Tuesday, May 15, 2018

Tango Floorcraft Graphics Handouts Flyers PDF JPEG

This has been floating around in various edits/iterations for some time now. Original Concept/Design Credit goes to Dirk Apitz. Edits by AlexTangoFuego May 2018. Honoring the Line of Dance (long version, 2 pages) editing credit goes to Sugar G.

The impeccable floorcraft/Uncle Sam QR code link is here. Daniel Boardman - Albuquerque Tango Festival.

Figure out how to reach me and I'll send you the original high-res files so you can print, share, save, etc.

Discussion/comments/suggest edits/disagreement encouraged in the comments section.

Tango Floorcraft graphic pdf jpeg handout flyer
Tango Navigation
Tango Codigos
Tango Etiquette

#TangoFloorcraft graphic pdf jpeg handout flyer
#Tango Navigation
#Tango Codigos

Monday, May 14, 2018

The Queer Tango Project

Christiane Palha & Maria Filali - Photographer Unknown

Adding a new link in the sidebar...


The Queer Tango Project
The Queer Tango Project supports the Queer Tango community around the world in developing critical ideas, stimulating debate and resources about how and why Queer Tango is danced.

The Queer Tango Image Archive
The Queer Tango Image Archive is a digital collection of historical, pre-1995, images relating to the themes and issues touched on by Queer Tango.
The Queer Tango Image Archive is supported by The Queer Tango Project.


Sunday, May 13, 2018

Short Film "9 Tango" by Pablo Repun

Idea: Pablo Repun
Screenplay: Adrián Batista - Pablo Repun
Director: Fernanda Caride
Production: Pablo Repun
I have the pleasure of inviting you to the premiere of my first audiovisual production, a short film produced in collaboration with Handbag Films And Art.
It’s a love story that takes place in Naples, FL. With the mystique and the unmistakable flavor of Argentine tango.
It was a work done with a lot of effort designed for the public of this city, which is why we believe it should be seen.
We hope you can join us in its premiere, where we will wait for you with a glass of wine!
Etudes de Ballet 3285 Pine Ridge Rd Naples, FL 34109

Some things I have learned from leading socially - From MsHedgeHog

Some things I have learned from leading socially Dec 23, 2017
A few things I have learned about dancing, by regularly dancing both roles socially for two or three years. My experiences may or may not be in common with anyone else.

There is a tremendous range between OK, good, and great followers, of which they are almost all totally unaware.

Leading poor followers is very difficult; it requires a range of skills, resilience, and physical training.

Leading OK followers is fun, especially if they are interested or enthusiastic and easy to be with.

Leading good followers is more fun, especially if, etc.

Leading great followers is amazing, and you don't feel like you have to do anything, and whatever you do do is totally effortless.

There are a lot more than those categories.

Don't bother raiding the cool guys' “harems”, they're disappointing, dance-wise.

In a good ronda, under good physical conditions, with good followers, leading is cognitively much less demanding than following. The difference is dramatic. Getting the basics to a good standard is quite a lot of work, but if you can do that and then stay within what you've mastered, good and great followers will dance with you, and it is effortless.

It is possible to flirt with the table of glamorous Dutch lesbians through the medium of another woman's body.

There exist men who are both hot and good followers. Hang on a minute –

Wednesday, May 2, 2018

Tango in advertising

Well, tango-esque at least...

Tango Codigos/Etiquette

How do you select a photograph that is illustrative of codigos/etiquette? You don't. So there's this. Sugar G's toes in some fake grass. Blurry.

I'm not going to reinvent the wheel here. Mark Word over at Tango Therapist has done a wonderful and comprehensive job of compiling pretty much everything you ever need/want to know about the subject of tango codigos and etiquette. Or codigos aka etiquette. Or codigos/etiquette. Or just fucking "Codigos". Not "fucking" codigos, that's a different subject.


There's also a ton of other website and information out there. Google.

Avail thyself.

Tuesday, May 1, 2018

Abrazos Imborrables Tango Documentary

Abrazos Imborrables trailer (official) - English version from Soluble Films on Vimeo.

The tango film 'Abrazos Imborrables' will be premiering this Sunday May 6 at 12pm at the Cine Las Americas International Film Festival in Austin (at the Mexican American Cultural Center at 600 Red River St) with director Pablo Hadis in attendance...FREE and OPEN to the public!

Abrazos Imborrables - directed by Pablo Hadis
(Unforgettable Hugs)

A research into the causes of the resurgence of tango in Argentina and its adoption around the world. Contemporary tango legends, including those responsible for the comeback of tango, share their insights and first hand accounts on why tango has returned with such strength to the world stage, in this documentary produced with the collaboration of the Buenos Aires tango scene.

After decades of staying hidden from public view, tango makes a surprise return, spreading to the four corners of the world. Why are so many countries being filled with milongas? Why is youth returning to tango? Why is, in essence, a cultural expression from the late 1800s returning with such strength in the year 2000? What basic needs is it fulfilling, and what does this say about our current global society?

More info about the film:

Website: https://cinelasamericas.org/panorama-feature-films-claiff21/2018/abrazos-imborrables-unforgettable-hugs

Official Facebook Page:

Thursday, April 26, 2018

Queer Tango Goes to Russia (Documentary Film)

Well, not yet a film. Aleksandr Vinogradov is working on a film about Queer Tango in Russia, shining a light on the oppressive anti-gay climate there. He had an IndieGoGo crowdfunding campaign last fall, but it appears to be closed, well short of the goal. I can't imagine what it must be like to dance tango in a country/climate where it might get you beat up, jailed, or maybe even killed. Brave people.

Tuesday, April 10, 2018

Tango Freestyle

No comment, just recording a new tango variant for posterity...

From the video (on Tango Tube's FB page): TANGO FREESTYLE is a new concept of stage art in the world of dance, which has as its main essence the language of Tango Dance. Driven by Mauro Caiazza and his teammates Carolina Giannini and Mario Rizzo. A game of continuous choreography is developed through the different rooms of this unique space in the city of Buenos Aires, "La Catedral"

Friday, April 6, 2018

A favorite photo by Lalo de Almeida Photogapher

This is one of my favorite "tango" photos. I thought I had originally seen it on National Geographic, but after remembering it was taken in Salon Canning, I googled "tango salon canning" and found it licketysplit.

It was in the New York Times. The photographer is Lalo de Almeida.

David Lampson, from Boston, and Maria Faccioti, of Argentina, tango at Salón Canning.

Here's the original text of the "Bohemians in Exile" (in Buenos Aires) feature in the New York Times Travel Section:


The tango dancers took their places inside a cramped apartment in downtown Buenos Aires, as David Lampson, a 29-year-old television writer from Boston, wiped his brow. Despite the 100-degree weather, the fans had been shut off, spotlights switched on and windows blacked out with trash bags. The cameraman waited until the smoke machine blurred the parquet floor before yelling "Action!" Then just as the iTunes track reached its dramatic crescendo, the fuse blew. For the fourth time.

"Let's unplug the other fan and try again," Mr. Lampson told the polyglot cast and crew, which included a Greek mother, a Colombian architect and an Argentine shoemaker. Also present was a New York City film student, who was editing the footage for YouTube distribution. Mr. Lampson likened the process to creating art from garbage. "There is a tango dance based on this idea," he added, "called cambalache."

A better term might be bohemians-in-exile. A new kind of tango is taking shape along the crooked back streets of Buenos Aires. At a former furniture factory on Calle Honduras, the British music engineer Tom Rixton, who has worked with top acts like Depeche Mode, runs a stylish boutique hotel called Home with his Argentine wife. Nearby on Calle Garruchaga, Amanda Knauer, a fashion designer from Manhattan, sells a chic line of leather handbags at Qara. And at Zizek, a weekly dance party run by an expat from San Antonio, the cha-ch-ch-cha rhythms of cumbia folk music quivers to an electronic beat.

"There are expats everywhere tapping into the city's thriving cultural and arts scene," said Grant C. Dull, Zizek's founder, who also runs the popular bilingual Web guide WhatsUpBuenosAires.com. "And it's not backpacker types, but people with money and contacts."

