Tango…and “The Two Popes”

Scene from the movie "The Two Popes" starring Anthony Hopkins and Jonathan Prycxe ns, and

Anthony Hopkins as Pope Benedict XVI and Jonathan Pryce as Cardinal Bergoglio in “The Two Popes”

by Terence Clarke, author, journalist and Alma del Tango board member

I would not usually think of Argentine tango in terms of the Roman Catholic papacy. But with the Netflix release of the new film, The Two Popes, the relationship is made clear, at least in the life of one of its two main characters.

A fictionalization of the relationship between Joseph Ratzinger, a German cardinal who became Pope Benedict XVI in 2005, and his successor Jorge Bergoglio, the Argentine Jesuit who was made Pope Francis I in 2013, the film is a tour de force effort by its two main actors.

Ratzinger is played by Anthony Hopkins with his usual detailed depth of gesture, speech and feeling, while another accomplished British actor, Jonathan Pryce, plays Bergoglio in what looks to me to be a spot-on accurate look at Bergoglio’s personality. They become involved in a long personal struggle over the future of the Catholic Church during a time when that organization, as it still is now, was under justified fire for its inability to address long-term, self-inflicted problems. This “debate” is the reason to see the film, and it is riveting.

But, there is a second plot in which a young Bergoglio makes his decision to become a priest, and the seasoned Jesuit Bergoglio is made to deal some years later with “The Dirty War.” This struggle resulted in the disappearance and murder of 30,000 Argentine citizens at the hands of that country’s military dictatorship in the 1970s.

Bergoglio, the young bon vivant and tanguero

As a young man, Bergoglio is something of a Buenos Aires bon vivant who is an ardent tanguero. He is in love with a woman, also a tanguera, and they attend a Buenos Aires milonga that will be familiar to anyone who has visited the famous dance halls in that city. At the same time, he is struggling to understand whether his calling to the priesthood is legitimate. That would, of course, require that he give up his relationship with the young woman, whom he was thinking of marrying.

To her great disappointment, he does enter the Jesuit order, but not before we get to see the lovely ambiance of tango and its dancing (even by Bergoglio and his girlfriend themselves) during that remarkable time. Incidentally, young Bergoglio is played by the superb Juan Minujin, a noted Argentine stage and film actor who is as porteño-looking a man as you can get.)

Just because he becomes pope does not mean that Cardinal Bergoglio loses his love of tango. Late in the film, he and Ratzinger have achieved a kind of rapprochement in their different views of what The Church should be. Ratzinger has always believed that The Church should not compromise any of its doctrines. Bergoglio is portrayed as a far more liberal force who has a realistic view of the feelings and behaviors of hundreds of millions of actual Catholics. The Church has refused to deal realistically with these behaviors, and he is the one person who can understand and bring about the changes needed.

A papal cabeceo

The two men don’t necessarily agree at the end of the film, but there is profound respect between them. In a remarkable scene, after Ratzinger has stepped down as pope and Bergoglio has taken over the office, Bergoglio visits the former pope. As he is leaving, he asks Ratzinger if he knows anything about tango. Of course, Ratzinger does not, and Bergoglio proceeds to give him a quick lesson in the tango basic. They fumble. They don’t do well. Ratzinger is embarrassed. Bergoglio is amused. But it is the moment of actual friendship with which the story comes to its end.

This moment, too, is not to be missed.

Regarding the historical accuracy of the film, there are numerous moments in it that mis-portray to a degree the relationship between the two men. You can read about these in detail here. But the film tells a gripping story about opposing political ideals that clash memorably. The movie is directed by the Brazilian Fernando Meirelles, who co-directed the terrifying City of God. 

The Two Popes is a stunner. Take it for what it is worth to you on any level. At the very least, you’ll enjoy the tango. 

Terence Clarke’s novel, When Clara Was Twelve, which takes place in Paris, will be published on April 15.

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Student of the Month ~ Larry Litt

Portrait of larry Litt, Alma del Tango Student of the Monthby Lanny Udell

Dancing tango since: Larry hadn’t set foot on a dance floor until 2011, the year that he turned 70 and got married for the second time. His wife Ying had been dancing tango for 10 years.

When taken as a spectator to his first milonga, he said to himself, “Wow, I want to learn to dance like that!” His thoughts, better expressed years later by Otros Aires, included: “Say goodbye to your old life. There’s no going back.”

