Argentine Tango Quotes

The Argentine tango isn't here to play nicely with the other children. The Argentine tango is here to seduce your women, spill things on your rug, and sneak out your bedroom window in the middle of the night.

It was an Argentine tango, fierce and sexy, and Reed was delicious with it. With his confident and elegant movements, their dance was almost like having sex with their clothes on.

A history of nightlife!--what an interesting concept. A history of a people, told not through their daily travails and successive political upheavals, but via the changes in their nightly celebrations and unwindings. History is, in this telling, accompanied by a bottle of Malbec, some fine Argentine steak, tango music, dancing, and gossip. It unfolds through and alongside illicit activities that take place in the multitude of discos, dance parlors, and clubs. Its direction, the way people live, is determined on half-lit streets, in bars, and in smoky late-night restaurants. This history is inscribed in songs, on menus, via half-remembered conversations, love affairs, drunken fights, and years of drug abuse.

The Argentine tango. Because, sometimes, dirty dancing comes with rules.

they dance so fast, good and evil, these two polar opposites. So tightly and furiously. You can’t dance with just one of these partners. If you cut into their dance, you end up with both, as a threesome. And if you fear cutting into the dance and taking a spin with good and evil, you end up dancing with the cross-eyed, ugly chaperone. Even the deepest, most wondrous love can sometimes bring you to that dismal dance, and then every single tune is a tango. A bad tango composed by an angry, drunken Argentine just for you and your loved one. A tango that never ends. But back to those Cuban parties: no dancing there. None at all. Furious

I was extremely shy of approaching my hero but he, as I found out, was sorely in need of company. By then almost completely blind, he was claustrated and even a little confused and this may help explain the rather shocking attitude that he took to the blunt trauma that was being inflicted in the streets and squares around him. 'This was my country and it might be yet,' he intoned to me when the topic first came up, as it had to: 'But something came between it and the sun.' This couplet he claimed (I have never been able to locate it) was from Edmund Blunden, whose gnarled hand I had been so excited to shake all those years ago, but it was not the Videla junta that Borges meant by the allusion. It was the pre-existing rule of Juan Perón, which he felt had depraved and corrupted Argentine society. I didn't disagree with this at all—and Perón had victimized Borges's mother and sister as well as having Borges himself fired from his job at the National Library—but it was nonetheless sad to hear the old man saying that he heartily preferred the new uniformed regime, as being one of 'gentlemen' as opposed to 'pimps.' This was a touch like listening to Evelyn Waugh at his most liverish and bufferish. (It was also partly redeemed by a piece of learned philology or etymology concerning the Buenos Aires dockside slang for pimp: canfinflero. 'A canfinfla, you see,' said Borges with perfect composure, 'is a pussy or more exactly a cunt. So a canfinflero is a trafficker in cunt: in Anglo-Saxon we might say a 'cunter."' Had not the very tango itself been evolved in a brothel in 1880? Borges could talk indefinitely about this sort of thing, perhaps in revenge for having had an oversolicitous mother who tyrannized him all his life.)

Then the zoo to say hello to the Moon Bear in his pit. Then out for Vietnamese iced coffees at the sketchy place we like downtown, where I almost got shot. “You did not almost get shot, Smackie. Jesus Christ. That was a car backing up or something,” she said when I brought it up. “Yes, I did.” “You need to get out more.” “I get out. I’m out with you, aren’t I?” Now we’re back at her place drinking the sangria she made that’s so strong I’m pretty sure it’s poison. It’s that time of evening she calls the hour between the dog and the wolf. A time that actually makes this sorry swath of New England beautiful, the sky ablaze with a sunset the color of flamingos. We’re on her sagging roof, listening to Argentine tango music to drown out the roaring Mexican music next door.

