Argentine Tango singer, musician, pianist, actor and composer.
(7 July 1906 – 30 October 1990)
In his important work as composer of rare ability to musically express human drama and romantic rapture, the following tunes stand out : with lyrics by the film maker Luis César Amadori, the tangos “Cobardía”, “Rencor” and “Tormento”; with José González Castillo, “El viejo vals”, a piece of rare perfection, unparalleled in Charlo’s rendition; with José María Contursi, “Sin lágrimas”; with Cátulo Castillo, “Sin ella”. “Fueye” and the beautiful waltz “Tu pálida voz” with lyrics by Homero Manzi. And with Cadícamo, besides “Ave de paso”, three tangos of high value, but very different from each other, stand out: “Rondando tu esquina”, “Viejas alegrías” and “La barranca”. Continue reading.
The physical presence of our partner, here and now, is an invitation that can either be accepted or refused, but is hard to postpone.
Love is to demand improvement from each other.
Let’s do what we consider to be the best, in every moment, and do it in the most efficient way.
Let’s free ourselves from the actitudes which enclosed our bodies in a shell of prejudice, conformity and cowardice, a shell which made our body redundant.
Own it, care for it, use it, dance with it.
If we are not our body, it is at least a part of our world which remains present to us at all times.
Contemplate the continuity with ourselves, our body and the world with the other people in it.
Let’s be inspired to be productive, selecting creativity rather than inertia or anger.
Words are an indispensable tool to determine our relationships to objects, both in the case of our interactions with things and in the interactions between people in relation to things (for instance: our belongings).
However, regarding interpersonal relationships, the objective word may be useless.
Challenge, creativity and embrace make most words superfluous.
Dance is a manifestation of our essential freedom of being, making existence beautiful.
This word evolved from the West African Bantu language, in which “malonga” means “word”, and “milonga” is the plural of “malonga”: “words”
It is hypothesized by historians that the African population of Rio de La Plata used this term in relation to the “payada”, a musical genre in which two individuals compete by playing guitar and improvising verses, asking each other questions. The rhythm of this genre evolved to the rhythm we now know as milonga.
When the dance of Tango appeared, it was a technique of partner’s dance used to dance any danceable rhythm. Waltz was the most popular at the time, but soon the milonga rhythm was identified as a better fit for that particular dance technique.
As this rhythm, and the way of dancing to it, grew in popularity, “milonga” also became the name of the gathering and the place where this dance was practiced. The word “Tango” was initially a synonym of the word “milonga”, and they later became the name of two differentiated rhythms. Tango dance parties and the location where it is danced kept the name of “milonga”, as well as its crowd of participants, “milongueros”.
Milongas, meaning “Tango dance parties”, have been happening for more than 130 years. During this time, milongas developed a set of codes that cultivate efficiency, maximizing the possibility of great dancers appearing, and allowing the continuity of its existence as a precious cultural gem.
One of the idols of the time, the vocalist Julio Martel, who with Carlos Dante had teamed-up the most successful duo of the 40s, split with the Alfredo De Angelis Orchestra. The violinist Víctor Braña, attracted by the color of Larroca’s baritone-like voice, his good intonation and his diction, plus his good-looking appearance, introduced him to De Angelis who hired him immediately.
Oscar quickly adapted himself to the style of the orchestra. A good blending with Dante takes place and so a harmonious duo with good intonation is born.
They made their debut on Radio El Mundo at the tango program with the greatest audience, Glostora tango club, on April 1, 1951. Continue reading.
The singer himself tells us: «I always got along very well with Pugliese in spite of his political ideas.»
The researcher Nélida Rouchetto described him this way: «With his nasal sound, his canyengue and his common man’s diction he kept alive the popular roots that gave rise to the city music. It was Chanel who identified himself like an orchestra instrument, in the manner of a viola, as can be verified since his first recording». Continue reading.