Drawn by the city's cheap prices and Paris-like elegance, legions of foreign artists are colonizing Buenos Aires and transforming this sprawling metropolis into a throbbing hothouse of cool. Musicians, designers, artists, writers and filmmakers are sinking their teeth into the city's transcontinental mix of Latin élan and European polish, and are helping shake the Argentine capital out of its cultural malaise after a humbling economic crisis earlier this decade.

Video directors are scouting tango ballrooms for English-speaking actors. Wine-soaked gallery openings and behemoth gay discos are keeping the city's insomniacs up till sunrise. And artists from the United States, England, Italy and beyond are snapping up town houses in scruffy neighborhoods and giving the areas Anglo-ized names like Palermo SoHo and Palermo Hollywood.

Comparisons with other bohemian capitals are almost unavoidable. "It's like Prague in the 1990s," said Mr. Lampson, who is perhaps best known for winning a Bravo TV reality show, "Situation: Comedy," in 2005, about sitcom writers. Despite his minor celebrity, he decided to forgo the Los Angeles rat race and moved to Buenos Aires, where he is writing an NBC pilot, along with his Web novela, www.historyandtheuniverse.com. "Buenos Aires is a more interesting place to live than Los Angeles, and it's much, much cheaper. You can't believe a city this nice is so cheap."

That wasn't always the case. For much of the 20th century, Buenos Aires ranked among the world's most expensive capitals, on par with Paris and New York. Broad boulevards were lined with splendid specimens of French belle époque architecture that evoked the Champs-Élysées, and tree-lined streets were buzzing with late-night cafes and oak-and-brass bars. Locals, it is often said, identify more as European than South American.

Then came the financial crisis of late 2001. The Argentine peso, which was once pegged to the United States dollar, plunged to a low of nearly 4 to 1 in the face of mounting debt and runaway inflation. (It holds steadily today at about 3 to 1.) Overnight, Buenos Aires went from being among the priciest cities to one of the world's great bargain spots.

There was a silver lining. Even as local artists flocked overseas, producing a kind of creative brain drain from Buenos Aires, foreigners arrived in record numbers. And what they discovered was that this fast-paced city of three million offered more than just tango and cheap steaks. The Argentine capital also had balmy weather, hedonistic night life and a cosmopolitan air that thrives on novelty.

Situated at the wide mouth of the Río de la Plata, Buenos Aires sprawls across the flat landscape with the force of a concrete hurricane. It takes more than an hour to traverse opposite ends by yellow-and-black taxi. And that's not mentioning the 48 barrios that creep inland, each with a distinct personality and crisscrossed by a web of cobblestone alleys and 12-lane mega-streets. There are business districts like Microcentro, leafy barrios like Recoleta and manufacturing sectors like La Paterna.

And nearly everywhere you turn these days, the new arrivals seem to be planting their flags, whether at a so-called chorizo house in historic San Telmo or a glassy condo in Puerto Madero. Or, for that matter, a former door factory on Calle Aguirre, which Sebastiano Mauri, 35, a painter and video artist from Milan, recently bought with several artists on the industrial outskirts of Palermo.

"Some are now calling this area Palermo Brooklyn," said Mr. Mauri during a recent visit of his renovated factory, a bright yellow building on an otherwise gray street. Cost for the entire four-story factory? $130,000. "Buenos Aires makes Milan look like a neighborhood. It's lively, multiethnic and you have Europeans from all over."

After gutting the third floor, Mr. Mauri spent the past year converting it into an artist-in-residence studio with hardwood floors, stainless-steel kitchen cabinets and midcentury-modern furniture. To celebrate the near-completion, he held a rooftop barbecue on a breezy Saturday in January that drew a cross section of Buenos Aires's art elite.

Drinking malbec out of plastic cups and eating steaks with dollops of ratatouille, the crowd of about 20 artists, curators and collectors chatted easily about the hyper-commercialized state of art, a towering sex hotel (known as a telo) nearby and the city's obsession with ice cream. "Artists come here because they can be free," said Florencia Braga Menéndez, whose namesake contemporary art gallery is arguably the city's most influential. "As a gallerist, I never tell my artists what sells. They must create for themselves."

That creative freedom has fueled plenty of cultural cross-pollination. Dick Verdult, an avant-garde musician and artist from the Netherlands, began toying with cumbia around 2000, manipulating the childish rhythms of the South American folk music with electronic bass lines, time delays and sampled voices. "Cumbia is like a ball of clay," said Mr. Verdult, 53, who is better known by his stage name, Dick El Demasiado. "If you stick to the simple laws" - a 4/4 rhythm that he likens to a galloping horse - "but disregard the tradition, you can do a lot with it. Argentina has a very elastic culture."

His first cumbia album, "No Nos Dejamos Afeitar," released in 2002, was so well received that Mr. Verdult decided to move to Buenos Aires. "The reaction blew me away," said Mr. Verdult, who is regarded as the unofficial godfather of this new electrotango sound known as experimental cumbia.

Not surprisingly, many of his disciples are fellow expatriates. "There's a group of maybe 10 producers and D.J.'s who are really pushing these new styles," said Gavin Burnett, 26, a D.J. from San Francisco who blends cumbia with hip-hop and Jamaican dancehall under the pseudonym Oro11. "If you're an artist looking to be inspired and have $10,000 saved up, you can basically come down here and work, and not worry for a year."

It's not only artist types who are soaking up Buenos Aires's budget bohemia. Stumble into many of the city's trendy restaurants, bars and hotels, and there's a good chance a foreigner is behind it.

One of the newest is Le Bar, a martini lounge and restaurant in Microcentro with sunken seats, cool lighting and a rooftop terrace. It was started by several French expatriates including Manuel Schmidt, 40, an architect from Paris who sailed to Argentina with his wife and young daughter three years ago, and basically didn't sail back. Brasserie Petanque, a new restaurant in San Telmo, looks as though it was transplanted tile by tile from the Left Bank. "When I came in 2003, there were no French restaurants, so I stayed and opened this," said Pascal Meyer, an owner who was tending bar on a recent Sunday night. Before becoming a restaurateur in Buenos Aires, he was a culinary tour guide for the United Nations in New York City.

AND then there are the novelists, journalists and screenwriters, quietly tapping away in their $600-a-month apartments, seeking to make a name for themselves on Argentine soil. Nate Martin, a 24-year-old from Wyoming, moved to the city in November and took a job as an editor at The Buenos Aires Herald, an English-language newspaper, because, he says, "I didn't want to be a waiter while writing." For his creative outlet, Mr. Martin maintains a blog, Grating Space. Like dozens of similar blogs written by foreigners, it rhapsodizes about the Argentine good life. He also D.J.'s on the side.

"We play stuff that they've never heard of," said his friend, Tom Masterson, a 35-year-old transplant from Chicago, during a night out at Bahrein, a stylish sweatbox in Microcentro where the headlining D.J. hailed from Belgium. "They love me here."

Some literary efforts are starting to bear fruit. The writer Marina Palmer quit her advertising job in New York City, moved to Buenos Aires and, in 2005, published a "Sex in the City"-like memoir set in the city's vampish tango scene. "Kiss and Tango" has been optioned by Hollywood, with Sandra Bullock recently floated as a possible lead. (The film that has everyone buzzing these days is Francis Ford Coppola's "Tetro," a drama about Italian immigrants in Argentina that is being filmed in the city.)

But moviemaking is hardly restricted to foreigners. Argentina has a storied film history - notable examples include the 1968 political documentary "The Hour of the Furnaces" and the post-junta feature, "Official Story," which won the Academy Award for best foreign-language film in 1986 - and, in recent years, a so-called New Argentine Cinema has emerged, thanks to a new crop of directors like Daniel Burman and Lucrecia Martel who are winning prizes in Berlin, Toronto and other film festivals. They have set up shop along the fringes of fashionable Palermo, in an area now known as Palermo Hollywood.

As with other creative fields, the cinematic revival got some unexpected help from the financial crisis. Not only did the industry benefit from the influx of foreigners looking for cheap production costs, but the peso meltdown also provided grist for creative self-examination. "People were no longer talking about pretty dresses or soap operas," said Tomi Streiff, a filmmaker who moved to Buenos Aires from New York City with his partner and fellow screenwriter, Jane Hallisey. The couple is now working on a romantic comedy about a priest. "Everybody was hurt, so their skin was open."