Fake it till you become it. My first Argentine tango was with Lil’ Kim, and again, I was completely learning it as I went along. Now it’s become one of my favorite dances to do. Whenever people say to me, “You’re such a great choreographer,” or I look at my Emmy learning it in my apartment, I remind myself that I came into DWTS with no experience, no education in many of these dances, and certainly no clue how to teach anything to anybody. I simply committed to learning them and then taught them to my partners. I drew upon how I had been taught and what I thought my partners would respond to. I felt my way along, just as they did, till I became the teacher I wanted to be. I threw myself into the effort without hesitation because I had no choice. There were only two options: I could go out there and throw my hands up and say, “Just kidding! I’m a phony,” or get it done. I couldn’t let myself or my partners down. This was the stage I was given, and I always want to be the best at whatever I’m doing. I never wanted my partners to feel they couldn’t rely on me. I had to go in there and make it happen. With that mentality, I found a way.

Fishermen lean on the railing. There are kiosks at regular intervals that grill meats for truck drivers and others who want a quick lunch. Bags of charcoal piled by the sides of the kiosks will supply the heat to grill blood sausages, steaks, hamburgers, and various other cuts of the legendary Argentine flesh that sizzles during the early part of the day in anticipation of the lunch crowd. Many of the kiosks advertise choripan, a conjunction of chorizo (sausage) and pan (bread). There’s another offering called vaciopan, which literally means empty sandwich, but it also is a cut off the cow. This is not a place for vegetarians. The slang here, called lunfardo, is many-layered and inventive. There’s even a genre of slang called vesre when you reverse the syllables—vesre is reves (reverse) with the syllables reversed. Tango becomes gotán and café con leche becomes feca con chele. Sometimes this is compounded and complicated even further when a euphemism for something—a word for marijuana or one’s wife—is pronounced backward, adding yet another layer of obscurity to a slang that already approaches a separate language.

A lot of the missing blanks in Argentine Tango aren't obvious. You need a lot of miles on the dance-floor, talking to the right people, maybe knowledge of other seemingly unrelated disciplines and a bit of luck to figure them out. Musicality suffers a lot from the opposite problem. For social dancing, musicality really isn't hard. The problem is that the dancers who are good at it tend to assume that a lot of things are just obvious. They naturally step on the beat – doesn't everyone?

Cultural Diplomacy—and an Accolade Among Piazzolla’s tasks during his first summer at the Chalet El Casco was the composition of “Le Grand Tango,” a ten-minute piece for cello and piano commissioned by Efraín Paesky, Director of the OAS Division of Arts, and dedicated to Mstislav Rostropovich, to whom Piazzolla sent the score. Rostropovich had not heard of Piazzolla at the time and did not look seriously at the music for several years.7 Written in ternary form, the work bears all Piazzolla’s hallmarks: tight construction, strong accents, harmonic tensions, rhythmic complexity and melodic inspiration, all apparent from the fierce cello scrapes at the beginning. Piazzolla uses intervals not frequently visited on the cello fingerboard. Its largely tender mood, notably on display in the cello’s snaking melodic line in the reflective middle section, becomes more profoundly complex in its emotional range toward the end. With its intricate juxtapositions of driving rhythms and heart-rending tags of tune, it is just about the most exciting music Piazzolla ever wrote, a masterpiece. Piazzolla was eager for Rostropovich to play it, but the chance did not come for eight years. Rostropovich, having looked at the music, and “astounded by the great talent of Astor,” decided he would include it in a concert. He made some changes in the cello part and wanted Piazzolla to hear them before he played the piece. Accordingly, in April 1990, he rehearsed it with Argentine pianist Susana Mendelievich in a room at the Teatro Colón, and Piazzolla gently coached the maestro in tango style—”Yes, tan-go, tan-go, tan-go.” The two men took an instant liking to one another.8 It was, says Mendelievich, “as if Rostropovich had played tangos all his life.” “Le Grand Tango” had its world premiere in New Orleans on April 24, 1990. Sarah Wolfensohn was the pianist. Three days later, they both played this piece again at the Gusman Cultural Center in Miami. [NOTE C] Rostropovich performed “Le Grand Tango” at the Teatro Colón, Buenos Aires, in July 1994; the pianist was Lambert Orkis. More recently, cellist Yo-Yo Ma has described “Le Grand Tango” as one of his “favorite pieces of music,” praising its “inextricable rhythmic sense...total freedom, passion, ecstasy.