Back story: Larry was very diligent in his tango study, attending several classes a week, taking private lessons, practicing at home with his wife, and attending milongas. But then, in November 2018, he underwent a complex surgery and had to take a 3-month hiatus. As soon as he was able, he was back on the dance floor.

To Larry, tango involves more than dancing. It’s a life that includes physical fitness. “You use the same muscles as in martial arts or ballet, and similarly you need skills in balance and range of motion. And a great add-on is learning tango musicality,” he says.

As a new dancer starting at a later age, improving his tango involved many extra hours. “Although going to med school was an intellectual bonanza, it also was a physical fitness disaster. There was so much sitting!” says Larry, a retired UCSF professor emeritus in Anesthesiology.

Favorite part: “The connection–when it works,” says the tanguero, referring to the tango connection with one’s partner. “It can exist even with the simplest figures. For the leader, it’s all about the follower, not oneself. I learned that in an early beginner class after feeling that I had mastered the steps just taught. Proud of myself, I asked my partner for feedback. She replied, ‘I felt like I was dancing alone.’ That was the first of many epiphanies.”

Tango dancers Larry Litt and his wife Ying with Eduardo Saucedo

Larry and his wife Ying with Eduardo Saucedo

About Debbie and John: “Related to the first epiphany is the fact that one can be given an explanation without being given an understanding. Debbie and John do an outstanding job making sure students get both,” says Larry. “Their technique is highly polished. They emphasize fundamentals, teaching by example after every explanation.”

Larry takes a private lesson with John on Mondays before the Level 3 class. In early sessions with John, Larry had to lead. When asked how that went (due to the height difference) he replied, “well, it makes you stand up straight!”

Ying remedied the height issue for about a year by regularly joining Larry’s private lessons. When that was no longer possible, Larry was able to find a tanguera who regularly partners with him in John’s lessons.

“When John asks me ‘what do you want to do today,’ I say, ‘whatever is best for learning in class tonight.’ That greatly reduces stressful challenges to my brain’s visual-spatial processing. Some dancers can, from watching only once, identify steps and subtleties of a figure,” Larry explains. “Far from being such a person, I benefit greatly from the foundation set by an early look.”

Anything else:  Larry and his wife have danced tango during their travels to France, Japan, China, England and Wales. Each time they found their fellow dancers warm and welcoming, much like the community at Alma del Tango.

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“La Divina” María Volonté

By Terence Clarke, author, journalist, Alma del Tango Board member

Tango singer Maria Volonte with her guitarThe next time María Volonté comes to the Bay Area, drop everything and go see her in concert. You’ll hear intense tango, sung with Buenos Aires porteño charm and streetwise knowledge, delivered with grace and deeply felt passion. Some songs written by others; originals by María herself. And there’s more. María is an accomplished jazz singer as well, and you’ll see that she can carry her own in any North American or European jazz venue.

María Volonté was born in Ituzaingó, a city in the Buenos Aires province, about twenty miles from downtown Buenos Aires. 

“I lived with my parents and my five sisters in a large, bright house. My father worked as a project draftsman and painted watercolors in an exquisite way. But above all he was a great showman who had been frustrated. He had spent the greatest portion of his youth acting, reciting and singing in cinemas, theaters and cabarets. But as soon as he got married, his first wife made him know…clearly…that vaudeville and the delights of conjugal life were not compatible. After that, he devoted himself to transferring all his fascination for the world of the stage to his daughters.”

Of greatest importance to Maria’s father was music. “We used to sing and listen to tango, folk music, bolero, flamenco, jazz, opera, musical comedy, French and Italian songs, Portuguese fado….”

How a tape recorder awakened her to the passion of singing

When María was five, her father brought home a new invention, a home tape recorder, and one of the first things he did was to ask María to sing for him. It was an ancient Neapolitan song “Catari (Cuore ingrato)”. Listening to herself for the first time, she wept, and she remembers the moment to this day. “There was so much secret pain in that melody, so much generous love! That day I discovered, unknowingly, that singing is to allow oneself to be pierced by passion.”

María’s father bought her first guitar when she was ten. “Something within me changed forever.” As she progressed through secondary school and beyond, she sang with friends, all kinds of music. “We used to sing folk tunes or rock songs written by Argentines. And thereafter in the 1970s we would mix the Argentine songbook with music by people from other countries…the Chilean Violeta Parra, Paco Ibáñez from Spain, el cubano Nicolás Guillén, another Spaniard Joan Manuel Serrat…. It was wine and song into the wee small hours of the morning, and it was shaping my courage and warming my voice.”

