tubers, the bags of rice, beans, lard, and if it has more than just grocery pretensions, pig feet and salt pork in the counter fridge.  Slave food.

So when the guajiro plantation overseer or the Cuban-Galician neighborhood businessman came to New York in 1910, he called the little store he set up that sold Cuban food staples a bodega, and I’m guessing figured the best colors for it were Spain’s red and yellow.  And then it stuck.  And then became tradition practically.  You look for the bodega’s red and yellow lights in the streets in New York at night when you need a smoke, or a seltzer to rehydrate after drinking too much, and when you remember there’s no coffee in the house for tomorrow morning; just like you look for the flashing green pharmacy cross in a European city at night after drinking too much and when you remember there’s no ibuprofen in the house for tomorrow morning.  And though the economy that produced the term has disappeared in the islands, and if you tell anyone today in Cuba or Puerto Rico or the D.R. who hasn’t visited relatives here in the city to go down to the “bodega” and buy some milk he won’t even know what you’re talking about, it survives in New York, our huge φτωχομάνα and warehouse of the world’s darkness and exile that run a constant lament under the city’s exuberance and energy and often forced-feeling hedonism.

Bodega 10

bodega 1

Bodega 2.jpg gkjarvis

Bodega 4

Bodega 5

Bodega 6

Bodega 7

Bodega 8

platanos

Yuca

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Comment: nikobakos@gmail.com

For I. and E., a copla: “Eugenia de Montijo”

7 Jun

This is a copla, a sort of narrative ballad-song, a genre that flourished in early twentieth-century Spain, fell out of favor due to being cheaply painted by the post-Franco Spanish Left as politically reactionary, but has been rediscovered by young Spaniards as of late.  It’s about the Empress Eugénie of France, née Eugenia de Montijo of Granada, who married Napoléon III of France.  See: “The Adventures of me and my nephew Vangeli in C-town.”

It’s dedicated to I., who has been unfailing in his support for this blog and to my dear friend E., who introduced me to coplas and Doña Concha decades ago, on late nights in a pink room on East 86th Street.  Thank you to both.

The rest can look for the translation if they like.  Βαριέμαι τώρα.  Me da pereza.

Eugenias041pn01

Eugenia de Montijo, considered one of the most beautiful woman of nineteenth-century Europe. (click)  And below, Concha Piquer’s version, and underneath the lyrics.

 

 

Eugenia de Montijo

Doña María Manuela tiene dos hijas,
una se llama Eugenia y otra Francisca,
los majos de Granada las solicitan,
porque las dos son guapas y granadinas.

Pero mi señora María Manuela,
que en los casamientos tiene mucha escuela,
les dice a los majos con mucho primor,
mientras abre y cierra su abanico malva:
“Paca ha de llamarse Duquesa de Alba,
y Eugenia, señora de un emperador”.

A la cuesta de Gomérez,
que al río dormido baja,
flor y nata de donceles,
a Doña Manuela cantan:

Eugenia de Montijo,
que pena, pena,
que te vayas de España,
para ser reina.
Por las lises de Francia,
Granada dejas,
y las aguas del Darro,
por las del Sena.
Eugenia de Montijo,
que pena, pena.

Se salió con la suya María Manuela,
una reina es de Francia y otra es duquesa.
Pero Paca se muere bajo la niebla,
y Eugenia en el Versalles, se siente presa.

Y está mi señora María Manuela,
hecha una pasita junto a la candela,
en aquel palacio del viejo Madrid,
con su pobre vida rota en dos mitades,
París que la llena de fatalidades,
y Granada viva de luz del Genil.

Y a la cuesta de Gomérez,
que al río dormido baja,
torna sus miradas fieles,
mientras su vida se apaga.

Eugenia de Montijo,
que pena, pena,
que te vayas de España,
para ser reina.
Por las lises de Francia,
Granada dejas,
y las aguas del Darro,
por las del Sena.
Eugenia de Montijo,
que pena, pena.

