August 2001 El Firulete 1

Volume 8 Issue 3 THE MAGAZINE August 2001

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$5.00 U.S.A. 2 El Firulete August 2001 BETTER THAN A VIDEO IMAGE Sr. Alberto PAZ, My name is Alejandro Laguna from Lisbon, Portugal. Ever since I read your tutorial Tango, Our We want you to sound off, whether it's to complain or to compliment. Or even if it's to elaborate on an article in our Dance, two and a half years ago, my vision of the publication. Here are the rules: (1) You must tell us your full name, but we won't print it if you so request; (2) you must give your Tango dance found a direction and an ideal that I complete address - even though we'll identify you only by the city and state- and your telephone number; and (3) we reserve share with you and from which I have learned a the right to edit letters for length and clarity or to withhold their publication. lot. I learned, from reading and imagining, things that not even in a video one could see. A DREADED BACK STEP IN TIME that the establishment of this policy followed a recent number of announcements by independent Sr. PAZ, I want to translate your articles to Editor, teachers who, for reasons of their own, are not Portuguese, and I want to include them on my Isolated within the landscape of this part of the Tango Controlling Association, and, a website for Tango Portugal. Would it be possible country, some fledging Tango communities are declaration that the Censor may exercise to get an authorization from you? being subjected to the kind of totalitarian discretion in determining whether material is We will of course respect your copyrights, measures that went out of style long ago in the appropriate for this list and whether an individual and we will give you proper credit as the author Western civilization. The excuse is to control is requesting posts too often. A banned sub- and publisher. I sincerely believe that it is the how, when and with whom to exercise the scriber is offered the additional humiliation of best written material about Tango available in the practice of Argentine Tango, and the purpose is being allowed to appeal this decision to the full world, and I want to expose our community to its the suppression of free and easy access to Censorship Committee. contents, since I share your thoughts. information to all members of the community. The stated purpose of the discussion list is I am the sole serious disciple of Carlos and Self-serving individuals, hiding behind the to facilitate communication between members Ines Borquez (along with my partner Solange). altruistic goals of "non-profit and volunteer" about Argentine Tango or organizational issues. I've been doing Tango for five years, and we organizations, proclaim themselves the protectors However announcements of events are not began teaching Tango for the first time in of virtues, manners and behavior, while exercis- appropriate on this list. Portugal. We now have twice a week milongas. ing power and control over the free flow of I also organized two festivals in Lisbon. We information to and from all the members of the The Censor supervises the list, that is open have been visited by Carlos Borquez, Lorena community. to anyone who has not been previously banned from the list. Any subscriber may post without Yacono, Antonio Junior, Mora Godoy, Los cosos I am a Tango dancer from one of these getting approval from the Censor, who retains the de al lao. Twice at our milongas we saw Gavito communities under siege, which shall remain power to ban any subscriber from the list for and Marcela. I have taken twenty two of our nameless along with my real name, because in the attempting to post strongly inappropriate students for a tour of . land of freedom, I fear becoming a casualty of the material, and exercises discretion in determining There is fixed Tango population of about retaliation of the Tango police. whether material is appropriate for this list. 150 in Lisbon, and another 200 who show up Unlike most communities, ours maintains In other words, there is no limit set on the irregularly. I would like to get to know you better, not one, but two electronic mailing lists, one for frequency of messages, as long as no announce- and I'd like to invite you and Valorie to come to announcements and one for discussion. ments are made, or opinions considered inappro- Lisbon as the authors of Tango, Our Dance to The alleged purpose of the announcement priate by the Censor are expressed. introduce you to our dancers. list is to disseminate information of interest to I hope that people who so much enjoy Cordially, tango social dancers in our area, however it is a Tango dancing, will seek all possible alternatives Alejandro Laguna one way proposition since subscription to the list to communicate with each other casting aside is open to anyone who has not been previously Lisbon, Portugal those who try to take away that right. banned from the list, but those non-banned subscribers, do not have posting privileges. Respectfully, We feel honored and at the same time To insure control of the kind information Gladys Moyano humbled by the power of the written word, and that it is allowed to reach us, local instructors are (Requested that city's name be withheld) the way it can touch other people's lives. Thank required to request posting privileges from a you! Censor-in-chief. If approved, they may then post Wow! Although you don't make any We look forward to seeing Tango, Our without prior approval from the Censor. The reference to the nationality of the "leaders" in Dance in Portuguese, and we hope we can go to criteria used to grant the approvals is not defined your community, their behavior appears to be a Lisbon during our 2002 European Tour. anywhere. fascist reenactment of the worst days of repres- Anyone else wishing to post must submit sion in 's history. MADE IT TO THE FRIDGE GALLERY their message to a Censor for approval. The One would hope that their intention is Tangoman y Miss Valorie, Censor may edit or combine messages before nothing but a desire for "authenticity" in Tango, Warmest abrazos. Donna and I were so posting, and limit the total number of messages to although if what you report is true, it seems that touched that you included a story about our the announcement list to two or three per week they are stretching it just a little bit too far. when possible. wedding in the last Firulete. And so much about The weakness in your expose, is that you it, with image of the invitation, and those cute pix More striking, to Americans used to the don't mention anything about the way these of us with you suavecitos! That was very special, principles of freedom of speech under which this people dance. Recent studies show a correlation and we appreciated it so much. It gained country stands for as a world leader of demo- between the inability to grasp the beauty and immediate registry in the front o' 'fridge gallery. cratic principles and individual rights, is the open freedom of Tango dancing, with efforts to Have a wonderful Reno getaway! caveat that the Censor may ban any subscriber organize societies, clubs and networks to from the list for attempting to post strongly legislate the activities of Tango dancers, and Fondly, inappropriate material or for posting too often. impose their narrow objectives by intimidation Steve and Donna There are no guidelines as to what consti- and peer pressure. Albuquerque, NM tutes "strongly inappropriate material," except August 2001 El Firulete 3 Tangazos

The Argentine Tango Magazine Vol 8 Issue 3 August 2001 About Loving Respect

Publisher ntelligence, oral articulation and morality are Planet Tango what set humans apart from animals. That and the Joint Editors Ifact that animals can't dance Tango - I know what you Alberto Paz & Valorie Hart are thinking, but I said "can't" even if it seems that some try. Certain animals can even exert themselves continu- Contributing Writers ously, vigorously and at times obtrusively to gain an end. Alberto Paz Valorie Hart Such as a pussy cat that insists on being stroked when it Alberto Paz Kim Knode wants to, but gives you a spine chilling hiss when it doesn't. Cholula Johnson But no animal can match humans's propensity to devote or surrender themselves to Photos and Image Processing something habitually or obsessively, victims of a compulsive physiological need for a Valorie Hart habit-forming substance. Animals don't drink, smoke or do drugs. Even sex is mostly a Alberto Paz reproductive instinct for them, devoid of the recreational pleasure that humans can Eva del Cid enjoy. Gary Breaux Flash Gordo Tango seems to act upon some people in the same way that habit-forming sub- stances do. As Tango dancers go, I hereby confess: I am a Tango addict. I get a high Graphic Design and Production every time I see or hear the subject matter of my addiction on radio, TV or in print. I Alberto Paz belong to a global community of Tango addicts. Most are passionate, socially friendly, Editorial, Advertising, Inquiries, all inclusive, color blind and non judgmental because we all embrace the essential Comments, Questions and Suggestions tenet of the Tango, which is the ultimate connection between two human beings cel- Planet Tango ebrating the joy of being able to dance. We call each other by our first names. 1000 Bourbon St., #202 New Orleans, LA 70116 On the benevolent side of our madness, we welcome and recognize any and all Tango dancers no matter who they are or where they come from. We share our obses- E-mail to: sion with passion, respect, tolerance and consideration for each individual's right to [email protected] choose where to dance, how to dance, and whom they partner regardless of gender or [email protected] sexual orientation.

