4 El Firulete October 2000 On Our Cover A Rag to Riches Tale

Francisco Canaro was a promoter and an ambassador of the Tango, from neighboring and Chile to Spain, France and the United Sates. Perhaps his most important outreach was Japan were Pirincho's fertile compositions set the foundation for the Rising Sun Empire’s infatuation with the . His compositions number over five hundred titles spanning fifty years of dedicated labor to the development of the business of Tango.

here are no historical records His critics from the academic halls about weaklings. To name Fran- of the Argentine Tango establishment Tcisco Canaro is to name some- are quick to point out his lack of artistic body who represents the very essence of temperament. Francisco Garcia the development and growth of the Jimenez wrote, because of that, he Tango both as a musician and a direc- (Canaro) couldn’t introduce a single note tor. Few examples of perseverance, of significance in the interpretation of the dedication and passion for his trade are music of . He adhered to a The signs of fatigue after almost sixty as evident as in the case of Canaro. His familiar rhythm impressing on it an years of uninterrupted professional legacy includes an example of construc- accentuated sonority. In other words, no activity are evident on Francisco tive tenacity applied not only to the devoted purist would find ecstasy Canaro's tired face in one of the last circles in which he reigned, but also to listening to any recording of his orches- photographs taken of him before his the rest of the community at large. He tra, but for the rest of the world death. was a typical example of a self-made Canaro’s name and sounds will be man who rose from a life of misery and forever associated with an irresistible pute because of its association with poverty with an uncompromising desire to hit the dance floor because back room illegal gambling, bordello determination. His struggle was prima- dancers were who Canaro played for. waiting rooms, seedy bars and the rily motivated by a materialistic pur- Canaro wanted to be a musician, irrational fear of the characters populat- pose, lacking in brilliance and everlast- and intuitively he was one from an ing the dangerous empty lots of the ing creativity. Somehow for him the end embryonic stage. He lacked resources, outskirts. justified the means, but the hefty means, principles and mentors to guide This was the state of things when benefits resulting from his hard work him through the scholastic paths of the Francisco Canaro was born on Novem- also trickled down to the bohemian art of music. What he had instead, all ber 26, 1888 in San Jose de Mayo, a Tango movement of which he became around him, was the continuous spin small city of the Republica Oriental del the undisputed captain: the fearless that emerged from the popular har- Uruguay. As a matter of trivia, it is said navigator that sailed through the monic sounds and cadenced dances that a neighbor quickly noticed the troubled waters of unfair labor practices that stuck to his ear, matched his baby’s rebellious fuzz of hair and to bring the rights of authors and cordial heartbeat, communicated exclaimed, he looks like a ‘pirincho’ (a composers to a safe port. through the lips and incited his sensi- South American bird of the magpie tive fingers to want to join their legion of family), and the nickname stuck to him interpreters. The rhythms danced at the for the rest of his life. dawn of the twentieth century in Argen- tina were foreign by adoption, but What also followed was almost fifty progressively being naturalized. Waltzes, years of uninterrupted labor for the polkas, mazurkas were quickly changing music and the Tango which set Canaro their original threads to enter the apart as one of the key men of the vernacular prairie. The European waltz history of the music of Buenos Aires. settled in Buenos Aires and became Creole. Soon the mazurkas would Dodging poverty in a crowded evolve into rancheras, and polkas into tenement room chamames, moving deep inside the countryside. The Canaro family, numbering ten between immigrant parents, sisters and In Buenos Aires another dance music was cornered and limited to an brothers, crossed the River Plate and moved to Buenos Aires towards the end obscure underworld. It had been born of the nineteenth century. They out of the conjunction of various immi- struggled to make the essential ends grant rhythms. It possessed the evident genius and silhouette of the city demo- meet, living in the extreme poverty of a A rare mug shot of Francisco Canaro tenement’s crowded room. Barely ten graphics. The Tango, music and dance, circa 1907 when he first began to make years old, Pirincho took to the streets was explicitly banned from salons and inroads into the recording industry as a shoe shiner and a paper boy. family living rooms and held in disre- October 2000 El Firulete 5 Entering adolescence, he first graduated to a thick brush wall painting job, and eventually to an apprentice job at an olive oil can factory. There, the dawn of his musical vocation awakened, and with the help of a friend he built a violin with wood and an empty oil can and begun to play the makeshift instrument “by ear.” With the rudimentary instru- ment he joined other youngsters forming minor groups with whom they enter- tained neighborhood parties and family reunions. As his musical