Letra (por supuesto) de Rafael de León and Manuel Quiroga

Comment: nikobakos@gmail.com

The adventures of me and my nephew Vangeli in C-town

2 Jun

IMG_0779

(click)

This is my nephew Vangeli from Tirana, who came and spent an extended weekend with me in Istanbul last week, eating a simit in the Staurodromi.  When I started this blog I said to myself I wasn’t going to include personal names.  When you represent something ideologically problematic for me, you’ll usually be described by a repeated sociological profile: “the Athenian thirty-something” or you’ll get a moniker all your own; in any event, if you read regularly, you’ll know who you are.  But the warmth of certain experiences I had with my family in my village this past spring has made me want to “call their names,” both because these are people I learned to love a great deal in a very short amount of time and to do them the honor, even if these experiences are not that interesting for the objective reader.  It’s obvious that it’s for them.

Vangeli is my second cousin Calliope’s eldest son. (See Easter Eggs… because, believe me, you don’t want me to run through all the lineages each time and I can’t do it either.)  When I first went to Derviçani in 1992, after Albania had safely opened up for good, Calliope was already living in Jiannena and we met there first, so we could get to know each other before going into Albania together.  When we arrived in the village for the first time, hers was the face I was constantly looking for as a reference point among the throngs of relatives who were constantly surrounding me.  It was her and my cousin Panto, Pantele, who is still my official bodyguard everywhere I go in the village, telling me who’s who since I can’t keep track, taking me everywhere I want to go, counting the tsipoura (raki) I have at every visit, so they don’t add up to too many in one afternoon, etc.  His mother, my Kako Poly (Polyxene), is a saintly woman who made great sacrifices caring for my grandmother in her final years under conditions of great material deprivation for all.  In video we have of my grandmother, taken by complete fluke by a cousin of my mother’s who went to Albania in 1988, a year before my grandmother died, as part of a Greek commercial exchange delegation — these groups were always taken to Derviçani as it was the showcase Greek minority village in communist times — my grandmother says: Να, αυτή είναι η Πόλυ, μ’έχει επάνω της… — “Here, this is Poly, she (lit.) carries me.”

IMG_0050This is Calliope, with her two sons Vasili (left) and Vangeli (right) on Easter night in church (click).  She’s an extraordinary and extraordinarily loveable woman: a great housewife, a competent businesswoman, funny, generous, always smiling, as flirtatious and open as a teenage girl — she’s one of my great relative-loves.  Here she is below at the Monastery on Easter Monday, having just deposited a huge piece of lamb shoulder — no, actually, a lamb shoulder — on a paper towel in front of me, cold and glistening with shiny white fat like some Homeric offering.  My father always loved cold lamb, and would never let my mother reheat it, because it reminded him of the Easter dance at the Monastery.  This is a typical pose to catch her in below, because her innate generosity is always giving something to someone.  (Click)

IMG_0119I hadn’t met Vangeli before, and if I had he would’ve been a baby.  But in church that night, when we were introduced, he said to me, in his classic Aries way — breezy and confident: “Actually, I don’t know you, but Christos Aneste!”  And my Aries replied: “I don’t know you either, but Alethos Aneste!” and I knew right then we’d hit it off.  We talked the next day at the dance; I invested some of the best days of this trip visiting them in Tirana on my way back from Montenegro, and of all the people who said they would come to Istanbul to see me while I was here, I knew he was the only one who would actually do it.  We locked horns on titles or terms of address for a while; I am literally twice his age, fifty and twenty-five, but we hang out like cousins and that’s what he used to call me, whereas I want to be called “uncle.”  He wasn’t having it.  (I have a similar problem with some nephews in New York on my mother’s side.)  For a while we agreed on “şoku,” which is “buddy” in Albanian but also meant “comrade” in communist times, so that didn’t last very long, nor did the Russian “tovarishch” which means the same thing.  Finally, when he got to Istanbul, he heard some guy addressing another as “abi” — big brother, technically, but often just “mate” — which they use in Albanian as well, so it’s been “abi” since then and that pretty much describes how we relate to each other. 