María Volonté singing in Plaza Dorrego, Buenos Aires.

María Volonté singing in Plaza Dorrego, Buenos Aires.

Married in the early 1980s, María and her husband lived in the San Telmo neighborhood of Buenos Aires. A subterranean folk culture was thriving in the city during those years, and she was an active part of it, paying her early dues as so many musicians must, wherever she could. “I sang outdoors at the Plaza Dorrego. I sang in many, many bar rooms. I sang in sheds.”Her musical eclecticism was not to be denied.

But María knew even then that there was one sort of music that was meant for her.

“I clearly realized that my destiny was in tango.”

Maria Volonté’s home is still Buenos Aires, where she lives with her second husband, American writer, musician, and photographer Kevin Carrel Footer. But they concertize together extensively in North America and Europe, visiting the San Francisco Bay Area once or twice a year. You can see them together in a recent NPR Tiny Desk Concert Video

On her website, you’ll see some other fine videos of María at work. You’ll get a sense of the breadth of material with which she works, and you’ll see especially what a true tanguera María Volonté really is. Her recordings are available on Apple iTunes.

Terence Clarke’s new novel, When Clara Was Twelve, will be published in 2020.

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Student of the Month ~ Rick Kutten

by Lanny Udell

Portrait of Student of the Month Rick KuttenDancing tango since: Rick is new to the tango world having started just three months ago (at this writing). His journey to tango started with solo dance, also known as self-expression dance. He had never done any partner dancing until a friend said, “let’s try East Coast Swing.”

Back story: Rick and his friend signed up for East Coast Swing at Dance Arts. “It took me three months to learn how to do a triple step,” he laughs. “I felt like I had two left feet.” Then they decided to check out Jasmine Worrell’s Swing class at Alma del Tango. Rick fell in love with Jasmine’s way of teaching, and he’s been dancing with her for 3 ½ years.

While working with Jasmine, Rick says, he struggled. “Then something magical happened. My partner and I found each other…on the dance floor and in the music. It was amazing! Intoxicating! Ecstatic! Ephemeral! Now I know why I am dancing. Because there are moments of magical, mystical union…of what? Love? Life? The universe?” (In tango the phenomenon is known as tango bliss.)

When did tango enter the picture? Last summer Rick heard that Eduardo Saucedo was coming to Alma del Tango for his annual August residency, and he decided to stick his toe into the tango waters. With tango, he jokes, “I discovered I had two right feet!” After Eduardo left, Rick found that everything he’d learned had evaporated, so he started over with Debbie and John.

Why tango: “I’m a drama queen,” says the tanguero, “and tango has a lot of drama. It’s a good fit for me to have a style where my drama, feeling, creativity and musicality have a place for expression.”

Rick recalls that when he was learning swing, his critical ego was so strong. “I wish I could have enjoyed being a beginner, but I did not.” Now, with tango, he is taking his time to enjoy the process. “I know I will be a good tango dancer, in time.”

About Debbie & John: “They offer a warm and welcoming field for beginners,” says Rick. He finds them patient and generous with their time. “Their love for tango clearly comes through. I know it’s challenging to help beginners get their mojo going. It’s a unique challenge and they do it well.”

Anything else: Rick attends Level 1 and 2 classes and will soon start going to the Friday night class and practica. He describes himself as a “strong and generous” lead. I want my lead to be obvious…I want my follower to ‘get’ my lead.”

Tango dancer Rick Kutten at Alma del Tango

Rick takes a break during the cortina. (Is that his next partner behind him?)

Last word: Rick sees tango as a long-term relationship. He’s “super-excited about the open expanse of possibilities tango offers.”

 

 

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Cacho Castaña ~ Superstar of Argentine popular music and film

Portrait of Cacho Castana, Argenine singer and film starby Terence Clarke, author, journalist and Alma del Tango board member

A porteño named Humberto Vicente Castagna died on October 15, at the age of seventy-seven. Better known as Cacho Castaña, he was a superstar of Argentine popular music and film. During his long career he recorded five hundred of his own songs (among others) on forty-four albums, and appeared in thirteen films; for two of them he wrote the musical scores.

His beginnings were of the humblest. In 1958, at the age of sixteen, Cacho was working in his father’s shoe repair shop in Buenos Aires. But he had musical aspirations and had been studying piano. He auditioned one day for the tango orquesta tipica of Oscar Espósito, who hired the boy. With his father’s blessing, Cacho left shoe repair behind, and began what was to be a glorious career in show business.