The wellspring of creativity is starting to leech out of Buenos Aires and onto the larger cultural stage. Local fashion designers, who flourished when European imports tripled in price, are making inroads into the global marketplace. Tramando, a high-end fashion store in Recoleta started by Martin Churba, now has boutiques in Tokyo and the meatpacking district in New York. And Maria Cher, a London-trained designer who has an airy boutique in Palermo SoHo, exports her glamorous dresses throughout South America, as well as to Tokyo.

Experimental cumbia music is reverberating beyond the city's packed dance floors. Mr. Burnett, the D.J., just started his own cumbia record label, Bersa Discos, and is playing shows in his native San Francisco. Zizek, the weekly dance party, is taking its urban tropical beats throughout the United States, with stops this month in Los Angeles, New York, Chicago and at the South by Southwest music festival in Austin.

Buenos Aires's buzzing art scene, meanwhile, is being touted as the next big thing. Or that's the hope, anyway, of the city's eager artists and wide-eyed gallerists. "This city reminds me a lot of Berlin," said Elisa Freudenreich, 27, a gallery manger who recently moved from Berlin and sees parallels in the profusion of street artists and graffiti-splattered spaces. "The scene is very fresh, very underground."

Scruffy galleries have gone up along the city's edges, most notably Appetite, an irreverent, punk-inflected gallery in San Telmo started by Daniela Luna, a feisty 30-year-old known for her shrewd eye and cool parties. On a steamy Thursday afternoon, as office workers were climbing aboard buses back home, Ms. Luna was flitting through her grungy gallery in a brown miniskirt and sparkly pink T-shirt, like a teenager in a vintage clothing store.

"My first gallery was so messy that when people came to my parties, they didn't know if the stuff was art or trash," Ms. Luna said, as she showed off works by Santiago Iturralde, a local artist who paints portraits of narcissistic young men based on their Facebook-like Web profiles. "We're growing fast and furious." So fast, in fact, that she is exporting her cheeky blend of trash art to the real Brooklyn, where she just opened a small gallery.

Her gallery will get additional exposure in Milan when the contemporary art fair, MiArt 2008, spotlights emerging Buenos Aires artists in April. Adriana Forconi, a jet-settling consultant to the art fair, was in town recently to scout for worthy galleries, and was struck by what she calls the city's "frenetic and blissfully chaotic" pace.

"There's definitely something happening here," said Ms. Forconi, who was among the guests at the artist-filled rooftop barbecue. Dressed in a flouncy party dress and strappy sandals, she looked ready for another long night on the town. "There's a clash between European and Latin American cultures that's fascinating."

"And unlike Milan, there are no rules," Ms. Forconi added, as she looked out at the twinkling city and took a sip of wine. For a moment, she sounded like someone toying with a move to Buenos Aires. "You can do whatever you want here."

Thursday, March 29, 2018

#astf2018 :: through my lens

Farting around with Adobe Spark...click on it right in the middle of the image and then use the scroll bar in the resulting new window to scroll down...real slow like...a little goofy...like I said...farting around...


Or, here's the entire album on my flickr account...click on the image to click through to the album/set...then look for the "toggle slideshow" icon upper right...


Thursday, March 22, 2018

Tuesday, March 20, 2018

Pretty damn damning, 68 million views

Somewhere between firming up and melting :: Tango Quote

Luciano Mares y Gabriela Fernandez

On the subject of the embrace, or tension in the embrace...here is the entire post...

"Tone without tension, melty but not flaccid, presence VS "resistance", awareness but not micromanagement, assertiveness without force, grounded while also buoyant..."

Catherine Young (on Terpsichoral Tango Addict's FB post)

Friday, March 9, 2018

Verdemar Versions :: Tango DJ Lamentations

Okay, so lamentations is really the wrong word, because I'm not lamenting about anything...but observations...thoughts and ponderings and thinkage...whatever...bubbling primordial soup type stuff...

(it just dawned on me that Verdemar is pretty much lamentations, so maybe I should have titled this post "Verdemar Lamentations"...I'm digressing and blabbering...sorry...

Anyway, I just thought I would share a little of the inner workings/goings-on of DJ'ing...curating a music collection and playlists for milongas...this was something I got side-tracked on this morning...I can't even remember now what triggered me to delve into this...oh well...I'm glad I did...

As a once-in-a-while DJ here in Austin, I spend a little time here and there in my spare time while I'm resting tweaking my music library, which is now sitting at about 300 albums, 3,000 songs. A big part of being a Tango DJ is doing the investigatory work into the various recordings of a single song - to determine which recording is the best audio quality, which is the best orchestra and arranging, the best singer, the best year/version, and last but not least and probably most important - the most danceable.

Most tango songs were recorded by several orchestras, sometimes several versions over the years with the same orchestra but different singers, sometimes with the same singer.

Take Verdemar as an example. Carlos DiSarli composed it in 1943, with lyrics by José María Contursi. There were ten or eleven recordings done, with six by Di Sarli. It's one of my all-time favorite tango songs.

I don't care for the 1943 version sung by Roberto Rufino, whose voice is a little nasal-y sounding. The version I've loved and played the most over the years is the 1955 Oscar Serpa version - 3 minutes, 3 seconds. However, I just discovered a 1954 Serpa version that's a tad slower at 3:12, and seems more sad and forlorn. Which it should be. Based on the subject matter.

Here's the newly discovered 1954 Di Sarli/Serpa version - the audio quality is kinda glitchy - but it's available on TangoTunes. Very clean, and stretched out to 3:16.

Here's the 1955 version (that used to be my favorite) - Di Sarli/Serpa:

Here's the 1943 Di Sarli/Rufino version:

Here's a 1943 version recorded by Miguel Caló with Raúl Iriarte - the arranging here is a little to upbeat and happy for the lyrics - to me anyway:
Note that there's also a 1966 Caló /Rufino version...fwiw...

Reading the lyrics/translation, I also just became aware that they've dropped the last verse in every version.

Here is Alberto Paz' (may he rest in peace) translation from PlanetTango:

Verdemar... Verdemar...
Se llenaron de silencio tus pupilas.
Te perdí, Verdemar.
Tus manos amarillas, tus labios sin color
y el frío de la noche sobre tu corazón.
Faltas tú, ya no estás,
se apagaron tus pupilas, Verdemar.

Te encontré sin pensarlo y alegré mis días,
olvidando la angustia de las horas mías.
Pero luego la vida se ensañó contigo
y en tus labios mis besos se morían de frío.
Y ahora... ¿qué rumbo tomaré?
Caminos sin aurora me pierden otra vez.

Volverás, Verdemar...
Es el alma que presiente tu retorno.
Llegarás, llegarás...
Por un camino blanco tu espíritu vendrá
Buscando mi cansancio y aquí me encontrarás.
Faltas tú... Ya no estás...
Se apagaron tus pupilas, Verdemar.
Verdemar... Verdemar...
Your eyes filled with silence...
I lost you, Verdemar.
Your yellow hands... your lips without color
And the cold of the night in your heart.
You are missing... you are no longer here...
Your eyes have extinguished, Verdemar.

I met you without thinking it, and I cheered my days
forgetting the anguish of my hours.
But soon life was merciless with you
and in your lips my kisses died of cold.
And now... what course will I take?
Roads without dawn get me lost again.

You will return, Verdemar...
It’s the soul that has a premonition about your return.
You will arrive, you will arrive...
Through a white road your spirit will come
Looking for my fatigue and here you will find me.
You are missing... you are no longer here...
Your eyes have extinguished, Verdemar.

Here is Derrick del Pilar's translation, from Poesía de gotán: The Poetry of the Tango:

lyrics by José María Contursi
music by Carlos Di Sarli

your eyes filled with silence.
I lost you, Seagreen.
Your yellowed hands, your colorless lips
and the cold of the night upon your heart.
You are missing, you aren’t here anymore,
your pupils have gone out, Seagreen.

I found you without a thought and I brightened my days,
forgetting the anguish of my hours.
But then life became enraged with you,
and upon your lips my kisses died of cold.
And now…what road shall I take?
Dawnless paths lose me once again.

So that's it. That's all I have to say about that. For now.

Have a good weekend y'all...