ambitions continued to grow, at age eighteen he purchased his first violin, an old and beat up instrument with a sound that matched its inexpensive price and the limited technique of its player. However, this made his incipient dream about owning a real violin come true. Cradle of thugs and tough men The year was 1906 when he made his professional debut in a remote Director Francisco Canaro and his orchestra in 1957 during a performance of village far away from Buenos Aires with Tangolandia, one of his musical comedies. a trio consisting of his violin, a guitar and a mandolin. This is when he first made the decision to choose the popular faut) and Angel Villoldo (El choclo, El the center of the city as the duo made music of the Tango to entertain those on porteñito). their way to hold court in Calle Corri- the dance floor. We all know now how Stepping up to the plate entes where the Tango would become popular and prestigious the Tango synonymous of the legendary street’s would become because of his influence From the cafes of to name. Canaro and Greco played to the in rescuing it from scorn and contempt, Hansen’s in the garden district of delight of the best dancers at the and earning it the credential of citizen of Palermo, well-to-do men mixed it up milongas of Salon La the world. But first, young Canaro had with the thugs from the arrabals in located on Rodriguez Peña, steps away to witness the worst spectacle of human their pursuit of female favors. Seeking from Calle Corrientes. behavior at sleazy cantinas and seedy the acceptance of one of those gangs, It was during this period that the houses of prostitution lined up along the Canaro wrote his first composition, La record label Casa Tagini produced their dirt roads that dug deep into the guts of barra fuerte (The tough gang), a first records, a milestone of sorts in the desolate province of Buenos Aires. mercifully forgotten piece that deflated Tango history. Seeking a catchy slogan, A rigorous childhood and the daily his pretensions of being a composer. Vicente Greco coined the phrase contact with thugs, tough guys and That did not deter him from continuing Orquesta Tipica Criolla to identify the dangerous criminals toughened to step up to the challenge of his fellow group. This denomination, Typical Canaro’s character. His music in the tanguistas. With a limited education Creole Orchestra, with the Creole later beginning didn’t pretend to please and unrefined manners, he resorted to dropped, became the defining phrase to anybody’s ear, but to keep moving the using a resolute practical approach to identify any group that interpreted swift legs of the rowdy element that test the ground where he would step on, Argentine Tango with authenticity. made up his audience. always moving forward. The images of His adventurous spirit constantly his initial poverty and misery drove him Eventually Canaro moved on and took him to the most remote villages in to seek the accumulation of money as out from the shadow of Greco to join an the province of Buenos Aires. He spent his main priority. In that, he foresaw intuitive pianist named Martinez in a lengthy periods with the trio playing at clearly the fortunes afforded by the trio that began playing at Teatro dances and social events. In 1908 he Tango as it captured the imagination, Olimpo. They soon converted it into a finally left the boondocks and returned heart and adoration of the mass popula- dance academy of Tango con corte led to set roots in the capital district of tion. This was also going to be his ticket by another legend, Benito Bianquet, Buenos Aires, joining trios and en- for admission to the higher strata of better known as El Cachafaz. It was sembles that competed for popular society where he become the Tango there when Martinez wrote a Tango of acclaim with the likes of Vicente Greco caterer de jour. fresh inspiration and named it Canaro (Rodriguez Peña, El flete), Agustin as a show of appreciation to his friend Pirincho’s guiding law was to work; Bardi (Gallo ciego, Que noche), and colleague. The name Canaro flying to work hard and to earn money no Roberto Firpo (Alma de bohemio, El on the wings of a catchy melody became matter how much or how little. He’d apronte) and others. He performed at a household word. Meanwhile Pirincho the legendary cafes of the Italian rather be the head of a mouse than the continued bringing water to his wind- quarters south of downtown by the tail of a lion. This led him to join his mill. mouth of the river, today known as La screeching violin to the good bandoneon Boca. He established friendships with sound and the inspiration of Vicente Los bailes del internado Eduardo Arolas, the tiger of the Greco. What followed was a successful bandoneon (Derecho viejo, Comme il enterprise that attracted multitudes to On September 21, 1914, marking 6 El Firulete October 2000 the beginning of the Spring season, the students of the Medical School called him to headline the first Baile del Internado. These were lavish balls organized by the interns of the city’s hospitals. At the fist ball held at the famous Palais de Glace, Francisco Canaro premiered his El alacran ( The scorpion) and Matasano (Killer of the healthy, a humorous way to make fun of the medical doctors). Sharing the stage, Roberto Firpo premiered El apronte (The heat or preliminary horse race). The following year Canaro presented one of his