I’m an only child.  Calliope is like the big sister I never had and it’d be hard to imagine a more loving one.  But my parents also had a first son that died when he was a baby, so, even more deeply, I’ve always felt literally haunted by a living presence and desperate absence at once, and by an entirely metaphysical need for a being that I feel is out there to incarnate itself again as an older brother.  But being an older brother to someone else is just as gratifying, especially to a kid like Vangeli.

Because he’s good at his role and he did me super-proud here.  He studied computer engineering in Birmingham and speaks flawless English, dresses impeccably, works for a company that sends him to Italy on a regular basis, so he speaks some passable Italian as well.  (Some fashion-victim friend of mine from New York saw him dancing in the second video here and wrote to ask me who the funky kid with the curly hair and the Prada glasses was — she had recognized the Prada frames from five-thousand miles away…)  We went out for a classic Istanbul fish-and-rakı dinner at a really good place in Cankurtaran in the old city; he immediately recognized that this was not just any meal, but that he was in the presence of a certain ritual to be respected, like Japanese kaiseki, and he acted accordingly.  He was put off by the anise in the rakı at first — we drink ours unflavoured in Epiros — but then realized that Turkish rakı is not the cough-syrup by-product that Greek ouzo is and enjoyed it thoroughly.  He had no negative preconceptions of Turks and Turkey and he never, never — not once — tried to insert one of those slimey negative innuendos about Turkey into the conversation that almost every Greek tries to do when he’s with Turks.  He just listened to the two female friends we went out with, asked questions, tried to learn, gave his opinion, talked to them about Albania and Argyrocastro and Tirana and our families and Britain and anything else you could imagine, and charmed the skirts off of both of them.

He wanted to see everything.  I hate going into the old city.  I find it depressing, crowded.  I love the mosques, but the Byzantine monuments discourage and sadden and, sometimes, anger me, and I prefer to not be confronted with the interface between the two and just stay here in Pera, expelled from the walls in my gavuriko varoşi.  Also, getting there is alright, but getting back means trudging up and down and then up and down again some incredibly pedestrian-unfriendly streets and intersections and underpasses, unless you take some sleazy Sultan Ahmet cabdriver whose meter suddenly races to 100 lira by the time you get from Hagia Sophia to Pera.*  But for Vangeli I went.  And we saw everything there was to see.  We even stumbled upon the Rüstem Paşa mosque, which if you ever asked me to find, I never could.  We sat in the Süleymaniye for an hour and he listened to me talk about why I like sitting in mosques and watching Muslim prayer — Istanbul was the first time he had been inside one — and find them so calming and peaceful.

Rustem pasa tiles

Suleymaniyeimg_redirect.phpThe tiles of Rüstem Paşa above and the interior of the Süleymaniye (click)

We covered every inch of Topkapı, where I hadn’t been in years and where I was re-dazzled by that Ottoman sense of elegance and comfort that Rebecca West speaks of so often.  He was interested in the oddest things.  His favorite palace was Beylerbeyi, as it is mine, but he was fascinated by the story of the French empress Eugénie, born Eugenia de Montijo of the highest Andalusian aristocracy, who extended her state visit there for so long that it began to turn into a diplomatic scandal in Europe: he wanted to know how beautiful she was; he wanted to know whether Abdülaziz was such a stud that he was actually shagging her and how Napoléon III could have been such a nebech that he didn’t come grab her by the hair and drag her back to Paris.  “Άμ,’ ήθελες γυναίκα Ισπανίδα…” he decided, after much pondering — “that’s what you get for wanting  a Spanish wife.”  And an Andalusian one at that.  But once you’ve seen Beylerberyi, where she was put up on her visit, which is like a gigantic Turco-Venetian palazzo opening up onto the fresh, cool waters of the Bosphorus and not some smelly canal, you realize that once anchored there, leaving would be hard even if you weren’t getting any from the Sultan.

Beylerbeyi Palace (click)

beylerbeyi_palace_by_shidikujThe Empress Eugénie of France, née Eugenia de Montijo of Granada; the Jackie Kennedy fashion plate of mid-nineteenth century Europe and considered one of the most beautiful women in the world at the time (click), subject of the copla by Rafael de León and Manuel Quiroga, made famous in Concha Piquer’s incomparable rendition.

