f:["$","main",null,{"className":"min-h-screen bg-black text-white","children":[["$","script",null,{"type":"application/ld+json","dangerouslySetInnerHTML":{"__html":"{\"@context\":\"https://schema.org\",\"@type\":\"Article\",\"headline\":\"C. Tangana's NPR Tiny Desk: Family, Flamenco, and Madrid\",\"description\":\"How one performance in 2021 said more about identity and sobremesa than any album liner note could.\",\"datePublished\":\"2026-05-03T14:19:43.407Z\",\"author\":{\"@type\":\"Person\",\"name\":\"noname\"},\"publisher\":{\"@type\":\"Organization\",\"name\":\"VidLink\",\"url\":\"https://vidlink.it\"},\"mainEntityOfPage\":{\"@type\":\"WebPage\",\"@id\":\"https://vidlink.it/read/c-tangana-s-npr-tiny-desk-family-flamenco-madrid-2e230f\"},\"video\":{\"@type\":\"VideoObject\",\"name\":\"TINY DESK\",\"contentUrl\":\"https://www.youtube.com/watch?v=SW6L_lTrIFg\",\"duration\":\"PT931S\",\"uploadDate\":\"2026-01-12T15:48:58.442Z\",\"embedUrl\":\"https://vidlink.it/videos/tiny-desk-2e230f\"}}"}}],["$","article",null,{"className":"mx-auto max-w-[760px] px-5 pt-32 pb-24","children":[["$","header",null,{"className":"mb-10","children":[["$","h1",null,{"className":"text-3xl md:text-5xl font-bold leading-tight tracking-tight mb-4","children":"C. Tangana's NPR Tiny Desk: Family, Flamenco, and Madrid"}],["$","p",null,{"className":"text-lg md:text-xl text-white/70 leading-relaxed","children":"How one performance in 2021 said more about identity and sobremesa than any album liner note could."}],["$","div",null,{"className":"mt-6 flex items-center gap-3 text-sm text-white/50","children":[["$","img",null,{"src":"https://vidlinkvideos.s3.eu-west-1.amazonaws.com/avatar/1755508708206-avatar.png","alt":"noname","className":"w-8 h-8 rounded-full object-cover"}],["$","span",null,{"children":"noname"}],["$","span",null,{"children":"·"}],["$","time",null,{"dateTime":"2026-05-03T14:19:43.407Z","children":"May 3, 2026"}]]}]]}],["$","div",null,{"className":"mb-12 rounded-xl overflow-hidden bg-black aspect-video","children":["$","video",null,{"src":"https://www.youtube.com/watch?v=SW6L_lTrIFg","controls":true,"playsInline":true,"preload":"metadata","className":"w-full h-full"}]}],["$","div",null,{"className":"prose prose-invert prose-lg max-w-none article-body","children":[["$","section","0",{"className":"mb-10","children":[["$","h2",null,{"className":"text-2xl md:text-3xl font-bold mt-10 mb-4","children":"Who Is C. Tangana, Really"}],["$","div",null,{"className":"text-white/85 leading-[1.75] [&_p]:mb-4 [&_a]:text-blue-400 [&_a]:underline [&_a]:underline-offset-4 hover:[&_a]:text-blue-300 [&_em]:italic [&_em]:text-white [&_strong]:font-semibold [&_strong]:text-white","dangerouslySetInnerHTML":{"__html":"

His name is not C. Tangana. That's the first thing to understand.

Born Antón Álvarez Alfaro in Madrid, he built a persona — first as a trap rapper, then as something harder to categorize. By 2021 he had released El Madrileño, an album that pulled from flamenco, bolero, cumbia, and copla. Genres his grandparents knew. Genres his generation had mostly written off.

The story of how he got there includes anxiety, reinvention, and a deliberate turn back toward Spain — toward something rooted — after years of chasing a more global, more exportable sound.

That context matters for the Tiny Desk. It's not just a concert. It's a statement about where he came from and who he decided to be.

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