everlasting compositions, El internado (The intern) dedicated to preserve the memory of those outrageous Tango parties. In 1916 the Bailes del Internado moved to a more ample venue, El Pabellon de las Rosas (The Rose Pavilion) located at the site where today stands the Argentine Automobil Club The Canaro et sa Symphony on April 1925 donning gaucho attire to satisfy the building on Avenida del Libertador in stereotypical vision of French promoters towards Argentine artists. the posh Barrio Norte. The pavilion was demolished after the carnaval festivities of 1929. prestigious label Max Glucksman. Royal Pigall, and at the Armenonville Towards the end of the 1920’s decade, in summer time. Here is when his These were orgies of excess to the Canaros’ primary goal of amassing a entrepreneurial vocation began to take beat of the Tango. Year after year the fortune focused on the emulation of his over his musical career. With an un- practical jokes got out of hand and a few friend Roberto Firpo. It took him five canny vision for business he managed days after the 1924 edition of the Bailes years to get a break, but finally he three orchestras simultaneously. One in del Internado, a hospital administrator moved into Firpo’s territory at the which he played, a second one led by shot and killed an intern because of a Royal Pigall during the Summer his brother Juan (bandoneon) and a practical joke he had been the victim of. season when Firpo played the third one led by his brother Humberto The interns of all Buenos Aires hospi- Armenonville, located in a garden (piano). Soon the number of the Canaro tals went on strike and the yearly setting that offered more pleasant orchestras were four with yet another parties were forever suspended. Osvaldo summer nights for the crowds. brother, Rafael (counter bass) at the Fresedo was the last headliner and for helm. that would-be-historical occasion he By the winter of 1918 the Canaro composed and premiered El once (The orchestra became the headliner at Canaro in eleventh, following the custom of naming Tangos written for each edition With presentations in cabarets, of Bailes del Internado) with the night clubs and other venues, Fran- subtitle A divertirse (Let’s have fun). cisco Canaro managed to cut a deal to take his orchestra on a tour of Paris A blueprint for success and New York in 1925. In his memoirs Canaro boasted about the experience as Towards the end of 1915 the Tango one of greatest and most significant named Canaro had achieved such a triumphs in which not only his orches- popular success that a promoter from tra achieved international recognition, the city of Rosario located a few hun- but the Tango also reached a world wide dred miles north of Buenos Aires hired diffusion. Canaro to headline the 1916 Bailes de Carnaval in the second largest city of The truth is that the Tango had Argentina. There he shared the stage already become a huge success in with Roberto Firpo and Eduardo Europe after an impasse forced by Arolas with such a success that he went World War I. The music of Tango ruled back for the Carnaval celebrations in Paris played live by the resident orches- 1917 and 1918. The friendship devel- tras of Manuel Pizarro, Tano Genaro oped between Canaro and Firpo and and Juan D’Ambroggio “Bachicha.” At their professional association had the the beginning of the 1920’s thanks to undertone of a cordial and sincere envy the talented pianistic fingers and on the part of Canaro for the inspired dancing feet of Angel Villoldo ( El composer of Alma de bohemio, the hit choclo) and Enrique Saborido (La morocha), the voices of the Gobbi’s, a of the most prestigious cabarets. Pirincho with Homero Manzi, who husband and wife duo, and the legend- Canaro’s envy also was aimed at Firpo’s succeeded him as president of SADAIC. successful recording career with the ary legs of Casimiro Ain, El vasco, the October 2000 El Firulete 7 Tango explosion in Europe reached new heights Tango Traveler Canaro’s performances contributed to enhance the hegemony of the Tango Tango in the Land of in all of Europe even when he received some criticism at home for dressing up his musicians with gaucho outfits for added effect while using Canaro et sa Gelato and Canelones Symphony and Attraction Canaro to present his shows disguised as variety acts. STORY BY TIM MEINER He claims in his memoirs that the attire and the packaging of his show n a recent trip to my wife, but, hey, this is a Tango article, so I’ll was supposed to be a way to get around Cecilia, and I had the opportu- stick to the subject. I can’t resist the labor union regulations that blocked the Onity to check out some Tango following tip, however. Don’t ever pass performances of foreign musicians. So, haunts or “Milongas” in the “Boot”. A up the opportunity to visit Il rather than presenting an orchestra, he pre-trip search on the Internet re- Accademia in Florence. It contains was bringing in a show. However, vealed a thriving Tango scene. Since Michelangelo’s original David, sure to according to brother Rafael Canaro, the main objective of the trip was impress even to most hardened mu- who stayed behind in Paris at the helm business, our opportunities for seum junkie. of one of Canaro orchestras, the Pari- Milongas were limited, but richly Coincidentally our visit to Venice sian promoters wanted to impress with rewarded. coincided (redundancy can be a literary