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The last day I was exhausted but he wanted to go look around Turkish supermarkets for yufka to compare the quality and price to what his family’s company makes; this is my Uncle Vangeli’s business; they make yufka and tel kadayif and sell it throughout Albania.  The name of the company is Demetra, like the ancient goddess of agriculture and cereals.  We went to a couple of Carrefour and he wasn’t impressed.  We went to some small bakalika and they didn’t have any at all.  And, very cutely, he made the assumption, in those hushed tones of respect that the Ottoman culinary tradition still carries with it in the Balkans, especially in the western Balkans from Epiros to Bosnia, where börek is an institution and a strong regional identity marker: “They probably open up [that’s the term we use] their own phyllo at home still.”  I didn’t want to pop his bubble.  Then he wanted to go to Dolmabahçe too — the energy of youth — but it was already too late in the day.  As compensation we went to dinner at the Çırağan, the hotel that’s now in the palace most similar to Beylerbeyi.

What I most admire about Vangeli is that he’s smart, sophisticated, has a C.V. that could take him anywhere in the world that he might want, but he wants to stay in Tirana, not just because he wants to help the family business, but because he actually wants to stay in Albania and build a program design business of his own, in the country he grew up in and lived his entire life in, and that that doesn’t get all mixed up with dumb ethnicity issues.  I didn’t ask him; he probably doesn’t “love” Albania any more than I “love” the United States.  He probably doesn’t have an answer.  But where he lives — what state he lives in, in particular — doesn’t have any bearing on who he is.  Like me.  He’s Vangjel Stavro; he’s a computer engineer; he’s Greek and he lives in Albania.  Period.  He may be the New Balkans.  In fact, soon all of the Balkans might be the New Balkans except for us, who will still be left blinkered, frozen like a deer in the headlights, wondering why the “Europe thang” didn’t go as we planned.

There are a couple of inside jokes to the photo at top where’s he’s eating a simit at the Staurodromi.**  One is that we both felt like hell that morning, which is why I’m not in the picture, not that I like being in pictures anyway.  Two nights before we had had that splendid fish dinner in the old city and had put down a fair amount of rakı, but it was with food — basically, after a few rounds of great meze, this beautiful lithrini (lüfer):

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But the night before the simit photo, I had wanted to take him to the bar on the rooftop of the Marmara Pera hotel, so he could see the places we had visited in the old city that day from across the water at night and illuminated, and then we were planning to go hear some Greek guys who play rebetika at a very cool, shabby old meyhane near Taksim.  But we spent too much time at the Marmara and by the time we got to the rebetiko place all the food was gone and all that was left were stragalia/leblebi.  Now I don’t know exactly how leblebi are made — I think they’re dry-roasted chickpeas — but I detest them as much as I love cooked chickpeas/rebythia/nohut.  Something happens to the dense, almost meaty, velvety texture of chickpeas when they’re made into leblebi that produces something that tastes like a highly compacted nugget of sand, or like taking a teaspoon of raw flour and popping it into your mouth.  I think the only reason they’re considered a drinking snack is because you’ll choke on them if you don’t have anything to wash them down with.  Vangeli hates stragalia too, but I tried to encourage him: “Come on man, this is the exclusive diet of the Great Father; this is how he defeated Turkey’s enemies and brought his country glory, with a pocket full of leblebi and a flask of rakı!”

Lebpic1340611232r779452Leblebi

So we ate as many as we could, starving as we were, and had way too much to drink in too short a time on top of it.  We then went outside when the performance was over, and suffering from the drunk munchies on which rests the drunkard’s philosophy that if you pile more crap into your stomach on top of too much booze it’ll make you feel better, we had two plates each of chicken-and-pilav from the street vendors (one of the most delicious things you can possibly eat in Istanbul — Turks are magicians with rice), and then on my corner we found Orhan, my favorite Kurdish midye kid, and I think closed down his shop that night as well; we must have had about twenty mussels each.  So we were not very happy the next morning.