Website There is a dark side though, because many, who desperately seek the weekly fix of http://www.planet-tango.com Tango dancing, risk becoming pushovers for undesirably noticeable or showy hosts and organizers who lacking social manners, play uninspired and mediocre music, and pass The information published is intended for judgements with a religious zeal. These tend to be the hosts of choice for some "star entertainment purposes only and it is as teachers" who ameliorate their contempt for the addicts with obscene increases of their accurate as you want it to be. All correspon- private class fees. There might be a correlation between how much of a pushover dence and manuscripts are submitted at owner’s risk. All become property of the someone becomes by the skyrocketing amount of money they pay for a private lesson. publisher. Three figures seem to be the point when someone might be certified as pathetic without All rights reserved throughout the world. hope. Printed in the United States of America. No part But what is great about the habit-forming effects of Tango dancing, is that it is of this publication may be transmitted or actually therapeutic. It softens the heart. It stimulates circulation of the blood. It strokes reproduced in any form or by any means without the express written consent of the publishers. the soul in preparation for eternal bliss. It exercises the heart with unsolicited acts of The opinions and advertising printed in El love and kindness. Yet, there are times when the going gets tough, and those who resort Firulete are the sole responsibility of the to slanderous lies, shabby calumny and deceitful business practices in order to exert authors, and they are not necessarily the undue influence in promoting their own agenda can be very harmful. opinions of the publishers therefore we can not be held liable for their opinions and their Fortunately, what sets us apart from the animal kingdom, is that we don't have to actions. lick the hand that slaps us. We are afforded the moral fortitude, the use of our intelli- gence, and the power to decide how far our individual and communal self-respect and Cover price $5.00 self-esteem must take a back seat to lunatic discourses, fanatical ranting and offensive 12 issues subscription behavior. It's our choice to walk away and seek people and places where our surrender- $30 in the US, $40 in Canada, ing to the blissful obsession of the Tango is framed within the context of a loving $50 international respect for the music, the dance, the dancers and ourselves. 4 El Firulete August 2001 On Our Cover The Legacy

ON DECEMBER 2, 2005 THERE WILL BE MAJOR CELEBRATIONS TO COMMEMORATE THE 100TH BIRTHDAY OF OSVALDO PUGLIESE.

He passed away in July of 1995 after a life of successes and disap- pointments. On one side, he is credited with taking the Tango to the greatest pinnacle of instrumental interpretation; on the other side, his life was marked by persecution, proscription and imprisonment because of his personal political convictions. Having waited too long and too much while he was alive, a group of Friends of Osvaldo Pugliese have started the celebrations three years earlier. Don Osvaldo Pugliese (December 2, 1905 - July 25, 1995) By Alberto Paz daughter who followed the steps of her eople walking on Corrientes A group of people calling them- father, and sits today at the piano, the Avenue near the doors of the selves Friends of Osvaldo Pugliese and way he did, at the helm of a gifted group PTeatro Alvear had to dodge their organized as a permanent homage of musicians. way around long lines of men and commission have taken the initiative to She was again that night, a Pugliese women that extended all the way around pay tribute and respect to the Grand on the piano, Beba that is, leading a the block and extended into Lavalle Master, laying out an ambitious pro- monster line up of bandoneonists and Street. It was a typical Wednesday gram of activities that include concerts, violinists in the La Yumba grand finale, evening in the midst of a typical Buenos and exposition of plastic arts, literature which is the distinctive signature of the Aires winter. and of course music associated with the sound invented by Osvaldo Pugliese to Tango. As it has been the curse of the make music out of the plight of the city country since the colonial days of the Only the seriously fanatical follow- and its people. eighteenth century, during August with ers of the artistic life of Osvaldo For two hours before that, Emilio very few exceptions, what occupied Pugliese, remember that his debut with Balcarce, first violin of the Pugliese people's mind were the high cost of his Orquesta Tipica took place on orchestra (before going away in the living, the drop in the real value of August, 1939 at the Cafe El Nacional. nineteen sixties to create the Sexteto salaries, the ghost of currency devalua- That is why, the date was picked to Tango), led his Orquesta Escuela de tion, the external debt, corruption at the launch the Pugliese Vivo, 2001-2005 Tango, followed by the current members official levels, the rising rate of crime, cycle seemed capricious to the grand of the Sexteto Tango. Another violin and how to survive another recession. majority, but for those who know, it player, Mauricio Marcelli introduced marked the 62nd anniversary of that There were no special announce- his quintet. Daniel Binelli, who joined celebrated debut. ments on sight that would give the Pugliese after the reconstruction of the casual stroller a clue as to why people It is the published objective of the orchestra that had been decimated by the were standing in line, some from the commission to rescue the philosophy of departure of what then became the earlier hours of the afternoon. The next the dearly beloved tanguero along with Sexteto Tango, was also present; so day Mauro Apicella would report in the his preoccupation for exalting the music were vocalists Abel Cordoba and newspaper La Nacion, that the organiz- of the city. Maria Graña. ers of the event had lacked optimism The popular orchestra Color Tango, and confidence to gauge the response of The distinguished disciples that includes Roberto Alvarez the public to an offer of a free Tango Perhaps the most authentic proof of (bandoneon) and Amilcar Tolosa (bass) concert to launch a cycle of activities a teacher's legacy is the excelling talents and faithfully follows the style of called Pugliese Vivo, 2001-2005. of his disciples. Pugliese was a teacher Osvaldo Pugliese, preceded a younger that touched and influenced a star Three times as many people as the quintet led by Fernandez Fierro, and a studded generation of musicians, most capacity of the Alvear Theater can duo led by Daniel Ruggiero, son of the of them still alive. accommodate made it difficult for those first, most memorable and perhaps the who already had a ticket to gain access He was also an exemplary father most influential bandoneonist Pugliese to their seats. and he was rewarded with the gift of a ever had: Osvaldo Ruggiero. August 2001 El Firulete 5 Initially, Pugliese became the most An Exemplary Life advanced exponent of the school first Osvaldo Pugliese was the son of an proposed by incorporat- Italian immigrant family, and he was ing a strong rhythmic beat, that proved inspired to study music by his father, an that Tango music can be very appealing amateur flute Tango player. Initially he to the dancers, without sacrificing studied the violin too, but soon he quality. Soon and long before Horacio switched to the piano, showing an Salgan and started to enormous talent at a very young age. At experiment with counterpoints and age fifteen he joined a Tango group and syncopation, Pugliese had made them thus began an illustrious career that an integral part of his innovative sound. would eventually make him the greatest With the Pugliese sound, he recreated Tango musician of the twentieth century. masterpieces from both early and contemporaneous composers (De Caro, His training ground included the Bardi, Arolas, Maffia, Laurenz, group led by the first female Canaro, Firpo, Scarpino and bandoneonist in tango, Francisca Osvaldo Pugliese in a typical session Piazzolla). His musicians also contrib- "Paquita” Bernardo. In 1925 he joined with members of his orchestra uted great compositions of their own. Enrique Pollet's quartet, and later he Thirty five percent of Pugliese record- played in the famous his unassuming figure. ings were instrumental, and fifty percent orchestra. In 1927 he became the pianist of those belonged to himself and/or in the great bandoneonist Pedro The debut of Osvaldo Pugliese's members of his orchestra. Maffia’s orchestra. Later, he and first stable orchestra took place August violinist led a group 11, 1939 at legendary Cafe Nacional. On Thursday, July 27, 1995, the which many agree, was the most instru- Osvaldo Ruggiero on bandoneon, skies of Buenos Aires were dark and mentally advanced of its time. Enrique Camerano on violin, and swollen, but they did not cry. A multi- Aniceto Rossi on bass contributed to tude of men and women who had been Until 1934, Pugliese made several impress the distinctive sound and style shouting for over four decades Don't attempts to form his own orchestra, and that characterized all the Pugliese ever die, Pugliese!, did. Two days he joined violinist , and orchestras ever since. earlier, Osvaldo Pugliese had peace- young bandoneon Aníbal Troilo for fully entered immortality. The absurd short term engagements that included Fortunately, his legacy has been Argentine way of conveniently forget- radio broadcasts. Then, bandoneonist preserved on four hundred and fifty ting the atrocities committed against the Pedro Laurenz -ex member of De recordings, and by generations of lives of many who, like Osvaldo Caro’s Sexteto Tipico, decided to form musicians that continue to project his Pugliese, refused to sell out his convic- his own orchestra. He called Pugliese to genius and humility into the new tions, gave way to open demonstrations sit at the piano. In 1936 he played for millennium. The recording cycle started of sorrow as yet another myth was being bandoneonist Miguel Calo. on July 15, 1943 (Farol and El Rodeo) and ended on March 26, 1986, with El born. All along his ascending career, encopao, live at the Teatro Colon. Red flowers, a symbol of his Osvaldo Pugliese was acutely aware of absence, colored one last time the the political and economical crisis that collective mourning. Five bandoneons had divided Argentina's population. In paid their everlasting respect to Os- particular, musicians did not have a valdo Pugliese, sobbing the sound of voice in decisions that affected their his sound, forever recognized, remem- jobs and compensation. When he finally bered and applauded as La Yumba. decided to go on his own, he set up his orchestra as a cooperative, modeled References:

perhaps after leftist ideals which he felt LEFCOVICH, NICOLAS. Estudio de la attracted to. Everyone had an equitable discografia de Osvaldo Pugliese. Buenos participation, not only in the distribution Aires: Asociacion Gardeliana Argentina. of income but in the creation of arrange- The original members of the Sexteto APICELLA, MAURO. La Nacion's article, ments and composition of new titles. Tango who left the Pugliese orchestra August 18, 2001. The results he achieved contrasted to try sucess on their own: (left to right) PINSÓN, NÉSTOr. Biografias. Buenos Aires: dramatically with the unjust persecution, Victor Lavallen, Oscar Herrero, Julian Todo Tango, Plaza, Emilio Balcarce, Osvaldo PAZ, ALBERTO: Tales of Tango History. New incarceration and proscription that Ruggiero and Alcides Rossi regime after regime perpetrated against Orleans: Planet Tango 2001 6 El Firulete August 2001 Obsessed with the Obsession Drunk on Tango in Argentina By Kim Knode

ward-winning filmmaker, Carlos Copello of The Tango Adam Boucher declares, “I like Lesson (film) and Forever Tango (stage) Ato make documentaries like fame compares tango to a drug. In Tango: The Obsession as a discovery Boucher’s documentary, the Nureyev Left to right: Alicia Monti, Margarita, process which I can share with the [sic] of tango mimes a drug addict Carmencita Calderon, Adam Boucher, audience.” Apparently audiences take shooting up. “It’s like you start to give Milena Plebs, Maria Nieves, and Geraldine Rojas pleasure in exploring subjects such as yourself tango injections - continuous tango in Argentina together with tango injections,” he says. mom’s brother.” (When she was six and Boucher. After a showing at the Despite the best efforts of his seven years of age, she practiced her Smithsonian Institute in 1999, the teacher, Boucher did not get addicted to steps with a broomstick.) Argentine Embassy was moved to the Argentine dance. His instructor? Another lady in her forties, declare Boucher’s documentary, “a Ten-year old, Geraldine Rejas, (fea- Boucher interviews in Tango: The significant film.” tured in the film) started lessons at age Obsession whispers that daughters from The 1999 Marin County Film four. good homes were not permitted to Festival also acknowledged the signifi- “Why did you choose a child?” I attend the late night tangos. So the cance of the “Tango” and awarded ask. younger girls picked up steps from older Boucher first place. In the same year, at cousins. And then practiced with one “She picked me,” he replies. an Orlando, Florida film festival, another at home. “Geraldine was a good teacher. And despite the sold-out performances, there wasn’t the sexual tension of being Besides the class restrictions to Tango: The Obsession took second in the arms of a woman.” He explains enter the milongas (dance salons), in place. (The opinion poll after each that tango with contemporaries is a little tango’s earlier days in Argentina, only screening may have influenced the intimidating. “I mean what usually takes adults were allowed in. One man with a ranking.) two or three dates (in North America)... huge smile and gaps between his teeth The thirty-something director shifts You’re doing on the dance floor!” sips espresso and elaborates on the his slight five-foot-nine frame in a black details of his youth with delight into Seduction and sexual tension is a easy chair as he starts to tell me about Boucher’s camera. He speaks of part of the tango. However, Boucher Orlando. (Outside, the twilight shad- sneaking in with other little boys to and his movie embrace a larger truth ows fall on the streets of Santa watch Argentina’s experts twist, tangle about the scintillating dance. “It is like a Monica.) Inside my brightly lit office, I and turn with ladies in stiletto heels. meditation,” says the documentary can see Boucher slightly blush. He “We would hide and then do what they filmmaker. “There is no talking. And grins and his green eyes flash as he did.” (His initial tango training also you can almost hear each other’s heart confesses; “I got in an argument with a started at home with older relatives.) beat.” Boucher takes a sip of water and guy in the audience about tango.” continues, “I experienced many of my Thanks to his dancing mother’s Boucher strikes me as a sweet, ‘moments’ (of epiphany) dancing to La connections to Copello, Boucher was mild-mannered man. (He chose Argen- Mariposa - “The Butterfly” by Osvaldo granted entrance and access into the tine tango as a topic for his first film Pugliese.” authentic (no-tourists-type) Argentine because he wanted to learn about the tango clubs. However, all the credit “I get transformed because I get dance that “made my mom’s life happier goes to Boucher for his ability to create absorbed in what I’m doing. I don’t and better.” Boucher also dedicated the intimate conversations on camera while think about this or that. I just think movie to his mother.) So I am momen- delving into the heart of the tango about what I’m doing,” is how tarily surprised by a streak of the dancer. Margarita in Tango answers Boucher’s confrontational in Boucher. But then I questions about the impact of the Latin He tells me he spent hours “hanging remember that everyone has an opinion dance on her life. out” with lovers of tango to gain their about the Argentine dance. (Not one trust. (In and out of the dance halls, time dancer that Boucher interviews in The swarthy, middle-aged was spent munching media lunas (a half Tango: The Obsession is neutral on the Margarita matter-of-factly states in the moon croissant) and downing “watered subject.) film: “I was taught to dance by my August 2001 El Firulete 7 down versions of Italian espresso.”) He says, “In Argentina, it is common to share espresso with a fellow tanguero. Publications received In fact, they drink one after another.” The Tango Times, Issue #33, El Once Tango News Boucher states, “I am not particularly a Summer 2001 coffee man. However, friends are treated Summer 2001 like family. And quality time like Published by Danel and Maria in Published by Paul Lange and New York, the masthead indicates that drinking a coffee together is cherished.” Michiko Okazaki four times a year as it is the official publication of the the seasons change in London. As The filmmaker smiles and says, “So Argentine Dancers Association. This always it contains lots of information under those conditions how could issue features articles by anthropologist about classes and dance venues all someone not love coffee?” Susana Azzi, and an interview in over the world; forty out of one hundred Boucher may also have needed the Buenos Aires with Milena Plebs' newest pages list just about every place on the extra boost from the caffeine. It is young protege, Ezequiel Farfaro. planet where tango is spoken. The evident that the director did hours of editorial touches on the cynical view homework on the history of the dance. Reportango, New York, Issue #9 that many share about recent news about the formation of an association of Countless frames of black and white August 2001 teachers, choreographers and dancers footage and sepia tone prints illustrate Published in New York by Carlos in Buenos Aires. There is a the emergence of tango. In addition, Quiroga, it is a serious attempt to reproduction of an interesting article interviews with historians illuminate the replicate Buenos Aires popular about the late singer Luis Cardei written beginnings of Argentine tango. magazines with a NY Tango accent and by Irene Hartmann for abctango.com. (Boucher’s clips with the so-called an English twist. Cartoons, crossword intellectuals of society - the historians - puzzles and priceless interviews with show dancers who "never had a Tango Review, Vol 1, Issue 4 also take on the tone of a friendly chat teacher" share space in this smartly August 2001 on a street corner.) produced tangozine with an impressive Published by Las Estrellas Tango One of the attention-grabbing list of "Who is Who?" in the NY Club in London. It is an impressive four moments of Tango: The Obsession was teaching circuit. color glossy publication with a light the proclamation that Italian immigrants content. A couple of articles from were instrumental in the development of B. A. Tango, Buenos Aires Tango unknown individuals proceed to trash the dance. Photos of the European men other unknown individuals about their August 1, 2001 actions at some unknown events. arriving in Argentina - a land of Published by Tito Palumbo twice a opportunity - exemplify some of the month in Buenos Aires, and distributed Tango Escocia, Issue No. 3 strains of melancholy, which filtered free of charge at all tango venues, into the tango. major tourist hotels and major news July 2001 Published by the Edinburgh Tango Tango: The Obsession demonstrates stands. Palumbo seems to be the lone Society, Toby Morris Editor. The issue that Italians were not the only ones who voice in the dark denouncing the partiality shown by government officials features the article A Waltz by Another needed a dance to deal with the blues. to the National Academy of Tango, a Name, reprinted with permission of El The early blacks of South America, the private non-profit organization Firulete. In its editorial note, Toby Morris solitary gaucho, the stressed out citizen controlled by Horacio Ferrer, that is ponders about visitors being a measure living in a high-tech society are all claiming rights to millions of dollars of their continuing success, and he featured in the film. Boucher’s probing requested by the government of seems to think so. There is an article camera lens provides insight (with his Argentina from the UNESCO under the about a field trip to Loch Tay-GO for a interviews and photographs) into why pretext that without money the Tango combination of yoga and tango camp tango becomes an obsession. He gives will die and the world will lose an out at a mountain resort called Firbush Point Field Centre. us a glimpse into the lives of tango imponderable asset. dancers who answer the call to touch and hear each other’s heart beat. Special Promotional Offer for a Limited time Adam Boucher is making available Tango the Obsession (The Kim Knode Director's Cut) exclusively for readers of El Firulete. Only $25 in- Cup O’ TV Productions 171 Pier Avenue, Suite 395 cludes First Class mailing. Send check or money order to, Santa Monica, CA 90405 Tel. 310-396-4084 Planet Tango, 1000 Bourbon St., #202 - New Orleans, LA 70116 8 El Firulete August 2001