a genuine touch of localism to all of A delayed flight due to weather in tool) with the local Tango club “La their productions, and the stereotype for the Dallas-Fort Worth airport – the Milonga del Domingo’s” annual everything Argentine at the time was flight from hell – put us in Rome late Festival del Tango. The directions to gauchos and pampas. To that effect, Sunday instead of Saturday as the festival from the Internet were to there were extreme cases where musi- planned, a cruel slice into our Tango the island of Lido and the Centro cians were forced to wear their gaucho time. After some phone calls to my Soggiornno F. Morosini that abso- outfits on the streets from the hotel to Internet list we found a Milonga on lutely no one in Venice knew anything the night club and back, in order to add Monday night at La Maggiolina. After about. Undaunted, we took the 10 to the attraction and interest of a an endless taxi ride, we arrived at a minute Vaporetta ride over to Lido. cosmopolitan public. graffiti bedecked building located at Via Even if we hadn’t found the Centro This honestly does not matter any Bencivenga 1-00141. Morosini, the trip itself was worth it. longer. He was a hit in Paris. Meanwhile We were greeted by Daniel, and The Venetian lights reflecting off the in Buenos Aires, musicians Alejandro required to join the Associazone Socio water on this late May evening made a Scarpino and Juan Caldarella could Cultural la Maggiolina to enter. To very romantic excursion. The line “B” not come up with a title for a great the best of my recollection it set us bus was waiting for us on Lido and 10 Tango they had written together. One back about 15,000 lira or $7.00 each, stops later we arrived at the Centro morning they saw the headlines in the but we’re members for a year. So, hey, Morosini. Signore Sabino Cerulli, one local newspaper heralding the arrival of if anyone wants to borrow my member- of the organizers listed on the web Francisco Canaro to the City of page, soon had us through the door Lights. That’s how the phrase Canaro ship card just let me know. My Span- ish was good enough to get me an and on the floor. My wallet was 70,000 en Paris was attached to one of the lira (about $30.00) lighter, but it was most brilliant compositions of the time. Italian expresso and we danced to some good old timey Tango tunes in Rome. worth every cent. Lots of good dancers Tango Inc. goes public The dance floor had two sets of col- that respected el Circulo, a live trio umns in its center, and we could complete with an Argentine bandoneon The Canaro story from rags to almost imagine dancing in the Roman player and a giant rectangular wood riches could have happened in Forum. dance floor. We did this place until America. He was the prototype of about 1:30 in the morning, afraid of Once inside la Maggiolina our missing the last train to Venetiaville, rugged individualism, a self-made pope comfort level increased substantially. of the Tango industry who was driven to we dragged our tourist tapped out Pretty much intermediate level on the bodies back to our hotel in Venice. success by the haunting images of floor with some beginners and one or poverty and misery he had logged onto two accomplished Milongueros. From I only wish we had more time his childhood memory. the dress of la Maggiolina member- during this trip to hunt up more Once he returned to Buenos Aires, ship and the appearance of the neigh- milongas. From the net there appears Canaro dedicated a great deal of time to borhood it appeared to be blue collar, to be a thriving Tango scene in Flo- recording hit after hit. By the time his but what do I know? This was my first rence, Torino, Milan and other cities. half a century of artistic life was over he day in Rome and we were American After all the Italian immigrants to had pressed about seven thousand tourists from the hotel zone. Argentina are largely responsible for the Argentine Tango as we know it. records. On them, the voices and Due to social commitments at my instruments of the best singers and business meeting, our next opportunity musicians of greater renown have been to visit a milonga didn’t arrive until Tim Meiner is also known as MilongueroKC preserved forever as a testimony of one Friday. I finished my last engagement and he lives in Kansas City, Missouri where he of the best moments for the Argentine on Wednesday night, and Thursday we publishes a local newsletter named El Traspie. Tango. Musicians of the caliber of left by train for Venice. The trip Cayetano Puglisi, Minotto Di Cicco, Contact Tim at: included an intermediate stop in [email protected] Continued on page 8 Florence that deserves a page or two; 8 El Firulete October 2000

(Left) The cover of Matasano lampoons the medical practitioners to whom Canaro dedicated his first contribution to the Bailes del Internado. (Center) A symbol of the times, the speed of the electric streetcar or "tranvia" was controlled by a rotary wheel with nine points of contact. The expression 'nine points' became popular as a way to describe moving at maximum speed. It is possible that Canaro was seeing his own meteoric climb up the Tango world when he wrote this genial Tango, Nueve puntos. Carlos Di Sarli, in the 1950's made it even more famous. (Right) The cover of Canaro, the Tango, showing on the side columns, a partial list of other hits composed by Francisco Canaro.