Thursday, March 8, 2018

Ignacio Varchausky :: Estilos Fundamentales de Tango Seminarios

I ran across this on YouTube and created a playlist - somewhere in the neighborhood of 20 or 22 hours of lectures by Ignacio Varchausky on the "fundamental styles of tango". All in Spanish, but no worries for those of us whose Spanish sucks. Click the little gear icon at the lower right of the video screen and turn on the auto-generated Spanish subtitles, let them populate, then click on "auto-translate" and pick your language. It will hesitate for a moment while it's queuing up. Thank God for Google.

Also note that Ignacio is the founder of TangoVia - a non-profit and website which aims at preserving, spreading and developing tango culture throughout the world. Be sure to check out their Tango CD collections, although the Spanish version website is better for this. Looks like you could find them on Amazon, but there are no direct purchase links.

There are also a dozen or so playlists on the Parkinson TeVe YouTube Channel, or click on "Videos" to see everything listed individually. Lots of stuff to watch and listen and ponder and learn here, including various live orchestra performances.

Here are the titles of the videos in the playlist I've created (above):

La Milonga
El o Los Choclos
De Caro
Elementos Basicos

The Politics of Touch, by Erin Manning

Manning, Erin -Politics of Touch by juanfecas on Scribd

Wednesday, March 7, 2018

Tango Shoe Painting :: Los Angeles, CA, USA

This is a great idea! I didn't want to publish her name and phone number out there on the web, so contact me and I will put you in touch with her.

La Vida Es Corta :: Tango Short by Bassel Hamieh, with Naomi Harris

TANGO: La Vida Es Corta - Life is Short!
Bassel Hamieh is celebrating life with Naomi Harris in Los Angeles, California...on Saturday ·
NEW TANGO SHORT FILM!!! "La Vida Es Corta" - Life is Short! Got to work on this small project with the beautiful Naomi Harris. It was hard to convince her at first, but I knew she would be the perfect fit for it as she not only is a beautiful person on the inside and out, but is an extremely beautiful dancer. When she finally said yes, we spent 3 hours in the cold to film this. It was so fun! Hope you enjoy it.

The song is obviously "La Vida Es Corta", composed by Ricardo Tanturi, lyrics by Francisco Gorrindo, sung by Alberto Castillo, recorded on February 19, 1941.

Sunday, March 4, 2018

Breaking down tango steps & sequences :: The Mini-Milonguero Dip :: A practical YouTube/Video Tip

Let's face it. Human males are visual troglodytes. "We like to watch, Eve."

And with tango, due to the complexities and nuances of the quality and character of motion through time and space and to the music - weight shifts, where your weight is on your foot aka where your center of gravity is in relation to your foot, where you want her weight to be, where you want your foot/feet to be, where you want her foot/feet to be, etc. Sometimes if you lead her to shift her weight just a little too far, the opportunity to do what you were planning to do is lost. In a few-to-several-hundred femtoseconds of little brain farts bubbling up in the primordial soup.

I know many of us leaders, perhaps most of us, use YouTube to glean/harvest/study new vocabulary and "stuff" for our tango roll-o-dex of moves. Or maybe movements is a better word. Ah. I see it's actually "Rolodex".

Using the video settings to slow down the speed to .50 or .25 is helpful, but scrubbing the video back and forth is hellatiously frustrating, especially on a mobile device.

After years of being hellatiously frustrated by the inability to have really slow simple control to break things down step by step, I had a eureka moment a couple of weeks ago.

Now, after being hellatiously frustrated reading all my drivel, here is the actual tip.

Slow the video down to .25 speed on your computer or iPad, then video that with your phone. Then using your phone, it's much easier to scrub back and forth step by step to figure shit out.

With the Austin Spring Tango Festival coming up, and being slightly week in my small space Rolodex of movements, we've been taking classes with Vania on the subject, and practicing a few times a week. We've been working on incorporating a cross-footed ocho cortado to the cross (aren't they all?) with a front cross step back to the close side on her part simultaneously with a mini-milonguero dip on my part. Mini-dip. Not mini-milonguero, although I'm sure they exist.

Sadly, the milonguero dip has been missing from my tango Rolodex for all these years.

My thick skull couldn't absorb it until I broke it down step by step and body position by body position. I'm slow that way. And I guess I've been slow on the uptake of figuring out that I could video the slowed-down video. Oh well.


That is all.

Oh. Here's the video. From timestamp 0:40, then he repeats it at 0:48. Michelle and Joachim. I like their "stuff".

Saturday, March 3, 2018

Open Call for Tango Tattoos

Possibly the most famous, famously artistic tango tattoo in the world lives and dances right here in Austin...the impaled heart on fire...photo by yours truly, whilst DJ'ing at Tazza...

I figger'd I'd do a post on tango tattoos, but not many images show up in "tango tattoo" searches due to the co-opting of the word "Tango" by a certain Texas fraternal order/civic organization. And I'm guessing there are lots of tango tattoos out there that wouldn't necessarily show up in an image search anyway. I've collected a dozen or so for a future post, but that's about it.

So I'm issuing an open call for people to submit images of their tango related tango-centric tango tattoos. Along with the back story of the tattoo. Or your thinking about deciding selecting the image and also the name/city of the tattoo artist, por favor. Obviously if you know someone who has one if you can share this post or otherwise let them know.

Send images to "the name of this blog without the dots" at gmail. Alternatively perhaps leave a link in the comments. Or DM me on FB.

Gracias in advance.

Friday, March 2, 2018

Duendes del dos por cuatro :: Illustrations by Héctor Palacios

Click on each image to be brought to the La Gaceta website and the journalistic notes (in Spanish) by Roberto Espinosa for each image/individual...in a new window...click on the La Gaceta website link to go the the website and scroll through the images yourself...

“Duendes del dos por cuatro”, se denomina la exposición que reúne notas periodísticas de Roberto Espinosa e ilustraciones de Héctor Palacios, que se inauguró en el Centro Cultural Virla de la Universidad Nacional de Tucumán, el 11 de diciembre de 2015, en adhesión al Día Nacional del Tango. La muestra reúne crónicas periodísticas publicadas en el diario La Gaceta de Tucumán, entre 1988 y 2015, que evocan a intérpretes y creadores del tango, como Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano Mores, Enrique Cadícamo, José Luis Padula, Napoleón Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, el Polaco Goyeneche, entre otros.

"Spirits of two by four", is called the exhibition that brings together journalistic notes by Roberto Espinosa and illustrations by Héctor Palacios, which opened at the Centro Cultural Virla of the National University of Tucumán, on December 11, 2015, in adherence to the day National Tango. The exhibition includes journalistic chronicles published in the newspaper La Gaceta de Tucumán, between 1988 and 2015, which evoke interpreters and creators of Tango, such as Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano mores, Enrique Cadícamo, José Luis Padula, Napoleon Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, the Polish Goyeneche, among others.

Anibal Troilo

Astor Piazzolla

Astor Piazzolla

Carlos Gardel

Edmundo Rivero

Eduardo Podazza

Enrique Cadicamo

Horacio Ferrer

Jose Luis Padula

Julo Sosa

Leopoldo Federico

Mariano Mores

Miguel Ruiz

Napoleon Escobar

Osvaldo Pugliese

Roberto Goyeneche

Rodolfo Mederos

Ruben Juarez

Enrique Santos Discepolo


“Duendes del dos por cuatro”, se denomina la exposición que reúne notas periodísticas de Roberto Espinosa e ilustraciones de Héctor Palacios, que se inauguró en el Centro Cultural Virla de la Universidad Nacional de Tucumán, el 11 de diciembre de 2015, en adhesión al Día Nacional del Tango. La muestra reúne crónicas periodísticas publicadas en el diario La Gaceta de Tucumán, entre 1988 y 2015, que evocan a intérpretes y creadores del tango, como Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano Mores, Enrique Cadícamo, José Luis Padula, Napoleón Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, el Polaco Goyeneche, entre otros.

"Spirits of two by four", is called the exhibition that brings together journalistic notes by Roberto Espinosa and illustrations by Héctor Palacios, which opened at the Centro Cultural Virla of the National University of Tucumán, on December 11, 2015, in adherence to the day National Tango. The exhibition includes journalistic chronicles published in the newspaper La Gaceta de Tucumán, between 1988 and 2015, which evoke interpreters and creators of Tango, such as Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano mores, Enrique Cadícamo, José Luis Padula, Napoleon Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, the Polish Goyeneche, among others.