The second insider joke is actually one me and Vangeli share with Epirotes down the centuries.  Legend has it that Epirotissa mothers would slap their sons on top of the heads to flatten them from the moment they were born and say: “Και σιμιτζής στην Πόλη” — “And may you become a simit vendor in the City” and that this explains the idiosyncratic beer-can shaped heads that a lot of Albanians and Epirotes have, like some of my chorianoi:
IMG_0148or a guy as seriously Kosovar-looking as Novak Djoković:

DjokBearCanBnhbw7ZCYAAgVoE.jpg_largeor me:

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The point is that the flat top would make it easier to balance a tray of simit on your head.  Of course the joke is based on false modesty, because Epirotes did not come to Istanbul, or go to Roumania, or Odessa, or Alexandria, or the United States or anywhere else in the world to become simitçides.  They went to make money and, some of them, fabulous amounts of it.  This is why you can be driving through Epiros, through empty, lunar karst limestone landscapes where you wonder if you could even herd goats, much less sheep, much less plant anything edible, and then suddenly come upon villages with massive two or three-story stone mansions, and equally impressive churches and schools.  And this is why Epirotes contributed so greatly to the Greek Enlightenment, to the creation of the Greek state’s institutions and educational establishments, and generally had an exceptionally high standard of living and literacy — even for womenfor rural Greece, until the whole exclusively male emigration structure collapsed and was followed by a massive exodus to the cities after WWII.  Like certain islands of the Aegean or the Saronic, it was the very barrenness and lack of resources that the land could not provide that drove the movement, ingenuity and creativity of traditional Epirote culture and that allowed them to make such lives for themselves at home (at least for their families, because they themselves were gone most of the time) and make such important contributions to the wider Greek world.***  Of course, it was also the institution of emigration that led to the endemic, marrow-deep sadness of the culture as well.

Traditional Epirotiko village architecture from various parts of the region, obviously not the communities of poverty-stricken hillbillies, built with money made abroad by emigrants; the final picture at he very bottom is the front gate to my mother’s patriko, the house where she was born.  Her family made their money through three generations of baking businesses in Bucharest. (click)

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And below — in order — the Zografeion and Zappeion Lycées in Istanbul, the Zappeion exhibition hall and gardens in Athens, the National Polytechnic School in Athens, the Zosimaia in Jiannena, and the Zografeion college of Kestorati, all just a few of the institutions funded and built completely by Epirotes (click).

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I have a friend in Greece who’s from a part of Greek Macedonia that, before the refugee tents went up there in the 1920s, was inhabited exclusively by mosquitoes.  We were good friends but we had more than our share of tensions because he was an insufferable kind of arrogant Eurocrat that Greece used to produce at the time and had some supposedly hot-shot job with one of the sleazier Russian-type Greek communications moguls to appear in the nineties — μιλάμε principles yok.  And for some reason, he had this implacably neurotic competitive impulse that he would always unleash on me any time I spoke about Epiros, especially if it was with any amount of pride.  “It eez the poooorest proveens in Euuurope…Galicia in Spain and Epiros…are the pooorest proveeenses in Europe…” he would say to me constantly, like a Brussels parrot.  And after WWII, the practice of leaving families behind and going off to work abroad and returning only occasionally became untenable, and most of Epiros did become tragically depopulated.  But it was poor because it was depopulated and the only permanent inhabitants of many communities were pensioners, not because it was a region that traditionally suffered from desperate poverty.****  The hot-shot job and the whole Euro-thing has collapsed since then, along with the whole balloon in which it existed, of course, and he’s a significantly humbler person today.  But it was just so infuriatingly ignorant and anistoreto on his part to see Epiros as some Greek Appalachia and his motivations for harping on that distorted image escape me to this day.

Anyway, that morning I wanted to buy five or six simitia and pile them on Vangeli’s head as a reference to this simitçi tradition, but I could see he wasn’t having it, so I didn’t even try.  He insisted it was the anise in the rakı that made him sick and has sworn that from now on it’s only “real” raki for him — straight and Albanian — with no sissy Politiko flavorings to eff him up.