CANARO - Continued from page 7 on June 17, 1932 he premiered the first en el alma which premiered on Janu- and Ciriaco Ortiz. one of many musical comedies with the ary 10, 1951. Famous singers Ernesto Fama, Charlo, participation of top actors and actresses Agustin Irusta, Ada Falcon and Nelly He also played on the radio like of national renown: La muchachada many other orchestras of the time, but Omar among others, at one time or del centro (The gang from downtown). another were part of Pirincho’s orches- this aspect of his career was brief since In 1949 he ended the cycle after twelve his plate was already full with his many tras. productions which touched on themes Canaro’s extraordinary vision different excursions in the movies, of the porteño life, with Con la musica theater and of course the recording allowed him to profit both financially en el alma (With the music in the soul). and as an entrepreneur. sessions. During this period he associated He had taken the big leap from an He died on December 14, 1964 but with playwriter Ivo Pelay. It is impor- like all those figures who contributed to obscure tenement room where he lived tant to notice that a long list of Tangos, with an oil can makeshift violin to a trio the enhancement of the popular culture valses, milongas, polkas and mazurkas of Buenos Aires, his name is missing performing in the boondocks of the vast composed by Canaro with lyrics by Ivo province of Buenos Aires. He kept from the government sponsored Na- Pelay were first introduced as part of all tional Week of Tango celebrations growing with the city, formed his own twelve of those musical comedies. This orchestra, recorded, traveled to the Old which only mention Gardel and De also opened the door to a new genera- Caro, both born on December 11. Continent. But he still needed to do tion of singers that grew up out of the more. Without neglecting his prolific However his creativity and his work opportunities created by the various were everlasting through many of his recordings, he foresaw the oncoming Canaro enterprises. changes brought by the movies and took disciples as he continues to be an advantage of people’s new favorite He couldn’t resist the temptation of example of a vision for the future. pastime, the musical reviews. emulating the enormous success of Carlos Gardel in the movies. However And if that weren’t enough he was contrary to Gardel’s lack of concern for CANARO BY CANARO an active fighter for the rights of the the incipient national film industry, Send $15 to, composers and interpreters lobbying for Canaro was tempted by the local the passing of the Copyright Law. His production of movies even when his Planet Tango, efforts were crowned when, on May 4, instinct was warning him that this 1000 Bourbon St., #202 1940 he founded SADAIC, the Argen- aspect of his business was going to be a New Orleans, LA 70116 tine Society of Composers and loss leader. What’s fundamental is the Authors of which he was its president historic importance of his work. His first for a special noncommercial com- for several terms. outing as a movie producer was Idolos pilation CD of the works of Canaro had the vision of reinvent- de la radio (Radio idols) an artistic Francisco Canaro interpreted by ing the musical comedy. From his long marathon which included the voices of theatrical engagements he foresaw the Ada Falcon and Ignacio Corsini among his various orchestras. possibility of producing a singing many others. Paradoxically, his last It includes the Tango Canaro in a comedy for a general audience consist- movie production coincided with his last ing mostly of middle class families. So, theatrical production, Con la musica classical version by Rodolfo Biagi.