(Note from SentirTango: If you haven´t read yet the first part of this article we recommend you do that first by clicking here)
We will base next the performance of tangos in downtown bars:
The courts of the capital ordered the police to proceed to the capture of Jesús M. Villanueva, owner of the bar that was, until very recently, in one of the corners of streets Florida and Tucumán, for being accused of bankruptcy with fraud.
In a hovel downtown ran by a Galician, it’s common to see drunkards of the most diverse origins and pedigree meet. It’s unusual not to see an argument between the Galician and one of the customers. Sometimes because somebody pretends to leave without paying, sometimes because one of them tried to light a cigarette…the thing is that the Galician carries with him a folding knife, which he waved in several occasions threatening to use it.
It’s well-known Gardel´s tendency to modify the lyrics he was going to sing. The examples are countless and obey to several reasons. As an example, it could be mentioned the changes made on the original lyrics of “La Gayola”, “Tango Argentino”(1), “Muñeca brava”(2), the differences in the disco versions of “Haragán”, “Como todas” or “La Cumparsita”- where he leaves out the verse that starts “sin embargo yo siempre te recuerdo”(Nevertheless I always remember you), which he had sung in a previous version- and so many variations that we will never be able to know about.
It doesn’t cease to attract attention the particularity of this expression that we name tango. Especially in its dance we find something very attractive; it’s the encounter of the sexes that proclaims consideration in the middle of an
androgynous social tendency that tends to destroy the link between the man and the woman.
We were saying at the end of the previous article that the original meaning of the voice lunfardo in the Buenos Aires of the last third of the XIX century, as well as its identification with a delinquency jargon by some authors, made many think –even Borges- that it was a delinquent vocabulary.
In a hovel downtown ran by a Galician, it’s common to see drunkards of the most diverse origins and pedigree meet. It’s unusual not to see an argument between the Galician and one of the customers. Sometimes because somebody pretends to leave without paying, sometimes because one of them tried to light a cigarette…the thing is that the Galician carries with him a folding knife, which he waved in several occasions threatening to use it.
It’s well-known Gardel´s tendency to modify the lyrics he was going to sing. The examples are countless and obey to several reasons. As an example, it could be mentioned the changes made on the original lyrics of “La Gayola”, “Tango Argentino”(1), “Muñeca brava”(2), the differences in the disco versions of “Haragán”, “Como todas” or “La Cumparsita”- where he leaves out the verse that starts “sin embargo yo siempre te recuerdo”(Nevertheless I always remember you), which he had sung in a previous version- and so many variations that we will never be able to know about.
It doesn’t cease to attract attention the particularity of this expression that we name tango. Especially in its dance we find something very attractive; it’s the encounter of the sexes that proclaims consideration in the middle of an
