The “Old” and the “New” in Portuguese Music Amália Rodrigues, Fado, and Canto de Intervenção in the Carnation Revolution
Francisco Palomanes MARTINHO
Abstract:Since the end of the 1960s, fado and its main interpreter, Amália Rodrigues, have been identified with the political, economic, and cultural backwardness of the Portuguese Estado Novo. On the one hand, the musical genre invited resignation and conformity; on the other, Amália was seen as a supporter and collaborator of the dictatorship of Oliveira Salazar and Marcello Caetano. Replacing fado, a new type of music, known as “intervention song” (canto de intervenção), gained increasing popularity, especially amon… Show more
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