Fifth Annual Labor Day Weekend Tango Getaway Reno Hilton Resort and Casino RENO HILTON RESORT AND CASINO

August 31 - September 3, 2001 Five minutes from Reno, NV airport by courtesy shuttle Planet Tango is pleased to invite you to attend the Fifth Annual Labor Day Week- end Tango Getaway, once again to be held at the wonderful Reno Hilton Casino Everything under one roof and Resort in Reno, Nevada. This is still the original and best combination of classes, Large Guest Rooms; Five Restaurants; dancing and socializing at its best. Cafe; Fast Food; Elegant Casino; Three Showrooms; Shopping Mall; Bowling All classes held all day Saturday and Sunday, and Monday morning, are suitable for Alley; Cinema; Health Spa; Pool any and all levels of dancers. A concerted effort is made to maintain a balanced num- ber of men and women, couples and singles. Class size is kept to a level that allows All levels welcome everyone to get individual attention from each teaching couple. Singles - Couples Even ratio of men and women On Saturday night, you will be attending the Reno Tango Ball as our guest for dinner Two dinners included and a show produced by the teachers. Tango Boutique On Sunday night, you will be attending the Graduation Milonga as our guest for Clothing; CDs; Shoes; Videos; Art work dinner, and you may even be part of the great performances staged by the student body. It’s great fun! Spacious wood dance floors Reasonable class size Don't forget to bring your video camera to record the class material and the Private classes and mini workshops performances solely for your own personal use. available at extra cost.

Photo by Ed Cherrie GLORIA AND EDUARDO ALBERTO AND VALORIE PABLO AND BEATRIZ August 2001 El Firulete 9

There were no in-flight movies on If I were alive, this is the only place the way home, but we didn't need where I would teach. them; we watched videos of the Saturday night and Sunday night - Antonio Todaro, Chacarita, ARG - performances. It made the weekend last a few more hours. We really didn't need the airplane either, we Thank you for a wonderful weekend were flying so high after such a in Reno. I am looking forward to spectacular weekend. many more. Your choice of guest instructors was wonderful and - Walter & MariLynne Kane, Harriman, NY - provided good balance. - Ron Burke, Albuquerque, NM - I had a wonderful time in Reno. I am already looking forward to being We enjoyed meeting people from all there next year. You are both over the US and dancing at the wonderful teachers. evening milongas with new friends. Thank you again for having me The teachers were very kind to mix there. in and dance with us, as well. - Kana Kubota, NYC, NY - - Nancy and John, Santa Cruz, CA -

The only reason I never attended is All instruction was great and the because they won't let me blindfold best I have been exposed to since PRIX FIXE MENU the orchestra starting doing tango. There are no - Cholo, Mataderos, ARG - words to express my appreciation. Friday, Aug. 31 - Jack James, Albuquerque, NM - Welcome Milonga, 8:30 PM till Sunday, Sep. 2 Participants only Classes, 10 AM - 5 PM Graduation Milonga, 9 PM till Book your own room at a special Saturday, Sep. 1 Dinner, Students exhibition Planet Tango discount rate Classes, 10 AM - 5 PM Live music with Sexteto Tipico Arrabal before August 1, 2001. Reno Tango Ball, 9 PM till Open to the public. RSVP Dinner, Masters exhibition Call the Reno Hilton at, Live music with Sexteto Tipico Arrabal Sunday, Sep. 2 Open to the public. RSVP Classes, 10 AM - 12 PM 1.800.648.5080

Please sign me up for the Fifth Annual Labor Day Weekend Tango Getaway, Aug 31 - Sep 3, 2001

[ ] Regular tuition is $325. It includes all group classes, two dinners/shows and all three milongas. [ ] Special Early registration is $295 if mailed before August 15, 2001.

