In some lockdown, it was his video that got everyone ecstatic.

They are sitting around a table in a villa.

Antón Álvarez Alfaro, called C. Tangana, called Pucho, dressed in what used to be called a Hawaiian shirt.

In the second row his mother and aunt and the others.

Next to him is a man with sunglasses, it is the flamenco singer Antonio Carmona, and a woman with red lips: La Húngara.

The sun is low, the light falls in, on the table a white coffee pot and a bottle of schnapps, like at a gangster's supper.

Elena Witzeck

Editor in the Feuilleton.

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So Pucho starts clapping the rhythm a bit later than the others, he's the host, he raises his finger, his hand.

And the Maestro Antonio Carmona sings that it's not the money that makes life joyful, but of course it's the people, and he smiles so sweetly as if there were no evil in this world, although the song "Soll let them kill me."

A song that plays with the syllables, with the childlike sound "me ma".

And Kiko Veneno, another flamenco maestro, plays the guitar.

It's Pucho's party, he celebrates being together, enjoyment, the simple life, his culture.

He celebrates his new role.

C. Tangana is one of the most successful musicians in Spain.

While everything in Germany is turning to hip-hop, he is moving away from it without giving it up entirely.

Barely three years after beginning his solo career, he has assimilated the Spanish musical tradition and shaped it in his own way.

He incorporated the steady beats of modern hip-hop into his Spanish sound.

For listeners to whom flamenco guitars sound like more than folklore, his album "El Madrileño" and the expansion "La Sobremesa" released in February is a work of art combining Spanish and Latin American styles, tango and rock and the irony of his generation and a touch by Autotune.

This spring he was nominated for a Grammy.

Right now he's flying to a different festival every few days.

In view of such a stylistic variety, C. Tangana from Madrid would not even be associated with the old Latino cliché if it were not precisely this world in which he himself sees his target group.

His songs have the rhythms of bachatas, rumbas and bossa novas, he works with Mexican and Cuban artists and says in interviews that it is important to decolonize Spanish music culture, to open our eyes to Latin America, if only because there is a huge music market waiting there.

A so-called Latino star needs a sensual gaze and swinging hips.

C. Tangana looks rather haughty from overcast eyes with shadows underneath and his complexion looks unhealthy.

Its advantage is its notorious reputation.

He once dated Rosalía, Spain's biggest pop star, co-wrote her song "Malamente", one of the best contemporary flamenco experiments, the setting of disreputableness, so to speak.

He rarely speaks of Rosalía anymore, and then in the calm tone of a musician who really has better things to do than thinking about his successful ex-girlfriends.