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* Turks are among the most honest people I have ever come across in all my travels, and not because of modern efficiency like in Europe, but out of traditional philotimo or honor.  I’ve had a Turk from a Taksim pilav stand recognize me as I walked by, and come up to me to give me one lira change he owed me because three days earlier I had eaten there and he was short.  I’ve had to fight with a Turkish simitçi because he wouldn’t sell me a simit because it was late in the day and they were stale, begging him, eventually giving up because he simply refused — the famous Turkish “yok”; when you hear it give up immediately.  I’ve had Turks — this happened to me in Afghanistan once too — run down the street after me to give me a Bic pen I had forgotten on their restaurant table.  But something happens to a Turkish cabdriver when he’s in the Sultanahmet area and he becomes the biggest sleazebag in the world.  I think that now that tourists have discovered the Beyoğlu side of the city and generally prefer to stay there, there’s greater tourist traffic between Pera and the important monuments of the old city, and these jerks take advantage of it.  But be tough with them; simply refuse to pay more than 20 or 25 lira — no matter what his rigged meter says — and walk away and tell them you’ll call the police if they don’t like it and, being cowards, like most frauds and liars, they’ll immediately back down.

The route from Şişhane or the Galata Tower, across the Galata bridge to Hagia Sophia has to be — and always has been — one of the most important pedestrian traffic axes in the city.  And instead, both Karaköy and Eminönü — the two districts and “squares” that face each other across the Horn and are like the two ventricles of the historic heart-like link of the City — are hideous, dirty, badly designed nightmares to walk through.  Instead of worrying about Taksim so much, Erdoğan might want to put some effort into redesigning this essential, central binder of the two Istanbuls.  But that would be a massive project that would involve levelling almost everything that’s been built there in the past forty years and starting with a clean slate.  Plus, you don’t want to give him too many ideas because he’s perfectly capable of building something as ridiculous as a ski-lift from Şişhane to the Hippodrome to assist tourists in their sight-seeing.

** The Staurodromi is one of the nicest spaces in Pera.  The gates of Galatasaray are beautiful, the other corners have their original turn-of-the-century buildings intact and there’s one modern, kind of semi-Brutalist building in travertine that I really like, that houses a bank and a bookstore and that you can see in the picture above behind Vangeli and in this one below.  The only thing that mars the whole space is this ugly sculpture:

Uranium piles

Does anybody know what it’s supposed to be?  Missiles of some kind?  I don’t know what enriched uranium piles look like, but during Fukushima and every time someone talks about Iran or North Korea and uranium piles, my imagination immediately conjures up this horrible sculpture.

*** This was all part of what I can only generally call the “Great Mobilization” of the Greek world that began in the early eighteenth century.  The confluence of factors that caused this are so intricate that they’re hard to summarize: the primary spark was perhaps the massive wealth accumulated by the Phanariotes — Greek aristocratic families in Constantinople prominent at the Patriarchate and, by extension, at the Porte — who had used their influence in imperial circles to turn most of what is now Romania (Moldavia and Wallachia) into their own autonomous Greek kingdoms, which they sucked dry, and how that wealth was poured into Greek institutions and trickled down into Greek hands generally; the concurrent spread of Greek educational and commercial networks in the Balkans and Eastern Europe and later in the Near East, in the rapidly modernizing economy of post-Mehmet Ali Egypt especially; the way the so-called Greek Enlightenment worked through both these kinds of networks.  The increased mobility that the nineteenth century made possible; most people, for example, don’t know this, but the Greeks of the Anatolian Aegean coast and the Marmara were almost exclusively migrants from the islands and mainland Greece — and even later the Kingdom of Greece itself, Greece basically having been an economic basket-case since the get-go — that started settling there in large numbers in the later eighteenth century and not, as we romantically like to believe, descendants of Byyzantine Hellenism; the only remnants of Byzantine Hellenism in Asia Minor were the Greeks of Pontus and Cappadocia, of course, and small pockets near Konya and Kula and Isparta and that lake region, all of whom, except for Pontioi, were Turkish-speaking until some of the men started learning Greek in the nineteenth century.  (In isolated areas of Cappadocia, a dialect of obvious Greek origin had also survived into the nineteenth century but was already dying out by then, and was so heavily Turkish in vocabulary and had even developed extensive agglutinative structures like Turkish that it’s almost impossible to call it Greek, any more than you can call Vlach Roumanian.)  Then there were the colonialist economic incursions into the Ottoman Empire and its reduction to a European debt-slave (much like “Memoranda” Greece today) that together with the privileges for Christians that the Great Powers forced the Ottomans to grant, created a space for growing Greek and Armenian prosperity from which Muslims (and Jews, for that matter) were excluded, and that produced exclusively Christian micro-economies within the Empire in which Greek rural migrants could find work and prosper.  All this had an enormous effect on Greek life everywhere.  You can see it in the village architecture of certain regions of the Greek world.  And you can see it in traditional dress of Greek rural women.