[ ] Reno Tango Ball only, Saturday night dinner/show and dance, $65 [ ] Graduation Milonga only, Sunday night dinner/show and dance, $65 Please mail payments to [ ] Both Saturday and Sunday dinner/shows and dance, $110 Planet Tango 1000 Bourbon St., #202 Print Name(s) ______New Orleans, LA 70116

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I'm attending [_____] as an individual, [______] with a partner On line: Amount enclosed $ ______for ______person(s) http://www.planet-tango.com/reno2001.htm 10 El Firulete August 2001 The New Orleans Times A Confederacy of Dances The key to know when it is party time in New Orleans and to catch up with the social activities of the Tango community, is to learn that in the Crescent City, the Central Standard Time Zone is subdivided into four times: pre-party, party, post-party and next party time.

By Cholula Johnson A surprise lunch for Miz Valorie on July 20 at Commander's Palace in the t seems that it was only a year ago Garden District that Nick Rippon opened his IBaywater home for a welcome to long rope) by Slidell's Javier Juarez. New Orleans party for Valorie and Nestor and Patricia, Valorie and Alberto. People came from as far as Alberto led a Tango performance which Metairie and the Garden District on a also included a formation exhibition by sweltering Fourth of July. I must members of the NOLA Dance Troupe confess that at the time I did not have a LOS CHE. clue about what I did not know about the social protocols of Argentine Tango Although the July 13 party was the dancing. official birthday celebration for Miz Valorie, Mr. Aaron and Miss Eva, our This year, as July came upon the roving reporting had us running around Crescent City, birthday celebrations, the entire month to the various parties the visit of a renowned couple of that took place at homes and restaurants. milongueros from Buenos Aires, and the funeral of Ernie K-Doe kept the The weekend that immediately Miss Vangy, in a party state of mind Tango social scene pretty busy. The followed the party had everybody main event of the month was the July 13 learning the nuances of traspie, party at the Rock 'N' Bowl Cafe, with a of Los Angeles, Nestor and Patricia sobrepasos and other unique dance combined theme of Independence Days Ray arrived just as the city was ready- protocols, as Nestor and Patricia held (USA and Argentina), birthdays (Miz ing for the funeral of New Orleans's two successful workshops at the Rock Valorie, Aaron the Baron and Eva del self-proclaimed Emperor of the Uni- 'N' Bowl Cafe. Cid) and Bastille Day (France). verse, singer Ernie K-Doe. His body What follows is a pictorial account had been laying in wake at Gravier Visiting from Buenos Aires by way of the July festivities. Hall - an act that raised a lot of eye- brows as the City treated the deceased artist with the high honor of a dignitary. On Friday morning, Nestor and Patricia second lined with Miz Valorie, Mr. Alberto and Miss Sabina as the horse driven hearse carrying K-Doe marched through the city streets to the sounds of brass bands, on its way to its final burial site at St. Louis #2. Later that evening, the entire Tango social scene shifted to the Rock 'N' Bowl Cafe where they partied late into the night. A floor show included an The final birthday party (right!) took place at Aaron's home in East New exhibition of Argentine malambo (a Orleans on July 22. Miz Valorie and solo male Argentine tap dancing to the Aaron ended the month long celebration beat of a big drum and the high swing- Javier Juarez delights the audience on a high note ing of softball size balls at the end of a with his boleadoras August 2001 El Firulete 11

Nestor, Valorie and Sabina in full swing Patricia, Nestor and Valorie waiting for the parade Oh, when the saints..!

resh from their midnight plane ride from Los Angeles, Nestor and Patricia Ray got a Valorie Hart and Sabina Lewis Ftaste of a unique New Orleans tradition: a funeral parade. The sound of brass bands, the have yet to meet a party they colorful umbrellas, the festive attires, symbolize the celebration of the completion of life, wouldn't attend rather than mourning the loss of one. People dance in the second line through the streets, following the marching bands.

Nestor and Patricia during their Left to right: Alberto, Fuad, Kathie, Valorie Nestor, performance to La cumparsita Patricia, Warren and Mary Anne bowing to the audience

great show highlighted the party at the Rock 'N' Bowl Cafe on Friday, July 13, 2001. Nestor and Patricia dancing a milonga to Reliquias AVisiting milongueros Nestor and Patricia Ray, New Orleans master teachers Alberto porteñas. In the background and Valorie, and NOLA Dance Troupe LOS CHE dancers Fuad and Kathie, and Warren the American, French and and Mary Anne, entertained an appreciative audience. Argentine flags. Photos by Gary Breaux and Flash Gordo

Mistress of Ceremonies Sabina with LOS CHE in action to Tanguera. Far left: Linda, on the far right, with a few of Alberto discuss last minute details Fuad and Kathie. Center: Warren and her friends during during the party before the beginning of the show Mary Anne. Far right: Alberto and Valorie 12 El Firulete August 2001 A Touch of Class

Nestor Ray's life experience in the Tango is a priceless wealth of knowledge that At the end, a tired but happy lot of New added insights to the budding Tango Orleans faithful survived the three day community of New Orleans festivities long enough for one last group photo. Standing from left to right: Linda, A common ocurrence at the weekend ally recognized as a master interpreter of Gary, Ed, Warren, Phyllis, Myra, workshops: Patricia communicating the rhythm. He was first noticed by Kathie, Fuad, Michelle, Sean and Nestor's instruction, providing reinforcement and above all allowing Robert Duvall in a dance sequence in Melissa. Sitting down: Sabina, Mary the cult movie Tango mio. It took Anne, Katherine, Sonia and Patricia. people to feel totally involved in the Laying down: Valorie and Nestor. On learning process Duvall several trips to Buenos Aires to finally meet Nestor. Shortly after that the other side of the lens, Alberto dancing ever since. His unique and the actor brought Nestor to this country characteristic style began to take shape to be his personal coach, and to teach at in the dance halls of Buenos Aires in A magical weekend! his Virginia home. the 1950s. He has become internation- The whole experience starting Alberto and Valorie met Nestor in with the birthday party at the Rock 'N' Palo Alto, California during the 1996 Bowl Cafe on Friday, July 13, the Stanford Tango Week. Shortly after wonderful classes Saturday and that, Nestor decided to stay in San Sunday with Nestor and Patricia, and Francisco, where he became a resident the special send-off milonga Monday teacher of his unique style. night at the Streetcar Tango Bar will Initially he faced the unfair labeling live on and on in the memories of the of being "just" a "milonguero" attached dedicated group of tangueros of New to his name, by a notorious Bay Area Orleans. Life doesn't get any better!, promoter. It took many months, and lots said Eva del Cid. of good dancers showing up at the Nestor Ray started dancing tango When everything fails, Nestor shows milongas demonstrating the results of at a very young age and has been the way to surrender to a woman's will

An inbalance of the number of men and women was turned into a fun exercise where men practiced a milonga traspie movement with a plurality of women. Fun was the common denominator that characterized Nestor and Patricia workshops August 2001 El Firulete 13 invited to participate in this year's Tango Fireworks in Los Angeles. While planning their trip to Los Ange- les, Patricia showed an interest in visiting Alberto and Valorie in New Orleans. Little did they know that in our city, any excuse is a good excuse to have a party, so that's how a birthday party for three tangueros turned out into a month long celebration highlighted by The Krewe of ARIES submitted this the visit of Nestor and Patricia. photo of their April surprise birthday Eva and Warren toasting Valorie, who dinner party at Mike Ditkas for one of played a dual role as a birthday girl, and By Cholula Johnson its most vocal members as a wonderful hostess and creative event planner