A tanguero at heart

Tango was just one of the styles of music that Cacho pursued, as can be seen in any of the videos that were made of his full concerts. There is often a kind of Hollywood schmaltziness in his work: over-arranged and over-orquestrated. But I believe Cacho was a tanguero at heart, and it is in his tangos that the real depth of his talent can be seen. If you can find a copy of his album Espalda con espalda (“Shoulder to Shoulder”), in which he sings only tangos, and which won the prestigious 2005 Gardel Prize, you’ll find his true soulfulness.

His recording Garganta con arena (“Throat Filled With Sand”) is one of the most famous tunes Cacho ever wrote. It is a tribute to his friend and mentor Robert Goyeneche. In it, Cacho sings this:

“Cantor de un tango algo insolente
Hiciste que a la gente le duela tu dolor.
Cantor de un tango equilibrista
Más que cantor, artista con vicios de cantor.”

“Singer of a tango somehow insolent,
You made the people feel your pain.
Singer of a tango on a tightrope,
More than a singer: a real artist
with all the vices a singer may have.”

With these lines, Cacho Castaña could have been writing about himself and his own gravel-filled, deep-feeling voice. It would have been a fitting tribute to his tanguero heart.

Terence Clarke’s new novel, When Clara Was Twelve, will be published next year.

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Students of the Month ~ Gayle Delaney and Kevin Kreitzman

Tango dancers Gayle Delaney & Kevin Kreitzman by Lanny Udell

Dancing tango since: Newly divorced and thrilled to be single again, Gayle went to a speakeasy party in 1994. “A couple got up on the stage and did something magical,” she says. It was Argentine Tango. The couple was Al and Barbara Garvey, legendary Bay Area tango dancers. That was the beginning of her love affair with tango.

Kevin started dancing tango a year ago. “I was not a dancer,” he says. “Gayle brought out the dancer in me.”

Why tango: Gayle had done ballroom and Latin dancing, and she was a competitive ice skater during her teen/college years. When she saw the Garveys dance, she says, “they were in such harmony with each other, I knew I wanted to do it.”

Back story: With a man she met salsa dancing, Gayle signed up for tango classes through Mt. Tam Adult Education. About the same time, she met John Campbell who was in her Psychology of Dreams practice (a pioneer in the field of dream psychology, people come to her to understand their lives better through dreams). She recommended that he take a beginner class of Argentine Tango. “It’s a wonderful way to meet people,” she told  him. He took her advice and we know where that led!

Gayle gave up tango in 2004 to begin harness training to help her learn jumps for skating. It required that she be out early in the morning, so late night milongas didn’t work for her. But, last year she was drawn back to tango and Alma del Tango

“Tango is so much better now,” says Gayle. “A mere 20 years ago, women weren’t taught…they were just expected to follow. But, thankfully, that’s changed.”

About Debbie & John:  “They are the best teachers I’ve ever had,” says Gayle.  “They break it down, talk to the leader and follower, not like in the old days.

I feel like Rip Van Winkle, I woke up in a paradise of tango!”

Kevin adds, “I appreciate John and Debbie because they break things down and explain. You can see what you’re doing wrong. I’ve got a few bad habits I keep repeating. I’m hoping that more and more things will become second nature.”

Anything else: We’re sorry to say, Gayle and Kevin have left Marin to make their home in Florida. But they haven’t left tango. They are determined to continue dancing. Gayle’s vision is to have milonga house parties. “We will create our own tango world.”

Last word: Buen Viaje, Gayle and Kevin! We hope you’ll come back to visit and dance with us again.

Kevin Kreitzman holds his partner's beautiful tango shoe.

Kevin contemplates drinking from Gayle’s new Madame Pivot shoe. Rome, July 2019

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Rubén Juárez: The Voice. The Instrument.

By Terence Clarke, author, journalist and Alma del Tango board member

It is almost unheard of that a fine bandoneon player will sing, or that a passion-driven singer will play the bandoneon. The incomparable Rubén Juárez was celebrated for doing both.Ruben Juarez, sings and plays bandoneon

Starting out as a sometime rock and folk singer, Juaréz became a friend of Julio Sosa, a major star on the Buenos Aires tango scene who died in 1964, only thirty-eight years old, in an automobile accident. Juárez went on to devote himself exclusively to tango.