Wednesday, February 28, 2018

Artistas callejeros de tango en el subte de Buenos Aires


Sent from my iPad

Tango is suffering with someone else in your arms

Here's an unpublished draft from July 3, 2010...no not that suffering...not suffering like it's a really bad dance suffering...but suffering suffering...human condition type shit...at least that's how I'm choosing to interpret it...

02/28/18 note...I'm dancing a whole helluvalot more tango abierto with The Divine Miss Sugar G...and having a helluvalot'o fun...hell, I might even end up buying some white tango shoes...(grin)...

Please accept my apologies for the sensationalist headline. I was reading Susana Miller's essay "Tango Abierto y Tango Milonguero" and the last line plucked me like a guitar string.

If tango entrenches itself in one style we’ll end up alone, dancing a virtual tango, seated in front of our computer, and we’ll lose its essence: the risk of both enjoying and suffering with someone else in your arms.

So, I'll freely admit that I machete'd her words to draw in a few more readers. But she did say it - kindasorta. But that's not what really resonated with me in reading this. It was her balanced treatment of open v. close, and her lucid brevity in verbalizing the various growth phases of tango. Not so much distinct phases of development, but the continuous evolution of a person and the tango in their life and soul. And heart and mind.

I was telling my close friend Rigoberto the other day that "I think about tango every day, but I rarely dance anymore...". There is my true and heartfelt headline.

Susana's essay came along at just the right time for me. I needed to hear that there is no close without open, and no open without close. I can see the former very clearly, and I am hopeful the latter does hold to be true over time.

For me, I have absolutely no use for open embrace tango. It doesn't do anything for me. It doesn't float my boat. To the contrary, it sinks my boat. My teacher in Aspen taught us close embrace almost from the get-go. Aspen is, or was, a close embrace community, much like Denver. It's my default. It's the source of my longing for tango. Delving into the why's and science and psychology of it...another time.

I've been lamenting to myself that if I am able to dance a few times locally each year; once or twice a year at a festival, or every two years - that will be enough. Lamenting to myself or convincing myself. I've even pondered the possibility that my tango fix may take the form of a trip to Buenos Aires every four or five years.

I suppose I'm maturing in my tango - or focusing on higher priorities in life - or a combination of the two. I'm still trying to wrap my head around what's going on in my head. Wound up in the head around tango. I also recently posted a status update on Facebook that read something like this: "...uh, I dunno...something like "looking forward to the day when I can NOT think about tango".

Now I'm whining.

The point is that I needed to hear this - that open embrace is fundamental to close embrace. Close embrace might not exist without it. My dream/fallacy/lamentations of Austin moving to become a more "close embrace" estilo milonguero community...(not sure what I meant to continue to say here...the draft post just trailed off with this...)

By the way, thanks to Joe Grohens over at The Topic is Tango from bringing this to my attention on Tango-L.

Here is the essay in its entirety:

Tango Abierto and Tango Milonguero
[by Susana Miller]

[open embrace tango and close embrace or estilo milonguero tango, as danced in the milongas of buenos aires]

The so-called tango abierto, based on the spectacle and glamour of its moves, is the gateway to tango. It is what people see all over the world, in Buenos Aires; at the theatre and on TV. Can anyone possibly resist the match between great technical display and romanticism? Inevitably, it’s ‘love at first sight’. This is the type of tango that attracts many students to class. A small part of these go on, trapped by its passion, dancing in classes or on the stage or teaching it. As in any other discipline, knowledge of tango is shaped like a pyramid, with a large amount of beginners at its base and the few chosen and ambitious elite that will never stop studying at its peak. Dancing tango isn’t easy. It’s never been a massive practice either, not even during the so-called “golden age of tango” in the forties and fifties.

The difference between this dance and any other is that you can’t learn it by going to the milongas, watching the dance floor or by studying a DVD. It needs study and time, just like an academic career.

You need about 10 years to dance it properly. That doesn’t mean you won’t enjoy the journey. In fact, it’s enjoyment that moves the learning process forward, a process which is not linear, but two steps forward and one back.

You need time for doubts and time to compare and double check the knowledge that comes with good, regular practice.

It’s almost impossible to avoid tango abierto. Throughout the world, most students, far away from the pistas porteñas, start with this type of tango, as indeed do most young people, even in Buenos Aires. It’s here that they find a wide open space in which they can reassert themselves and hold on to in the midst of this global and somehow oppressive world.

The fact is that tango abierto is spectacular. It requires great physical challenge as your body is the protagonist. Hours of practice and dedication are needed.

Once you’ve started, nothing else matters. It is the only thing you talk about. You don’t even notice how boring you’ve become to all your friends, tired of hearing the same old story over and over again. At work you can’t avoid discretely practising a couple of steps. Nor can you avoid it whilst waiting for the three a.m. bus. Every single mirror, every shop window shop are an opportunity to double-check your posture. And after this (at first) subtle invasion of public places, you inevitably end up moving your own living room around in order to use it as a small studio.

The fact is we all started with tango abierto. It is part of our personal history: the game, the freedom and the challenge, all of these are fixed in our emotions, like the fond memories of childhood.

Tango’s ‘old guard’ that has been dancing for over 40 years, also started with tango abierto. They started with the many backwards sacadas, barridas and ganchos until they eventually ended up with their embrace del centro, cerrado and parrillero that they continue to enjoy nowadays.

Tango abierto attracts beginners and inevitably makes their life easier, which is fantastic, since no popular dance continues for decades unless there are beginners. But the paths of learning gradually turn long and twisted, and you never know where and how the story is going to end. But he or she who continues will finally reach something really big, a sort of climax, la fiesta del tango: a more mature tango, less narcissistic and less ostentatious. Tango is in no rush, it knows how to wait even until you reach your forties. Tango withdraws itself in order to get stronger, and emerges triumphant, a tango that is no longer based on the look of the others but on the profound dialogue between partners. Its conception of music is richer and more sophisticated. It isn’t formed by the muscular tension of the tango of stage performances but by relaxation of the body. Therefore, it’s a more organic tango, not suitable for theatres and performances where the tango abierto is danced.

Those who continue to dance tango abierto over the years become the maestros, those who dance it both properly and in the correct context, on bigger dance floors, with more space. They never run the risk of colliding with other dancers. They choose suitable places to dance, usually far from downtown. When they have to dance on smaller dance floors they adapt their style, dancing milonguero like the others.

For those dancers over 30 and those who are younger but with experience, the musical embrace of the tango milonguero leads the way to tango for the rest of their life. Tango abierto and tango milonguero are the two streams which fuel the source and maturity of tango. They are mutually indispensable. If one is lacking there will be no future for tango.

The maestros who generate communities should specialise in one style, whilst acknowledging, accepting and supporting other existing styles. They should encourage those that teach other facets of tango, which in turn need to be nurtured by all the other expressions of tango. Each style and expression matches different ages, expectations and stages of life.

It is very difficult to begin without the game and the freedom of tango abierto but it is also very difficult to dance tango for a lifetime without giving it more significance, however important pleasure and fun may be. Tango’s maestros and organizers should negotiate events, locations and times in an intelligent and rational way, smoothing down, regardless of egos and competences, for tango isn’t a place where you always have to compete and find out who’s who. Idolatry and selfishness can only serve to hurt the general well-being and growth of our community, or even divide and destroy it entirely. If tango entrenches itself in one style we’ll end up alone, dancing a virtual tango, seated in front of our computer, and we’ll lose its essence: the risk of both enjoying and suffering with someone else in your arms.

[end of essay]

Are we brainwashing ourselves in the battle against climate change?

I see headlines like this and I'm immediately skeptical, because I've done a fair amount of looking into U.S. and World total power production and consumption. http://alextangofuego.blogspot.com/2008/08/brother-can-you-spare-22-terawatts.html

I’m skeptical...I know things are improving, but this seems a bit much...unless they mean 100 “city governments”...okay, so now i'm doing the math... Seattle yes, mostly hydropower...Burlington, VT 55MW (very small) wood-fired with natural gas auto-transfer backup, plus some hydro...I know Aspen is City of Aspen Electric only, with a very small customer base (hydro, 5MW)...and then Eugene, OR - mostly hydro, with some nuke, biomass, wind...88k customers (again, very small)...the rest of the cities are in other countries, and I'm guessing they are very small amounts of power usage/capacity...not many cities/localities in the U.S. are in a position to benefit from hydro or biomass power, unless we start burning our trash, but that's not exactly green/no-carbon...I'll make a guess that the U.S. cities the article cites, and throwing in Aspen, is around 100 megawatts or 0.1 gigawatts...the U.S. total generating capacity is just over 1,000 gigawatts total generating capacity...(note this is nameplate generating capacity in aggregate of all power generating facilities)...

