hard to imagine something more free the tango, and most mixed. Born in the urban periphery, the son of German bandoneon and Neapolitan song. He spoke in English, Lombard and gipsy. She danced with Andalusian and African fever sinuosity. He was despised by intellectuals and condemned by the Vatican. Can you think of something freer and mestizo? And yet, even the tango fell sclerosis. Appeared high priests, guardians of tradition, fees unchanged. Had to resort to the madness, the same madness foundation, to renew the invention. That someone did 40 years ago, in 1969. Someone who heard in his head a simple phrase: "I know I'm crazy." Sometimes
confuse the crazy, or Pianta, with the madman. Careful with that. Julio Cortázar, in a passage of Around the day in 80 worlds, stressed the difference: "To understand a fool should be a psychiatrist, but never reaches, to understand a piantados enough sense of humor."
The phrase "I know I'm crazy" it occurred to Horacio Ferrer on the way home by Astor Piazzolla. The master Piazzolla, half of New York, took some time flirting with heterodoxy. His masterpiece, tango instrumental Adios, Nonino, had furrowed brows and wrinkled noses among the priesthood tango. Horacio Ferrer said his sentence and Piazzolla a week he was made the revolution, with the title Balada para un loco "I know I'm crazy, crazy, crazy, do not you see the moon rolling in Callao, a parade of astronauts and children, with a waltz dances around me ...". And that was supposed to be a tango lyrics. The tango was born of frustration erotic lonely immigrants, whores and soaked machismo, ran into a crazy who spoke softly, and waltz, children and astronauts. The last straw. Piazzolla and Ferrer
presented soon after his work, sung by Amelia Baltar (Piazzolla's wife), in Buenos Aires Festival of Song and Dance. The jury, which included the likes of Vinicius de Moraes (The Girl from Ipanema) or Chabuca Granda (The flower of the cinnamon), gave the highest number of votes Balada para un loco. Faced with this subversion of the fee, the organization, including a great scandal, changed the rules and gave the prize to the runner.
was a wasted effort, because in a few days the song was on disc, and a few more days, five to be exact, had sold 200,000 copies. Not much, considering what happened next. In Buenos Aires Festival was Roberto Goyeneche Polish, who had sung in orchestra of Anibal Troilo and came to be, at this stage, as the gold standard of the matter: tango was what came out of Goyeneche, period. The Police, which had recently caused alarm with a disk that classic versions as Back miss certain jazz, took the side of subversion: it also recorded Balada para un loco, and this act was not could only be declared officially renewed the tango, but it established a peculiar relationship between the tango and Argentine rock rising Nebbia, Spinetta et al. Goyeneche
sang Balada para un loco until the end of his life. Until her wonderful duet with Adriana version Varela, when he was the voice of pure sand, the liver turned to dust and vacuum oxygen needed between sentences. Until he closed his career in a big rock concert with people like Morris, Baglietto and Nebbia own.
Horacio Ferrer, whose head rang for the first time "I know I'm crazy", is still alive. Piazzolla died in 1992. El Polaco Goyeneche died two years later, in 1994.
Please listen again Balada para un loco. With this simple song, so simple, "Love me, crazy, crazy, crazy, Climb to the tenderness of crazy in me, put on this wig larks and volatile tango ...", escaped the disappointment and bitterness. And he gave the final leap to freedom. -
Here are two versions:
0 comments:
Post a Comment