Argentine writer and poet Héctor Negro wrote about him in the magazine Los Grandes del Tango:

When he appeared on the great tango stage, there was something of a celebration on the part of old and new devotees alike, writers from various generations and different perspectives…commentators, musicians, and regular people in general. It was one of those rare cases in which someone young and new was accepted without resistance of any kind, almost unanimously recognized as a figure with a very promising future.

There was no doubt about his singing: his interpretive force, his presence, and his personality were overwhelming. He played with new themes and demonstrated that he could light up the classics as well. He was truly a figure of popular song and the stage.”

Star of stage, screen and television

Juárez made many recordings and had full careers on television and in film as well. My personal favorite recording of his is almost not tanguero, although the song itself is Malena, one of the most famous tangos ever written. At first it sounds almost like a blues tune. But as soon as his bandoneon enters in, it begins a gradual change to something more tango, and the conclusion is entirely, clearly and vibrantly tanguero.

Juárez was known for his stage appearances, and you can see an excerpt from one of them in a 2008 performance of the tango Pasional. Here Juárez showcases his rough, insistent voice (rougher and more insistent as he got older), and accompanies himself on bandoneon. I love this performance because Juárez is alone  for almost the entire song, without any other instrumental accompaniment than his bandoneon. Yet his singing is filled with anger and sadness, and he uses repeated chords, extensively, to emphasize the troubled betrayal of love about which he is singing.

“No sabras, nunca sabras
lo que es morir mil veces de ansiedad.
No podrás nunca entender
lo que es amar y enloquecer.”

(“You won’t know, will never know,
what it is to die a thousand times from worry.
You’ll never understand
What it is to love and go mad.”)

My love, Beatrice Bowles, and I had the good fortune to see Juárez in concert the year before he died, at Torquato Tasso, a small club devoted to contemporary tango that still is in operation. It is well worth a visit the next time you’re in Buenos Aires.

Rubén Juárez died in Buenos Aires in 2010. For a fine late recording of his, I recommend El Album Blanco, which is available on Apple iTunes.

Terence Clarke’s new novel, When Clara Was Twelve, will be published in March, 2020.

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Student of the Month ~ Edith Kaplan

Tango dancer Edith Kaplanby Lanny Udell

Editor’s note: Edith was our Student of the Month in December 2013.  She performed in several Alma del Tango student productions, and then took a hiatus when she left the Bay Area. We’re delighted to have her back on the dance floor.

Going off the grid

Edith left the Bay Area in 2015 to live off the grid on an organic farm in Oregon. While there, she meditated and volunteered at an organic bakery where she learned to prepare vegan gluten free foods. “I really enjoyed it,” she says.

She hadn’t danced for quite some time, but during the last year-and-a-half of her stay in Oregon she felt the call and put on her dancing shoes again.

After returning to the Bay Area in June 2019, Edith headed straight to Alma del Tango!

What’s different

“What is new for me is connecting more with the music than ever before. I think my private classes with John have sparked that feeling. They are shaping me on that, stepping on the beat at the correct moment.”

Edith feels that her dancing has improved from where she was five years ago. “What I imagined then is now physical,” she says. “I don’t compete with myself any longer. I feel free and relaxed.”

Edith is a jewel! She comes to lessons with “beginners mind,” hungry for growth. Her joy lights the room. I welcome, too, her frustrations, because I know she will persevere. She takes a moment, stands tall and with a determined smile she says, “I’m ready now! Lets try it again!” Then comes the “I did it! I didn’t think I could ever get it!” For me, this is the joy of teaching.” – John Campbell

She attends classes on Monday, Wednesday and Friday, and she is “courageously trying to learn to lead, but it’s really in the baby steps,” Edith says.

Edith the artist

A talented graphic designer, Edith has designed most of the posters and marketing pieces for Alma del Tango student and professional productions.

Collage of postcards designed by Edith Kaplan

Examples of Edith’s design work for Alma del Tango productions.

“I like to design for art projects, whether it’s dance, writing or mixed media,” she explains. “It’s different from being an entrepreneur. When the dance is done, it’s done. So the artwork is something tangible that remains.”

I love ‘partnering’ with Edith creatively. As Alma del Tango’s graphic designer she is able to take the movement ideas swirling around in my head for a project and transform them into something beautiful I can hold in my hands. It not only helps my projects become a reality but spreads the word about what is happening at ADT. We are so happy she is back.” -Debbie Goodwin

You can see all of Edith’s posters on display in the studio.