For perspective there are 1308 coal-fired power plants in the U.S. (on 557 sites) with a generating capacity of 310 gigawatts or 310,000 megawatts...460 gigawatts gas/other...just over 1,000 gigawatts total when you throw in nukes, wind, other/experimental...

Renewables/green power plants are a hugely small fraction of our total power production/consumption...well, okay now that I actually look it up, renewables are 215 gigawatts, so call it 22%...(Includes conventional hydroelectric, geothermal, wood, wood waste, all municipal waste, landfill gas, other biomass, solar, and wind power. Facilities co-firing biomass and coal are classified as coal.)...so we have a long way to go, and keep in mind all burning of wood/waste, etc are producing CO2 which is the gas that causes anthropomorphic climate disruption...

here is the link to the source article...

and here is the link to the USEIA data that I used...

And finally, my point is that these articles are somewhat misleading to the general public (and what, there are 10 of us actually reading and pondering these articles?)...I think that most people think we are making headway by leaps and bounds in the march towards renewables/green/solar/wind/tidal energy sources...and hence the fight against global warming...but we are not...especially with the addition of 3-4 million people being born each year...

Baby steps are good...but we have a long, long, long way to go...and it will involve severe cuts to our usage of power, something no one ever talks about...along with over-population...

Tuesday, February 27, 2018

Sunday, February 25, 2018

Buscandote :: Short Film by Juan Francisco Otaño

Looks like I sent the lyrics from my phone or ipad back in February of 2016 and never got the blog post built...

"BUSCANDOTE" un cortometraje de Juan Francisco Otaño from Francisco otaño on Vimeo.

Dedicado a todos los que buscan con fervor algo en la vida. y cuando se encuentran con ello todo sucede mágicamente.

Written by Lalo Scalise, recorded in 1941 Osvaldo Fresedo/Ricardo Ruiz...

Lyrics translation by Derrick del Pilar

Searching for You
lyrics by Eduardo Scalise

with the fatigue of my endless ambling,
the bitter sadness of being alone,
enormously anxious to arrive.

Perhaps you know…
that I have gone through life searching for you,
that I shattered my dreams without meaning to,
that I left them at some crossroads.

I sped up my steps,
in hopes of seeing you,
I strung together long roads,
I covered leagues and leagues.

After I have had a chance to rest
in your arms,
if you prefer I will leave again
by the road I took yesterday…


Con el cansancio de mi eterno andar,
Tristeza amarga de la soledad
Ansias enormes de llegar.
Que por la vida fui buscándote,
Que mis ensueños sin querer vencí
Que en algún cruce los dejé.
Mi andar apresuré
Con la esperanza de encontrarte a ti,
Largos caminos hilvané
Leguas y leguas recorrí por ti.
Después que entre tus brazos
Pueda descansar,
Si lo prefieres volveré a marchar
Por mi camino de ayer.
Letra y música : Eduardo Scalise  (Eduardo Scalise Regard)
Grabado por la orquesta de Osvaldo Fresedo con la voz de Ricardo Ruiz.

Un cortometraje de Juan Francisco Otaño

Nice Tango Videos :: Tango, A Message from the Concrete Jungle (2013)

So on Vimeo (which I like better than YouTube, because it's more film-maker-ey and artsy-fartsy) there are lots of people trying their hands at amateur shorts and such, as well as pros. People wanting to tell a tango story using video as their medium. Tons and tons. So many that it would be difficult/impossible to sift and parse through all of them. There almost needs to be an TangoIMDB of all of the best. Feature length films with tango elements in them (very few), documentaries (more), and shorts, probably in the thousands.

Anyway, just blathering.

Here's a nice one.

Tango, A Message from the Concrete Jungle from ColdSun Productions on Vimeo.

By ColdSun.eu

This poetry video is an elegant dance between the city of Buenos Aires and the Tango. The poem is written by Andres Bosso and the music composed by the poets brother, Jorge Bosso.

The city of Buenos Aires, the poem and this intimate partner dancing inspired us to shoot this video.

Directed by Alessio Cuomo

Cinematographer: Ignacio Masllorens

Poem by Andres Bosso, taken from the book Luz Natural

Music: Tango's Gedanke

Composed by Jorge Bosso

Poem recorded at IDQ Studio Utrecht

Translation by Matthijs Beeren & Jean Lanham

Special thanks to the tango dancers: Tatiana Lopez, Edison Chaves, Lucy Attwood, Gonzalo Navarro

Camera: Canon 60D

Edited & color graded in Final Cut Pro and Magic Bullet.

A ColdSun Production © 2013


Weird Tango Videos

If you do a search on "tango" on Vimeo, you get 29,600 results, mas o menos. I'm browsing, and ran across this strange one. Embedding is disabled so just click the button to see it on Vimeo.

TANGO from Javier Pérez on Vimeo.

Our Last Tango :: Documentary

Executive produced by Wim Wenders, Our Last Tango tells the life and love story of Argentina’s most famous tango dancers Maria Nieves Rego and Juan Carlos Copes, who met as teenagers and danced together for nearly fifty years until a painful separation tore them apart. Relaying their story to a group of young tango dancers and choreographers from Buenos Aires, their story of love, hatred and passion is transformed into unforgettable tango-choreographies.

1 hour 25 minutes

Rent or buy on Vimeo

Our Last Tango from Strand Releasing on Vimeo.

Hozelock Tango :: Tango Animation

Using tango the word and the dance in advertising, in theory to sell Hozelock's hose fittings/paraphernalia...?

I'll stretch and call it cultural appropriation.

Lots of this out there in the world...

Hozelock 'Tango' from Mecanique Generale on Vimeo.

They have another one called Hozelock Valse...

Hozelock 'Valse' from Mecanique Generale on Vimeo.

Tango but not tango :: “Tango” by Zbigniew Rybczyński, 1980

Another animation, a great one, but only tango in the title "Tango". A must see, but again, no tango.

Actually I guess it's not really even an animation. Oh well. Let's throw it up on the wall.

"Tango" by Zbigniew Rybczyński, 1980 from Tito Molina Faceblog videos on Vimeo.

No copyright infringement intended. Copyright remains with the artist and label.

Saturday, February 24, 2018

Tango Animation Not :: A Evaristo Carriego (a compendium)

Nice animation, but not tango. The song is "A Evaristo Carriego", an instrumental by composer Eduardo Rovira, dedicated to the Argentine "Arrabalero" poet, who was born in 1883 and died in 1912. His wiki page says that his poetry influenced tango lyrics over the years. Pugliese first arranged and recorded it in 1969, and if you look it up on iTunes, there are three dozen or so nuevo orquestras who have covered/recorded it. I'm sure there are tons of results on YouTube. Avail thyself. Keep scrolling. Tons more info below the titular video.

Nice song.

From the I Like Tango YouTube video: "A EVARISTO CARRIEGO", Tango composed by EDUARDO OSCAR ROVIRA (1925-1980) La Orquesta de Tango de FOREVER TANGO estaba formada por once músicos argentinos: 4 bandoneones (liderados por Víctor Lavallén), 2 violines, viola, violonchelo, contrabajo, teclado y piano (Fernando Marzán).

Here's an (audio only) version with Pugliese and Piazzolla supposedly playing live in Amsterdam in 1989.

Here they are, Pugliese and Piazzolla, live in Amsterdam (1989), in some crude footage performing"La Yumba" and Piazzolla's "Adios Nonino", with a very big orquestra. Pugliese died just over six years after this, in July of 1995.

Here's Pugliese and his orquestra performing live at Teatro Colon in BsAs in December of 1985.

And here are Carlos Gavito and Marcella Duran peforming to "A Evaristo Carriego" at the Boston Symphony Hall with the Boston Pops and the Forever Tango Orquestra in 1998. What self=respecting tango afficionado hasn't watched this one a few times? Marcella Duran. Sheesh, man.

