Bem Vindo

(Fado Pt 3)

At the end of the cultural event during my Portuguese lessons (detailed in Fado PT 2) I made it a point to meet the performers at the conclusion of the event. The Fadista, Margarida Arcanjo, whose real avocation is as a musical therapist and who will soon be on her way back to London, told me that she would be performing the following week at a place she thought I would be interested in knowing of: Associaçao de Fado Cato. In Alfama it goes without saying that it is to be found on a steep hill. I initially had trouble finding it. It appears as an otherwise anonymous looking building near the Cathedral of Lisbon. There were no signs telling me I had reached my destination and GPS was doing its usual poor job of negotiating the tight, steep and winding streets of Lisboa.

It was then that I spotted a small bulletin board and an open door with a handwritten “Bem Vindo” on it. Above two VERY steep stone steps were more interior steps leading up. I figured “why not?” Once inside, those step led me up a dark high ceilinged hallway that is lined with the signatures of performers on the both walls. At the top of the steps I met Frankie. He informed me I was at the right place but asked if I had a reservation. I confessed that I did not as I hadn’t known one was required. He turned and quietly explained to the proprietor, - a smallish elderly lady who then looked at me, sized me up, gave a warm smile, and then turned back to Frankie with a slight nod.

Margarida Arcanjo

Frankie then explained that admission was for music and dinner; that the cost was $55 and it included a 14-course set of tapas including beer and wine. “Could I substitute ginger ale?” I enquired. “Of COURSE!” Frankie replied, and all was good. Then I turned to see I inside what looked like a small chapel of quite some vintage that was all stone wall and a high vaulted ceiling. These walls were lined with old LPs and it felt like old Village or SoHo days. I was led to a spot along a handmade farm-type table as they all were and which they all were. Bread, olives, cheese, bean dishes and, of course, my ginger ale appeared. Margarida arrived and we said hello. Before long the lights were dimmed. Three musicians, André Silva on Guitarra Portuguesa; José Elmiro Nunes on Classical Guitar; and Fernando Jacques on Bass, went up to their seats on the stage which was but a simple platform. There were only two tiny lights to illuminate the performers.

As is usually the case, no amplification was provided, nor was it necessary as the acoustics were fantastic. As I ate a bit of each of the 14 dishes (all of which were delicious) and I soaked up the atmosphere that made an evening of Fado. Foi para estas coisas que vim a Lisboa.

Fadista Matilde Cid, a petite brunette sang with dynamic force and passion. Ana Maceda concluded the evening’s events with a buoyant, upbeat song that had everyone singing along - this harks back to the origins of Fado being very much a people’s music that identifies everyone as a part of Comunidade.

Of course, I want to highlight my friend, the wonderfully talented, Margarida Arcanjo. It was great to have heard her in the classroom at NOVA but even better was in the setting of a real Fado club. Words, of course, can never truly do justice to describing music or to a performer. Best is to hear for yourself. So, do yourself a favor and listen to her album “12”. Otherwise, the next time you find yourself in Lisboa make sure you get to Associação do Fado Casto.

Fado, Pt 2 . . .

This story got its spark during July 2024 when only two weeks after moving to Lisbon I was deeply immersed in my intensive Portuguese Language class at Novo Universidade. Extracurricular cultural events were part of the syllabus and of particular interest was an afternoon presentation on the history of Fado music including some performances. However, this event was listed for Level B1 and above. I was in A2 (and should have been in A1!)

Now, as I have previously confessed: I love Fado! Though the level I had been admitted to was astronomically above my pay grade, I . . . well, let’s say I invited myself. Happily no one objected. Quite the opposite. Joana Teixeira, the organizing staff member for these events, had done due diligence and so “you know who” was quickly drafted into handling the photo documentation. (If only I had known I would’ve brought my real camera and as such these images were all done with my iPhone. At any rate, my pants have now dusted the floor of yet another event space, this time internationally so!)

 A guitarra portoguesa de assinatura da Luis Ribeiro

The history presentation was accompanied by slides and old film clips. I didn’t understand it all but, still, I took in further insights that added to what I already knew. As for the performance section, well, music is its own language and one I easily relate to.

For those not in the know, Fado is a genre that originated in the streets of 19th Century Lisboa. Not unlike the American Blues, it is a confessional style of music, usually melancholic, that sprung from the troubles of the poor and dispossessed. It moved from the crowded, narrow streets of Lisboa’s Alfama section to that area’s brothels before its popularity saw it spring onto legitimate stages and onto worldwide recognition.

As a folk oriented genre, its purest form it is spare, unembellished and unamplified, featuring a solo singer, a Fadist or Fadista, and two sometimes three guitars. One of those guitars is unique12-string instrument to Portugal and thus called the Guitarra Portoguesa. It is constructed with a slim neck which demands a talented musician and its distinctive sound, that usually acts in response to the singer, is one that perfectly accompanies this genre filled with beautiful melodies reflecting sadness, loss and despair. It is fair to note, though, that Fado is not ALWAYS sad and sometimes engages the audience with songs of joyful togetherness encouraging singalong.

