Another aspect often not taken into account by those that write about the “history” of tango in its “forbidden music phase” (that is in the limits of the XIX and XX centuries), is the industrial-commercial face (in short, MONEY) involving tango. Its ignorance –or fallacious concealing- takes them to theorize about exclusively marginal environments where it would have been born, evolved and remained until the beginning of the XX century.
We inaugurate the section of artcles in which users can submit any fiction text they have authored. We will include short stories, poetry, impossible characters, fables, etc... always around the tango subject. As a prologue to this section, I invite you to read this fragment of the First Manifesto of Surrealism written in 1924 by André Breton, which is in a way an apology of imagination. I hope that its reading will be stimulating.
Irma received me in her apartment of the Nuñez district, after several frustrated attempts to see her, because a couple of times when I had called her she had told me that it was too hot. Finally a rainy day i called her and she agreed on us meeting. When i arrived, we sat down, she served a glass of water and we started talking.
(Note from SentirTango: If you haven´t read the first part of this article we recommend you to do so beforehand clicking here)
Gardel performs then –as i said- each of the lyrics in his tangos in such a way, that maybe the public ends up assimilating the performance with reality, or with his fantasy of reality, which is similar, of course not consciously.
To say that Tango is a sexual object doesn’t seem absurd.
Starting to think that there is a sexual super valuation in Psychology of this beloved object, that extends unavoidably to everything associated with it, would be to paraphrase Freud himself when he wrote back around 1905, about the sexual aberrations in his Three Essays for a Sexual Theory.
Another aspect often not taken into account by those that write about the “history” of tango in its “forbidden music phase” (that is in the limits of the XIX and XX centuries), is the industrial-commercial face (in short, MONEY) involving tango. Its ignorance –or fallacious concealing- takes them to theorize about exclusively marginal environments where it would have been born, evolved and remained until the beginning of the XX century.
We inaugurate the section of artcles in which users can submit any fiction text they have authored. We will include short stories, poetry, impossible characters, fables, etc... always around the tango subject. As a prologue to this section, I invite you to read this fragment of the First Manifesto of Surrealism written in 1924 by André Breton, which is in a way an apology of imagination. I hope that its reading will be stimulating.
Irma received me in her apartment of the Nuñez district, after several frustrated attempts to see her, because a couple of times when I had called her she had told me that it was too hot. Finally a rainy day i called her and she agreed on us meeting. When i arrived, we sat down, she served a glass of water and we started talking.