This appears to be the 1969 version, on YouTube. I can't seem to find this version anywhere - to purchase.

Here's "La Calle Junto La Luna", an Argentine romantic drama from 1951 - about the life of poet Evaristo Carriego...

Sinopsis: La vida del célebre poeta del barrio de Palermo: Evaristo Carriego, interpretado magistralmente por Narciso Ibáñez Menta. Una estampa única del Buenos Aires a comienzos del siglo XX, la lucha de un poeta del suburbio de entonces que pintó como nadie las simplezas y dolores de la gente. Un film para volver a revivir y comprender la historia de un Buenos Aires intelectual y el desarrollo de su música popular. En la fotografía vemos a la pareja estelar de la película: Diana Ingro y Narciso Ibáñez Menta

Then there's this from the TodoTango website:

Evaristo Carriego, un poeta arrabalero

rasladada su familia a Buenos Aires, vivió en la calle Honduras N° 84 (hoy 3784), del barrio de Palermo. Desde muy joven frecuentó las tertulias literarias porteñas, en las que gravitaban Rubén Darío y Almafuerte.

Escribió en diversas publicaciones de la época, como La Protesta, Papel y Tinta, Caras y Caretas, y otras. En ellas dio a conocer también sus poesías y cuentos breves. Publicó su primer libro de poemas, Misas herejes, en 1908 y su restante obra poética fue publicada después de su muerte con el título La canción del barrio.

Carriego fue quien descubrió las posibilidades líricas del arrabal y de los arquetipos que constituirán su mitología personal y porteña, en la que destacan los guapos, los cafés, el barrio y los vecinos, con sus tristezas y sus alegrías, pintándonos toda una época, una geografía, un sentir humano. Obra que ha sido decisiva para la poesía porteñista posterior y para las letras de tango.

Murió a causa de una peritonitis apendicular, según consta en certificado firmado por el Dr. Pedro Galli. Tenía 29 años. Fue el «poeta del suburbio», el «poeta de los humildes», el «poeta de Palermo».

El 7 de mayo de 1975 se fundó la Asociación Amigos de la Casa de Evaristo Carriego, que presidió el pintor palermitano José María Mieravilla, a quien se debe, en gran parte, la conservación de dicha casa. Fue Presidente Honorario de esa entidad, a la que tuve el honor de pertenecer, el escritor Jorge Luis Borges.

Google Translation:

Evaristo Carriego, an arrabalero poet

Rasladada?? his family to Buenos Aires, he lived in Calle Honduras N ° 84 (today 3784), in the neighborhood of Palermo. From very young frequented the literary gatherings Porteñas, which gravitated Ruben Dario and Almafuerte.

He wrote in various publications of the time, such as protest, paper and ink, faces and masks, and others. In them he also announced his poems and short stories. It published its first book of poems, Masses heretics, in 1908 and its remaining poetic work was published after its death with the title The song of the quarter.

Riego was the one who discovered the lyrical possibilities of the suburbs and the archetypes that will constitute their personal and porteño mythology, in which the handsome, the cafes, the neighborhood and the neighbors stand out, with their sadness and their joys, pintándonos a whole period, a Geography, a human feeling. Work that has been decisive for the poetry porteñista posterior and for the lyrics of tango.

He died because of a appendicular peritonitis, according to a certificate signed by Dr. Pedro Galli. I was 29 years old. It was the "poet of the suburb", the «poet of the humble», the «Poet of Palermo».

On May 7, 1975 the association was founded friends of the House of Evaristo Riego, which was chaired by the painter Palermitano José María Mieravilla, who is due in large part to the conservation of the house. He was honorary president of that entity, to which I had the honor of belonging, the writer Jorge Luis Borges.

Here's a search on his poetry.

And lastly, this, on Scribd, which appears to be a pretty comprehensive collection of his poems, in Spanish (232pp).

I think this fucking post took me two hours to put together...(grin)

Hot Tango Mondo Bizarro :: Tango Animation Is A Thing?

Hot Tango Clay Animation, bubbled up from the aether in a "tango clay" search...

Crude clay. Crude animation. Crude resolution (240p). Crude tango. If you can even call it that. Crude plot? Crude and unusual human/tango behavior. Why don't y'all comment on the storyline? But, all that said, someone named Alexander Zhernovoy went to a fair amount of work to do this. Worth of a record in the archives.

And from the "realated" videos that popped up, it appears that "tango animation" is a thing. More to follow. Although I see I've used the tag before. I'll have to see what that's about. Ah. This.

Thursday, February 22, 2018

Tango Addiction :: A Neurobiological Disease?

Photo credit: Remi Targhetta (the study's author)


Here's the pdf...

J Behav Addict. 2013 Sep; 2(3): 179–186.
Published online 2013 Jun 14. doi: 10.1556/JBA.2.2013.007
PMCID: PMC4117296
Argentine tango: Another behavioral addiction?
Remi Targhetta,1,# Bertrand Nalpas,1,2,*# and Perney Pascal1
Author information ► Article notes ► Copyright and License information ►
This article has been cited by other articles in PMC.
Go to:
Background: Behavioral addiction is an emerging concept based on the resemblance between symptoms or feelings provided by drugs and those obtained with various behaviors such as gambling, etc. Following an observational study of a tango dancer exhibiting criteria of dependence on this dance, we performed a survey to assess whether this case was unique or frequently encountered in the tango dancing community. Methods: We designed an online survey based on both the DSM-IV and Goodman's criteria of dependence; we added questions relative to the positive and negative effects of tango dancing and a self-evaluation of the degree of addiction to tango. The questionnaire was sent via Internet to all the tango dancers subscribing to “ToutTango”, an electronic monthly journal. The prevalence of dependence was analyzed using DSM-IV, Goodman's criteria and self-rating scores separately. Results: 1,129 tango dancers answered the questionnaire. Dependence rates were 45.1, 6.9 and 35.9%, respectively, according to the DSM-IV, Goodman's criteria and self-rating scores. Physical symptoms of withdrawal were reported by 20% of the entire sample and one-third described a strong craving for dancing. Positive effects were high both in dependent and non-dependent groups and were markedly greater than negative effects. Long practice of tango dancing did not modify the dependence rate or reduce the level of positive effects. Conclusions: Tango dancing could lead to dependence as currently defined. However, this dependence is associated with marked and sustained positive effects whilst the negative are few. Identifying the precise substratum of this dependence needs further investigation.

Keywords: addiction, tango, behavior, dependence

Dmitry Pruss wrote about it at his humilitan blog when it came out in Discover Magazine back in 2014.

And here's Remi Targhetta's article in Tout Tango (in French)...

Tuesday, February 20, 2018

Somewhere between firming up and melting :: Terpsichoral Tangoaddict Thread

Me dancing with a Ferrarri named Heather...back in Aspen...
Heather smiles...

I copied and pasted this (the words/stuff below) into a Word document some time ago...looks like it's from Facebook...

On the subject of "the embrace" and the feeling of the embrace and mutual pressure resistance tension force meeting force and all that khynna stuff...

Personally, I like Catherine Young's comment....Tone without tension, melty but not flaccid, presence VS "resistance", awareness but not micromanagement, assertiveness without force, grounded while also buoyant...

I generally don't go back to followers who are "noodle-ey" and just not there, not "present"...I like to feel a slight bit of athleticism...

Rigoberto back in Aspen...we used "she's like a Ferrarri" to describe particular followers a few times...now, I've never driven a Ferrarri...but now I know what it feels like...(grin)

Terpsichoral Tangoaddict
April 22 at 10:22am · Edited ·
I was musing yesterday on a very simple, in fact rather commonsensical, but often forgotten aspect of tango teaching. (At least, I often forget it.) What you emphasize in your teaching or even your own dancing and practice reflects what you feel most dancers are lacking and therefore what is most important to correct.

My personal impression is that most less experienced/less skilled dancers feel too stiff and tense, that the leaders are too forceful, and the followers offer too much resistance -- and that most people don't feel sensual enough in the embrace. So I focus on encouraging people (and myself) to relax more, find the way of least resistance, the minimum effort necessary, do less (especially leaders), not micromanage the muscles and soften everything up.