Tango around the world

A world traveler, Edith finds tango wherever she goes. She’s danced in Istanbul, Vienna and London. “Istanbul was best, there were milongas every night –- sometimes 3 or 4 a night! And the leaders were amazing – and also tall,” she says with a smile.  “It was intimidating how good they were.”

In Vienna she danced in beautiful open air milongas, in front of palaces, like the one pictured here. What’s next for the dancer/designer? We’re hoping she’ll stick around for a while.

Student of the Month Edith Kaplan in Istanbul

Tango under the stars at Karlsplatz in Vienna

Alma del Tango student Edith Kaplan in Istanbul

Edith in Istanbul

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Adriana Varela – From rock star to tango singer

Tango singer Adriana VarelaBy Terence Clarke,  author,  journalist and Alma del Tango board member

Adriana Varela may not be for everyone. Her voice is not pretty. It seldom floats and will not ease you into dreamland. But I became a fan of her voice the moment I first heard it. I feel that, if you want to hear how Buenos Aires can sound when portrayed in song, you should go to Adriana Varela and listen closely.

Varela has been a best-selling recording artist of tango since the early 1990s. Starting out as a rock singer, she paid little attention to the at-that-time accepted notion, of traditional tangos of the 1930s through 50s being those most worth listening to. So…large string and bandoneón sections playing lyrical, even romantic, versions of tangos ad nauseum. They’re all very pretty, but we dance to them over and over at the milongas, no matter where the particular milonga may be held…in Buenos Aires, San Francisco, London, Istanbul, or wherever.

The voice of Buenos Aires

Varela’s voice, however, is pure porteño, which is to say, Buenos Aires!…rough, direct, and filled with irony, often humorous, often angry. When you walk down almost any street in that city, you hear this voice and that language. It is recognizable to anyone who has enough Spanish to understand what is being said, and especially how it is being said. There is no other accent in the Spanish language quite like it.

Early in her singing career, Varela made the acquaintance of the great Roberto Goyeneche. By now internationally famous, his voice was anything but soft and pleasing. When you hear it, you know that this man, too, knows the streets of Buenos Aires’s massive urban landscape and the difficulties it can present.

The circumstances of their first meeting have become famous. Varela was singing in a Buenos Aires club one evening, and she spotted Goyeneche sitting at the bar. It was known that he did not care for female tango singers, and he spent her entire set silently nursing the whiskey before him, his back turned to the stage. At the end of her set, beset by nerves, Varela stepped down from the bandstand and approached the great man. When Goyeneche realized that the young woman was trying to get his attention, he turned to her and, without provocation, said, “Che piba, (Hey, girl) you’ve got it!” From then on, they were fast friends.

For an example of Varela’s work, watch her studio performance of Mano a Mano (“Hand in Hand.”) It’s a tough-minded tango, one of Carlos Gardel’s greatest. The lyrics tell of the crazy love the speaker has for a very high-spirited young woman he knows, although one with questionable morals. She is sought after by the worst of the local two-bit gangsters…and she often gives into them. But the speaker loves her no matter what. As the singer puts it in the last verse:

“Y mañana, cuando seas descolado mueble viejo

y no tengas esperanzas en el pobre corazón,

si precisás una ayuda, si te hace falta un consejo,

acordate de este amigo que ha de jugarse el pellejo

p’ayudarte en lo que pueda cuando llegue la occasion.”

Sadly, I can’t translate the lyrics to include the rhymes they contain, which are terrific. But here’s the essence of what they say:

“And tomorrow, when you’re broken down, an old piece of furniture,

and there is no hope in your poor heart,

if you need a hand, if you need some advice,

remember this friend here who would risk his skin

to help you any way he can, whenever you need it.”

 

The Spanish translation of Terence Clarke’s latest novel, The Splendid City, is currently seeking publication in South America.

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Navigation & Etiquette Guidelines for Milongas

(These great suggestions taken from Clay Nelson’s Burning Tango Festival)
 
1. Always move forward in line of dance.
2. Stay in your lane.
3. Move up and fill gap in front of you.
4. Use cabeceo and accept refusals.
5. Dance small figures.
6. Eyes up and avoid collisions.
7. Seek permission to enter the floor.
8. No teaching, criticizing or loud talking.
9. Clear the floor during the cortina.
10. Apologize regardless of who’s at fault.
11. Center is for beginners–good dancers stay in outside lanes.
12. Dress appropriately and have good hygiene. 
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