Nestor's teachings, to finally open the eyes of the community at large. He returned to Buenos Aires in 1999 and subsequently traveled to Europe on several occasions to perform and teach at various festivals. At the 4th Annual Labor Day A special recognition for Fuad, Kathie, Weekend Labor Day Tango Getaway, Mary Anne and Warren, who joined Valorie and Alberto in a wonderful Nestor and Patricia Ray were invited performance of the NOLA Dance Troupe to be part of that year's faculty. Their LOS CHE at the Rock 'N' Bowl Cafe on success partially resulted in being July 13, 2001 Come back soon, Nestor and Patricia 14 El Firulete August 2001 From Pacho to Piazzolla

CHAPTER XV: THE GLORIOUS YEARS OF THE SEXTETO TIPICO COPYRIGHT (C) PLANET TANGO 2001 ALL RIGHTS RESERVED

he decade that followed the Tango music. A newer generation of The orchestra of Vicente Greco, who first coined the term Typical Creole establishment of the Sexteto well trained musicians displaced the Orchestra in 1911 when Casa Tagini TTipico as the standard formation orejeros (those who played by ear wanted to record tangos to promote for all Tango orchestras, was a period of without a hint of musical training) from the incipient phonograph industry greatness for the evolutionary develop- the countless sextets that could be heard ment of the Tango, primarily as music everywhere. It is arguably said that in who ever created great music over a to be listened to as well as danced. A the Sexteto Tipico resided the most distinctive rhythm which is the roux of reading of most chronicles of the time genuine form of expressing the Tango in the Tango. A gumbo without a roux is clearly indicates a condescending bias an instrumental manner. just another soup, and a Tango without a rhythm is just another piece of music. with regards to the dance aspect of the Originally the Tango was a popular Tango. In a pontificating, elitist dis- dance manifestation. It attracted later There is no doubt that dancing course, the general consensus among the society dancers at the cabaret, the continued during the decade that led to many published “historians” associate new institution imported from Paris. the first major crisis of the Tango. The the dance of Tango with a lackluster, Now, an entire new generation of public aristocracy found the cabaret a natural monotonous, uninspired way to play the also enjoyed Tangos sitting in reveren- habitat to enjoy night life. Buenos Aires Tango by groups lacking the artistic tial silence at cafes and movie houses all became a replica of Paris and motivation to explore further than the over the city of Buenos Aires. Musi- Montmartre with cabarets named dancer’s feet. cians enjoyed full employment in an Armenonville, Royal Pigall, Maxim’s, For the "academics" of Tango (who unsurpassed period of prosperity for the Tabarin, Montmartre, etc. Roberto positively never ventured into the world musical genre that identified itself with Firpo, Francisco Canaro, Eduardo of the dance as practitioners), the the pulse of a growing and changing Arolas, Vicente Greco and Juan evolutionary period that started in the population. In a parallel dimension, a Maglio “Pacho” occupied their stage mid nineteen twenties when Julio De whole strata of the middle and lower boxes, soon to be joined by the names Caro took over the six piece orchestra class population followed with fascina- from a new generation of musicians: led by Juan Carlos Cobian, was a tion the successes of singer Carlos , Julio De Caro, period of splendor and renaissance for Gardel, who, save on rare occasions, Pedro Maffia and many more. preferred to sing Tangos with the At cafes in every neighborhood of accompaniment of guitars, shunning the city, the most celebrated sextets away from the orchestras. competed for the reverent silent listen- The multi dimensional depth and ing of a growing number of Tango density of the Tango as an art form is aficionados. Graciano de Leone at sometimes overlooked from a historical Cafe Dominguez, Arturo Berstein at point of view, because up until now, no El Parque, Emilio de Caro at Los serious writing or retrospective accounts Andes, are just the tip of a Titanic of its history has been undertaken from dimension iceberg of musicians who the point of view of the dancer. But it is found a period of an employment today’s dancer who on a nightly basis bonanza as the Tango was sung, danced explores a rich body of music that spans and listened to. various generations of composers and Savvy entrepreneurs took on many Juan Carlos Cobian's interests in musicians. As dancers take to the dance traveling led to his walking out on his of the popular theaters of the city for orchestra, which gave Julio de Caro floor, they re-write in every step new their carnival balls whereupon Fran- the opportunity to take over and chapters of history and give a more cisco Canaro, Julio de Caro, Fran- change the sound of the Tango equitable and fair credit to everyone cisco Lomuto, Osvaldo Fresedo, August 2001 El Firulete 15 Pedro Maffia, Roberto Firpo, incredible period for the music of Edgardo Donato, Arturo De Bassi, Tango. A true renaissance and a fertile etc. led legions of excellent musicians in ground where the seeds of the future of an annual celebration of Tango dancing the music reached deep into the soil to at its best. set the roots that would sustain the Max Glucksman Enterprises, robust branches that would reach out to owners of the Nacional-Odeon record the world twenty years ahead. label, began yearly Tango contests in All along, in the crowded tenements 1924 which encouraged the composition and working class abodes alike, families of many new Tangos to be entered into Left to right: Elvino Vardaro (violin), and neighbors gathered on the commu- these contests. Roberto Firpo was hired Julio de Caro (violin), Ciriaco Ortiz nal patios to celebrate many occasions to play the entries at the first contest, (bandoneon), Carlos Marcucci by dancing Tangos. The music emanated including the winners, Canaro’s (bandoneon), and Francisco De Caro either from a Victrola, or from the (piano) declared Los Virtuosos by a Sentimiento gaucho, Catulo and magazine poll in 1936 instruments of trios and quartets. Gonzalez Castillo’s Organito de la The Victor Company of Camden, tarde, and Filiberto’s Amigazo. In New Jersey was instrumental, among Teatro Opera during intermission. successive years, other orchestras other record companies, in fostering the including Francisco Canaro’s took part The response to this first attempt to spread of the Tango across social lines, in the “Tango Grammies,” augmenting play Tango music with a musical because first, it had invented the phono- the size of the orchestra with already, or intention totally devoid of the demands graph (and called it Victrola) and soon to become, famous virtuoso-like of the rhythm essentially required for second, it wanted to sell records. To that violinists Cayetano Puglisi and Elvino dancing, was overwhelming, and extent it sponsored a stable ensemble of Vardaro; clarinetist Juan Carlos attracted not only the most qualified the best local musicians to produce Bazan and bandoneon players Juan soloists, but opened the doors for Tango records. Bautista Guido and Jose