My father’s villages in the valley of Dropoli are situated in one of the few extensive, arable parts of Epiros, the fields you see in the pictures taken from atop the village itself (click):

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Paradoxically, it was this theoretical asset that kept our villages relatively poor until the mid-nineteenth century, because these fields were all çiftlikia of Muslim landowners (“fiefs” I guess; don’t ask me to explain Ottoman land tenure to you, or tell you the difference betweeen a çiftlik or a timar or anything else, because every time I try and read about it I fall asleep and don’t remember anything I’ve read when I wake up) and we were essentially sharecroppers for them.  Only with the exponential growth of emigration in the nineteenth century did any kind of considerable prosperity come to our villages and many were even able to buy their village lands from the increasingly impoverished ağadhes themselves.  Like I said, this was markedly obvious in the changes in female costume and the complete switch of male dress to frangika, Western clothes; traditional male outfit of the region would have looked something like this, the characteristic white felt pants called poutouria (this photo is from southern Serbia actually, but was the nearest approximation I could find) and not the fustanella kilts that folklore groups in the village like to use today indiscriminately and inaccurately:

Poutouria220px-Teslacirca1880(2)

While, with the women, in extremely old photos from Derviçani, you can see that almost all the articles of the costume were home-made by the women themselves, with growing wealth you see the gradual addition of articles of clothing that had to be made by professionals.  My grandmother’s outfit here, for example, especially the vest and apron:

Family…obviously had to be made by a professional sirmakeşi — an embroiderer of gold thread — in Jiannena or Argyrocastro, and the dress of some particularly wealthy villages, like those of Lunxhi, behind the mountains to the left across the valley in the photo (Albanian-speaking Christians with whom we intermarried extensively and still do, the homeland of Zappas and Zographos, the benefactors mentioned above) had, by the end of the nineteenth century, simply become regional variations of Ottoman urban dress, like in this photo, which the museum of Kozani (why it ended up in Kozani?) felt it had to put its water stamp on, like someone was going to sell the design to YSL or something:

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**** Despite my friend’s condescension, regional funding initiatives for these “poorest provinces in Europe” have greatly expanded the university in Jiannena and developed an extensive and prestigious medical research center there, an information technologies industrial park, renovated (sometimes over-renovated) large parts of the old Ottoman city and created a general climate of growth and prosperity seemingly unaffected by the problems of the Greek economy.  Epiros has become a little bit like a Greek Bavaria or the French south-west: a traditional, somewhat backwards area that made the leap over the ugly stages of modernization to post-modern comfort and prosperity.  Half-ruined villages have been renovated, largely through the skills of Albanian craftsmen, who still were trained in the traditional building skills necessary to preserve the region’s distinctive architecture.  There’s good traditional and contemporary food in Jiannena and in some of the newly developed tourist towns.  There’s skiing in the winter; there’s hiking and mountain-climbing in the summer and gorgeous beaches only an hour-and-a-half away from each other on the new highways.  And it’s generally agreed that Jiannena is one of the most pleasantly liveable of Greek provincial cities and Epiros one of Greece’s most beautiful and pleasantly liveable provinces.

Comment: nikobakos@gmail.com

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