The examples performed by a classic trio of artists were outstanding. The fadista was the talented and beautiful Margarida Arcanjo, accompanied by Luís Ribeiro, guitar Portoguesa guitarra (who had played with the legendary Amalia Rodriguez) and João Nunes on fado guitar.

Sr. Ribeiro also designs & builds his own Guitar Portuguese’s and I can attest the one I saw stunned from the moment he removed it from its case.

At any rate, this experience was a real in-depth glance at this music that has intrigued me for so long. Subsequently, it also led to a full evening of performances and delicious food that I would never have encountered otherwise. But that’s for another post. In the meantime, there are two short vids below which I recorded to give you a flavor.

Then & the Now

Then: “Sag Harbor Cinema 1999” - Hasselblad - Fujichrome

Throughout its very short history, Photography has passed through tremendous changes. Even in my own journey within the medium there have been constant shifts, not only with technique and equipment but also style and approach. Yet as everything changes I can be confronted with a surprising truth: (certain) things stay the same. I cannot say that this lesson is either comforting or alarming. Perhaps both. As always, a picture, or in this case two, can stand in for a thousand words.

The first image is one of my ‘vintage’ favorites. This was accomplished when I made two shifts: 1) I moved back from strictly infra-red black&white to color; and b) to get really serious I switched from 35mm to the medium format of my Hasselblad 500c/m in the late 1990s. A group of these efforts was made throughout the Hamptons as that was where, after a hiatus, I had returned to spend the summers.

The Sag Harbor Cinema was not only an icon of the Hamptons but as an ardent film student & goer in my college days it represented the classic era of American movie houses. It did not have the usual marquee but that big neon sign could not be missed.

Early on I was drawn to the drama of the post-sunset color spectrum. In the Hamptons that usually meant working in late Sprint or late Fall. The long exposures required schlepping a heavy-duty tripod to handle the extra weight of the Hassy. There was a lot of anxiety but when the film finally came back from the lab the results were exhilarating.

In the decades since, much has changed. While I still have my Hasselblad it has been given retired statesman status. Digital now rules the day if only because of the expediency that having become a professional photographer has required. But beyond that, my own tastes actually prefer the speed, agility and flexibility that digital cameras offer. Once Canon offered their 5Dsr camera that provides a 50megapixel+ image I knew I had a piece of equipment that delivered an abundance of favorable options.

There was, however, one more dramatic change: the beloved Sag Harbor Cinema had been almost completely destroyed a few years ago by a devastating fire. Major landmark that it had been, many hearts were broken. It was awhile before I could even bring myself to go by. Ironically, the one remaining feature was the front exterior — but that neon sign had been irreparably damaged. That fire in the theatre, though, sparked a fire in the heart of the great artist, April Gornik, who now lives in Sag Harbor. She organized a fund-raising committee determined to resurrect the fallen symbol of the Sag Harbor Cinema. Almost miraculously, an auspicious revelation was revealed: it was discovered that a duplicate sign that had been long forgotten actually existed in a warehouse somewhere and it was in perfect condition. And so the theatre was brought back to life from the ashes and is now the same but even better with modern technological improvements available. Additionally, everyone realized what a gem of community gathering had been saved and it is appreciated more than ever.

As it happened, this Fall, I was back full-time in Montauk after almost an entire year away. The skies were lighting up later than usual (October-November as opposed to previously mostly being September-October) and a feeling kicked in. April Gornick and her husband, Eric Fischl used their momentum from the restoration and went on to renovate an old church just a block from the Cinema into an full-on, open space art haven called, appropriately, The Church. They host regular events such as Knowledge Fridays with guest speakers and various presentations. I attended one in early December. My camera gear was in the car. As I had hoped from the weather report, during the event a slight shower had dampened the streets. It provided the perfect ambience as I grabbed the gear and headed down to ‘the spot.’ I chose not to review the older image which was stored on my phone. I was curious to see if I would be drawn naturally to the same spot. I was very close. I placed the tripod where I wanted, carefully framed the image to include the street lamp. I waited for passing traffic. Yet . . .

There was one more major change. With the proliferation of digital cameras especially with regard to cellphone cams, any composition and click of the shutter can quickly seem less than the unique event it was when I first became interested in the medium. My personal quest for quite some time now has been to find ways to bring back that sense of “this is what I see” individuality. Then this past month I literally stumbled onto one new solution and I began including myself within the frame.

So, yes, this second image is the then and the now. This is what I Witness.

Now: “This Is What I See: Sag Harbor Cinema" 2023” Canon 5Dsr