Servidio. Enrique Delfino, Osvaldo Fresedo and When Osvaldo Fresedo jumped Tito Roccatagliata to travel to the Enrique Delfino, the immortal ship and joined Max Glucksman’s United States to record about fifty titles author of Milonguita, introduced the Odeon label, Adolfo Carabelli, the for the Victor label, under the name of concept of Tango recitals featuring artistic director of the Victor label Orquesta Tipica Select. The quintet soloists with artistic talents, capable of decided to form a stable typical orches- was completed by Luis Alberto attracting and maintaining the listening tra exclusively for recording purposes Infantas, an Argentine violinist residing interest of a public, with the proper only. On November of 1925 the in New York, and an American violon- seriousness of an evolutionary musical Orquesta Tipica Victor was born. Its cello player named Herman Mayer. manifestation. Delfino himself on piano, style was essentially traditional (as This happened in 1920, a mere three with one of the most technical violinists opposed to the evolutionary style of De years after the little dog Nipper, above of the time, Agelisao Ferrazzano, Caro et al.), faithful to the original the central hole of the Victor label, opened the cycle in the foyer of the music score, with an accentuated rhythm listened faithfully to the Original aimed to please the dancers, but with an Dixieland Jazz Band's first ever Jazz adequate structure to highlight the recording, rather than to His Master's soloist virtuosity of the many musicians Voice. that formed part of the orchestra during The success of this venture led the three musicians to add a second violin, Agelisao Ferrazzano, shortly after returning to Buenos Aires, calling the four piece combo, Cuarteto de Mae- stros. If success breeds imitation, it also encourages dissent. Soon, Delfino walked out and formed a second Master's Quartet with Julio de Caro and Manlio Francia on violins and Roque Biafore on bandoneon. Mean- The Victor Company foresaw the while, Fresedo, Roccatagliata and Osvaldo Fresedo and one of his impact of Tango early in the nineteen Ferrazzano called on Juan Carlos celebrated orchestras when it recorded hundreds Cobian to sit at the piano! This was an on the Odeon label 16 El Firulete August 2001 the fifteen years of its existence. gathered a young cadre of musicians With the advent of the radio, the that constituted of, possibly one of the first stations in Buenos Aires filled the most admirable instrumental ensembles: airwaves with Tango music as well. Jose Pascual on piano, Anibal Troilo However, it was the only media that did and Jorge Fernandez on bandoneons, not offer a steady source of employment Hugo Baralis on second violin and to Tango musicians. The cafes, cabarets Pedro Caracciolo on contrabass. and night clubs along with the movie The winds of the times were blow- houses were the artistic scenarios for the ing in another direction though, and Tango. Particularly the movie houses what is considered by the experts as one where the public would ignore the silent of the most interesting and talented images flickering on the silver screen, orchestras ever, Vardaro et al was never and cheer the Tangos played by the most recorded because the recording compa- notable Sexteto Tipicos led by Julio de nies did not consider them commercially Caro, Pedro Maffia, Anselmo Aieta, viable. Which brings to light a fact that Publicity mug shot of Elvino Vardaro Francisco Lomuto, Roberto Firpo, the fate and of Tango always rode the (left) and Osvaldo Pugliese circa 1930 Cayetano Puglisi, Juan B. Guido, crest of the commercial interests of the Ciriaco Ortiz, Francisco Pracanico, recording companies. fronts that primarily decimated the sources of employment for the orches- Carlos Marcucci, just to briefly name The immense success of the Tango tras, severely damaged already, because those who may be recognized today in the decade of the nineteen twenties, of their loss of contact with the public because of the recordings available which for many who deplore the way commercially. through recordings, which now were full fledged promoters of the foreign reper- Meanwhile, legendary cafes with toires influenced by the movie industry. names like Nacional, Marzotto, Germi- nal, Los Andes, Chantecler, Maipu From a historical point of view, the Pigall, Folies Bergere, and Charleston, Tango faced its first major collapse offered a permanent rotation of talent, when it fell catastrophically out of the the innovative music of up and coming favor of a new public blind sided by musicians Anselmo Aieta, Carlos Di foreign entertainment propositions. This Sarli, Juan Polito, Antonio Bonavena, happened in the earlier part of the Juan Canaro, Enrique Pollet (with a nineteen thirties. young pianist named Osvaldo Pugliese) The last orchestra to survive the and the aging Juan Maglio “Pacho.” Francisco "Pancho" Lomuto onslaught at the movie houses was the In 1933, Elvino Vardaro, possibly remained on the traditional style of unforgettable Sexteto Tipico Vardaro- Tango interpretation. He was an the most notable instrumentalist of all Pugliese that played at the Metropol innovator in increasing the number of theater on Lavalle Street. There are only times, after having played violin for musicians from the popular sextet almost every existent orchestra for over oral testimonies reported in written ten years, picked up where Julio de D’Arienzo brought about the Golden chronicles of the time that remember Caro’s early innovation had left off, and Years of the Tango (dancing), was the with nostalgic admiration the sound of true pinnacle of evolution and the the last ensemble that closed with its Camelot for the fulfillment of De demise a brilliant itinerary of glory for Caro’s prophecy that Tango was also the Tango. They were Elvino Vardaro music. and Alfredo Gobbi on violins, Ciriaco All came to a halting crash when the Ortiz and Anibal Troilo on first talking movies appeared on the bandoneons, Luis Adesso on contra- screens of Buenos Aires movie houses. bass, and Osvaldo Pugliese on piano, a The music that was coming with the young group of musicians that would be films needed to be sold to a new genera- called years later to have their names tion of consumers. The orchestras lost imprinted with capital letters in the best Elvino Vardaro with members of his an important venue and retreated to the history of the Tango ever told. sextet in 1934. From left to right: Hugo Baralis (violin), Jorge Fernandez cafes. But the influx of pizzerias and TALES OF TANGO HISTORY, FROM bandoneon), Pedro Caraciolo Automats was also getting rid of that PACHO TO PIAZZOLLA (counterbass), Jose Pascual (piano), and traditional Buenos Aires institution. It By Alberto Paz - New Orleans, LA Anibal Toilo (bandoneon) was an unmerciful assault on many Copyright (c) 2001 Planet Tango August 2001 El Firulete 17 TIRED OF WATCHING EGOCENTRIC DJ'S BEHAVE LIKE KINDERGARDEN BRATS? Scared that even with your limited knowledge you can tell (and go home sulking) when the music "sucks"? MUSIC COMPILATIONS FOR EDUCATIONAL PURPOSES AND PERSONAL ENJOYMENT Carefully selected and expertly mixed classics of Argentine Tango, Milonga and Vals music for non stop dancing.