But The Semite feels that most beginners are too unstructured, floppy and collapsed and will disintegrate into a heap of wet spaghetti if you blow on them. So he is always emphasizing maintaining a frame, keeping things toned, using a *small* amount of resistance, being clear and not under assertive, pushing off.

His language is all about firming up. Mine is more likely to emphasize melting. He stresses discipline; I talk about sensual enjoyment. These aren't contradictions, of course. The truth, as always, is somewhere in the middle. He just feels the steaks are so rare they are almost raw. And I'm more concerned that they might burn to a crisp. And often this is what is happening when teachers give you contradictory advice: they are trying to pull you away from the extremes, to keep you far from one pole or the other (and you need to stay away from both, both are equally distorting -- and, yes, you can be both collapsed and tense, in different ways and at different moments). The teacher's job is to try to guide you to where the lovely subtlety of the movement lies: that sweet spot in the middle.
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• You, Dierdre Nepa Black, Tina Marie Eaton, Mary Li and 84 others like this.

• Faith Lasts Yes, I think the truth is somewhere in the middle but I tend to drift more towards your approach...(I am not a teacher yet )
April 22 at 10:25am · Like · 1

• Terpsichoral Tangoaddict Faith Lasts Actually, my partner doesn't often teach either. But, yes, this is partly a question of personal preference and you will take an approach with your own dancing even if you're not a teacher (you are always your own teacher).
April 22 at 10:26am · Like · 1

• Anna Larsen Comparing to steaks is a new word in tango teaching:)
April 22 at 10:32am · Like · 1

• Catherine Young Tone without tension, melty but not flaccid, presence VS "resistance", awareness but not micromanagement, assertiveness without force, grounded while also buoyant...
April 22 at 10:37am · Unlike · 15

• Terpsichoral Tangoaddict Anna Larsen But appropriate here in Baires, right?
April 22 at 10:39am · Like · 2

• Anna Larsen Totally:)
April 22 at 10:40am · Like · 1

• Bruce Chadwick I think that what beginners do is just extremely varied. People who come from a ballroom background are usually too stiff, because the ballroom embrace is what in linguistic circles might be called a "faux ami" (false friend). On the other hand there are definitely some that flop around like loose spaghetti.

I think what happens on the beginner follower end is that there is so much stress about "did I do what I'm supposed to," that it results in a bunch of compensating behaviors. For some, it's to tense up in preparation for hearing that something went wrong, for others, it's to give up their poise and let the leader push them around and mold their steps as if they were a lump of clay being patted into shape. For others (a lot, in my experience) it's to try to memorize a figure that's being worked on, or - if that isn't possible - try to guess what the leader is going to do after a step or two.

Having followed a bit (albeit badly), I know that it's a very challenging nut to crack, since I was guilty of many of the same things, even though I supposedly know better.

(As an aside: I particularly feel for followers who get told "don't anticipate" constantly, because it's often hard to know that you are anticipating until something goes wrong. I pretty much never say "don't anticipate" to anyone, because what they need to hear is what *to* do, not what not to do (also, I might be doing something wrong too). Often times you are not consciously anticipating - it's just muscle memory coming into action. Leaders can usually get away with that, because muscle memory kicks in and then they can say "yes, that's what I was leading," but followers don't get as much slack for that, so there's no doubt that following is a high level skill, even for followers that aren't doing tons of embellishments or anything particularly showy.)

Of course the challenge with beginner followers is that most have to learn by dancing with beginner leaders, and that usually doesn't help much. Though a beginner follower with a more experienced leader will sometimes get floppy and let the leader push them around, figuring "this seems to work ok," not realizing how much extra work the leader has to do in that case. (You can argue that the leader should refuse to do that extra work, but often the path of least resistance is to put up with it and hope that a new partner comes soon).

Beginner leaders are also stressed about "did I do that right," along with "did I step on her" and (in some places) "is my melty embrace inappropriate for someone I just met, so maybe I'll stiffen it up so that it's more 'businesslike'". I think the compensating behavior for the leader does tend to be "let me try to micromanage everything." That's partly because leaders are very concerned about whether they forgot to do something, so they will tend to overdo things as they go down their mental checklist of what's supposed to happen. Ironically, this doesn't stop us from forgetting things, it merely encourages us to overdo the things we do remember.

As with followers, the challenge for the beginning leader is that he usually has to learn by dancing with beginner followers. Only when more experienced followers dance with a leader is it possible to realize that "she's perfectly capable of dancing her part without micromanagement, and in fact it tends to be better if you just let her do that." But then he goes back and dances with a beginner follower again and perhaps the grand epiphany no longer seems to work.

It sometimes amazes me that any of us (leader or follower) survive long enough to develop much skill. A testament to the human spirit, indeed.
April 22 at 1:08pm · Edited · Like · 20

• Hans Peter Meyer A complaint I (sometimes) have is with follows who melt so much they flow through my arms. So I'm often encouraging "presence." But last night my best tanda was with a follow who felt as if she might melt through my arms, yet was entirely present - and delicious. No simple answers. Just complex learning, simple pleasures.
April 22 at 10:44am · Edited · Like · 9

• Eva Vonesse I'm not a teacher, but eternal student and I agree, the sweet spot is in the middle.
April 22 at 10:52am · Edited · Like · 2

• Bruce Chadwick I think a pasta metaphor is better. You want an embrace that's "Al Dente". You don't want an embrace that's floppy/watery, and you don't want an embrace that's crunchy. You want Al Dente.

You don't want an Al Dente embrace when you're with a squid, but that's a different story.
April 22 at 12:47pm · Edited · Like · 20

• Dennis Loffredo Yes, this is why you should be careful who's hands you put your tango fate in! Don't take a few classes from every person who comes to town, or because someone has a big name, or won the mundial. Watch everyone, see what speaks to and inspires you, and then let them guide you, and trust their advice, build a long-term working partnership with that teacher whom you respect. It doesn't mean they have to be the most graceful, some older teachers can't move as well any more but have incredible information to share. But CHOOSE your teacher.
April 22 at 10:54am · Like · 12

• David Phillips Both Bruce Chadwick and Terpsichoral Tangoaddict describe matters in a way that resonates with my experience (coming from a ballroom background) as leader and follower, and my thinking. I differ only in a matter of degree, in that it seems we too often see things as either/or, when really it's about applying the just right level of firmness/meltiness at the right times.

I've become a fan of quite small, highly targeted functional movement experiences/experiments/games (somewhat akin to Feldenkrais but more specific to tango) as a means for dancers to self-discover the range of possibilities, equipping them with understanding of the need to always be adapting - to the partner and to the movement requirements - in either role.
April 22 at 11:00am · Like · 4

• Eva Vonesse I think learning both roles, leading and fallowing CAN be helpful.
April 22 at 11:05am · Like · 6

• Christina Choong Hear hear Eva!
April 22 at 12:07pm · Like

• Terpsichoral Tangoaddict Bruce Chadwick Almost no one here has come from a ballroom background, but, yes, I know what you mean! And I think the ""is my melty embrace inappropriate for someone I just met, so maybe I'll stiffen it up so that it's more 'businesslike'" is a very American concern. Puritanism is not dead.
April 22 at 12:43pm · Like · 6

• Bruce Chadwick Yes, I'm speaking from a US context, where it's more common to have beginner dancers who have done ballroom dance previously, and where the standards of what constitutes appropriate touching are often exceedingly unclear.
April 22 at 12:46pm · Edited · Like · 3

• Suzanne Doyle Tango dancers of many years training are still trying to find the "sweet spot" of this dance of contradictions. It becomes a lifetime pursuit.
April 22 at 12:51pm · Like · 7

• Andrew Gauld Beginners tend to have firmness and looseness in the wrong places so they can be both too firm and too loose at the same time. And most of the things I've heard teachers say, in attempts to fix these problems, have made them worse. I wish I could claim, like Fermat, to have a truly elegant solution to this (which would, of course, be too large to fit in the margin of this book), but I don't.
April 22 at 5:17pm · Like · 3

• Terpsichoral Tangoaddict Jonathan Descheneau and Daniel Helfrich: Sorry, guys, but you know the house rules. Discuss it in a PM, please. Abrazos!
April 22 at 9:20pm · Like

• Barbara Kottmayr
Yesterday at 3:08am · Like · 1

• Joanne Zhou Let them(us) find their body before start correcting.
Yesterday at 7:50am · Like · 1

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