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Each CD is $15, complete set only $100. Includes First Class mailing. Send your check to, Planet Tango 1000 Bourbon St., #202 New Orleans, LA 70116 For details, visit http://www.planet-tango.com/music.htm

3 of 6 18 El Firulete August 2001 dance: we are quite capable of knowing exactly where we are, and which axis each of us have our weight on. What comes next, is a change of axis in any anatomically possible direction which the man MUST execute as technically CHAPTER 24: PICKING THE LOCK (STEP) perfect as possible in order to MARK COPYRIGHT (C) PLANET TANGO 2001 clearly the position where the lady will ALL RIGHTS RESERVED change her axis to. Yes, it takes two to Tango, and it is done one step at a time. No Fault Tango Dancing Tango from anybody, we owe our fundamental knowledge to a variety of This has been the subject of every The one and only undisputed fact teachers, but primarily to, Mingo chapter in this series, and we believe in about the Tango, is that it began as a Pugliese, who taught us how to think so reinforcement for success: balance, clear way to dance existing rhythms, and over we could dance and teach others to do axis changes, and total commitment to a couple of decades, the music morphed the same. partner connection and understanding. into a distinctive rhythm to match the We have established previously that the choreographic challenge of the early Those who drill men and women separately until they memorize a pattern, Salida is a component of a turn to the dancers. Time passes and people left, the degree of the curvature of the change, as the progress of civilization are actually impairing the ability of dancers to learn how to dance Tango, trajectory leading to the position where moves apparently forward. It is now the lady's left leg crosses in front of her about one hundred and thirty years since the way those who know how to dance Tango dance: connecting, communicat- right, will dictate how she will position men and women began dancing what it her feet in order to continue the flow of would later become the Tango. Yet, ing, each contributing one hundred percent. They are also setting the stage the dance without uncomfortable Tango is still danced to Tango music, interruptions. written and arranged for dancing. for wasting time in glorifying mistakes and blame sharing, which in turn brings If the trajectory chosen by the man The best Tango music for dancing is the unpleasant judgmental approach to is pronounced in its curvature to his left, still the music of the nineteen thirties, the choices of partners. the crossing of the lady's left leg in front forties and early fifties. In almost four If you run through the list of recog- of her right leg will require a larger decades of creativity by the most rotation of her grounded right hip to talented musicians of Argentina, there nizable problems we mentioned earlier, it seems that the majority of things that bring her weight change to her right by is enough variety and styling to make letting the leg cross in what appears to every average dance party a non stop hit go wrong have to do with the lady. They do. However it is not as if the object is be a lateral motion (as it is the case of parade of the best of the best. There is a an ocho cortado). reason for that: it takes a great pair of to find fault, to highlight mistakes, and Tango dancers to dance Troilo, to enter into the blame game which More often than not, the trajectory D'Arienzo, Tanturi, Di Sarli, Pugliese, people bring from their outside life. of the salida will tend to be more of a Biagi, Calo, just to scratch the surface There are no mistakes in Tango straight displacement, especially when of the great orchestras of Tango. dancing because in the purest and truest the dancers are not aware that the salida definition of improvisation, there is no is a gentle giro to the left, and perhaps We agreed from the beginning of are working the Eight Count Basic our Tango experience to approach the certainty as to what the next move will be, and therefore there can be no without consideration of the alignment dance from a no-fault-perspective. It of their bodies. saved us from pandering to each other mistakes, because by definition a with falsehoods such as, "If you made a mistake is doing something wrong or Be that as it may, the end of the mistake, it is because it is my fault," contrary to what it is expected. salida results in what is most commonly which results in grandstanding male We propose then, that improvising a known as the cruzada, that is the lady's cavalier attitudes, and a female failure to Tango requires a sophisticated and legs are crossed at the end of three back assume responsibilities for their part of committed body language between the steps. Focusing on the crossing of the the dance. The core structure of the couple, where the responsibility for the feet as a figure, adornment or step, leads dance requires specific skills and an results fall squarely on the man's role to significant problems which affect understanding on how to use them. It is inasmuch as the captain sinks with his dancers of all levels. a process that can be learned. Contrary ship, and the car driver is the one Some of the most recognizable to what has become the latest fad among charged with any moving violation. problems are: the lady is leaning off celebrity-teachers, who shamelessly Only one thing is certain when we balance against the man; her right foot affirm that they didn't learn to dance flies immediately behind her pulling the August 2001 El Firulete 19 man with her; the man rams the lady's with his left leg, creating a mark for the change to her right, suddenly she is legs into a frenzy by rushing in and out lady to open naturally to her right (or as hanging at an angle because her feet are of the cruzada; the lady takes an agoniz- it should looked from the point of view in one direction and her upper body is ing amount of time to go into the of the lady: to the man's left). The axis asked to go into another. Little may she cruzada, sometimes dragging her feet for both dancers has now changed to the realize that the reason she does not fall, heavily against the floor while leaning other leg. is because all her weight is resting on the man for balance; the lady brings In Frame 2, because his axis is on heavily on the man. Trouble ensues, and her left shoe to the cross ahead of time his left side, the man continues moving the connection begins to dislocate. and with a significant amount of power; to his left by crossing his right leg. The In Frame 4, the man brings his right the man rushes his steps so he is literally lane which he chooses to land his foot leg to a close, shifting his axis. Up to on top of her feet making it anatomically on, is totally his decision. It is a naviga- here, the man has been slightly ahead to impossible for her to cross her feet. tional choice whether he chooses to the right of the lady, so the closing Legs cross, feet lock move relatively straight in the direction allows her to complete her natural of the line of dance (he stays as in this sequence, that is, a cross of her left leg Let's look at the lady's natural case, on the same lane), or whether he in front, which brings her right back in sequence while the couple does a salida wants to move up a lane and move to the front of him, as they were when the simple advancing into the line of dance. outer side of the floor. Regardless, the sequence started. Since in this particular Let's assume that the last chapter crossing of the man's right leg into his trajectory her left leg is moving back, made it clear that the dancers don't line left, marks a cross behind of the lady's the crossing of the leg is produced by a up in front of each in the line of dance. left leg, so she also move in the direc- slight turn to the left of her right hip. Rather, the man always places the lady tion of the man's left. The tip of her shoes point to the man. slightly outside of him, closer to the In Frame 3, he uses his left leg to Both feet are together because the legs outer edge of the floor, while he stands open naturally to his left. In the ex- are crossed virtually on the same axis. with his back mostly facing the center of ample, he has decided to stay on the The lady's legs are "locked" in place. the floor. Referring to the video clip same lane, thus keeping a straight This is what technically is called the illustrated below, observe the thin lines trajectory along the line of dance. Had Lock position where her legs are parallel to the far wall, and consider he wanted to veer sharply to his left, he cruzadas left in front of right. Her them to be invisible lanes in the general would have gone down as many lanes as weight must transfer to her left leg to be

Frame 1 Frame 2 Frame 3 Frame 4 direction of the line of dance. The required by the radius of the turn ready to continue. thicker lines indicate the relative (turning at the corner of the dance floor Notice that all along, they have orientation of the dancers' bodies with could be such a case). Conversely, had moved along different lanes. The lady regards to the line of dance. This should he wanted to shift towards the outer on a outer lane, and the man on an inner make it obvious that the correct way to edge of the dance floor, he would move lane. This is what makes possible a move around the floor, is by progressing up the lanes. In any case, the placement flawless and comfortable alignment, and gradually on a gentle turn to the left, and of the man's opening step, marks where it sets the starting point for a change of if the salida is repeated constantly, the the lady's opening should occur. This is direction to the right of the man. couple will go around the floor, without perhaps one of the most convoluted Although very few make an efficient falling into the center, or randomly puzzles for the Eigth Count Basic Lead changing lanes in the line of dance. use of the salida, there is no reason not and Follow practitioners, because to repeat the entire sequence again from In Frame 1, the man has begun following the memorized pattern, many the Frame 4 position. moving to his left by dropping into an times the lady will actually cross her This in itself is quality dancing, and inner lane. Assuming that his axis was right leg behind forcing her weight to it beats the overstated cliche about on his right, he does a natural opening her left. Since he is marking her weight walking being just for beginners. 20 El Firulete August 2001

Alberto Paz and Valorie Hart have earned a national reputation for their superb, thorough, fair and conceptually clear teaching skills. They cut through the rhetoric and gimmicks that keep dancers from fully developing their potential to become the best Tango dancers they can be. They share a time honored method of teaching how to impro- vise on the dance floor at the social level. Their classes are considered a dance make over from head to toe, always focusing on elements of floor navigation, music interpretation, creativity and the signature concept of la marca for improvisation. They have taught all over the country, and their experiences have been documented in their tuto- rial Tango, Our Dance, an ongoing series of articles published in this magazine and available on line at the Planet Tango website. The tutorial has become a valuable source of inspiration and reference for many of today's teachers. Fall and winter dates still available. 1000 Bourbon St., #202 New Orleans, LA 70116 504.592.8256 [email protected] www.planet-tango.com Photo by Ed Cherrie

Planet Tango 1000 Bourbon St., #202 New Orleans, LA 70116

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