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Digest from 3 Dec 1999 to 4 Dec 1999

Reply-To: Discussion of Any Aspect of the Argentine Tango          <TANGO-L @MITVMA.MIT.EDU>
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Date:     Sat, 4 Dec 1999 03:00:05 -0500
Sender: Discussion of Any Aspect of the Argentine Tango          <TANGO-L @MITVMA.MIT.EDU>
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Subject:  TANGO-L Digest - 3 Dec 1999 to 4 Dec 1999 (#1999-80)
There are 8 messages totalling 323 lines in this issue.

Topics of the day:

  1. The lady leaning "heavy" on the man (2)
  2. Translation:  About Shows in Argentina: Tango Argentino and Forever Tango
  3. Enrique Cadmcamo
  4. BURN THE FLOOR reminder & preview by Karen Campbell in today's Globe
  5. Enrique Cadicamo
  6. Argentino Ledesma
  7. LADY LEANING "HEAVY"





Date:    Thu, 2 Dec 1999 18:08:57 -0800
From:    Alexis Cousein <al @BRUSSELS.SGI.COM>
Subject: Re: The lady leaning "heavy" on the man

SERGIO wrote:
> The lady is taught from the very beginning, (correctly), to have a firm
> frame "as if your shoulders and elbows were in a cast".

I'd rather avoid this problem by using a metaphor less prone to
incorrect interpretation -- a cast is hardly easy for a good connection
unless the leader also has a cast with perfectly matching profile, and
perhaps a bolt or two ;).

I tend to just say "a firm frame", and if I want to stress the fact that
you really want a connection not at just a few points but over the
entire arm/shoulder/etc., I just tell the lady to "wrap these parts of
the frame over me like a wet towel" -- implying a much more passive "let
gravity do its work to connect" than "lean, you dammit, run the leader
into the ground", and also implying a less cast-iron-doesn't-adapt
stance (that latter stance tends  to lead to a connection that's not
very well spread over the entire space over which the frames should be
connected -- and everyone knows that if you want to glue two things
together, you don't just put glue on one spot, but on the entire contact
surface ;) ).





Date:    Thu, 2 Dec 1999 18:49:39 -0600
From:    "kata @pitton.com" <kata @PITTON.COM>
Subject: Translation:  About Shows in Argentina: Tango Argentino and Forever
         Tango

Hi to all tangueros around the world,

Here are some reviews from Buenos Aires of the shows Tango Argentino &
Forever Tango, in the Opera Theatre and the Colon Theatre [respectively].
The reviews were written by the prestigious tango critic Irene Amuchastegui
[and are in Spanish].

Review of Tango Argentino in the Opera Theatre:
http://www.clarin.com.ar/diario/99-11-05/c-00801g.htm

Review of  Forever Tango in the Colon Theatre:
http://www.clarin.com.ar/diario/99-11-27/c-01201d.htm

If someone wants to translate this email into English, I'd be grateful.

Regards,
Lidia Ferrari  from Buenos Aires
lferrari @buenosairestango.com
visit www.buenosairestango.com





Date:    Fri, 3 Dec 1999 12:44:50 -0500
From:    Richard Lipkin <ezie @EROLS.COM>
Subject: Enrique Cadmcamo

I have just received word that Enrique Cadmcamo, the composer of many
tangos including  Muqeca brava, Compadrsn, and Los mareados has died at
the age of 99 years.

Richard





Date:    Fri, 3 Dec 1999 13:24:38 +0000
From:    Anne Atheling <atheling @EARTHLINK.NET>
Subject: BURN THE FLOOR reminder & preview by Karen Campbell in today's Globe

TODAY (yes, TODAY !) check out Karen Campbell's preview in the Living
Section of the Boston Globe..

And calendar and set your VCRs for Sunday, December 5th on WGBH for
"BURN THE FLOOR" - a "GREAT PERFORMANCES" ballroom dance special.

=95 Sunday, Dec. 5 at 6-8PM on Channel 2 =20
=95 Wednesday, Dec. 8 at 10AM-noon on Channel 44
=95 Saturday, Dec. 11 at 10:10PM-12:10AM on Channel 44

And the good news is out..on April 13-16, 2000, BURN THE FLOOR will come
to the Wang Center in Boston.=20

This reminder is brought to you by Anne Atheling, Ballroom
Dance enthusiast. Please remind your friends, etc...





Date:    Fri, 3 Dec 1999 13:33:23 -0500
From:    Richard Lipkin <ezie @EROLS.COM>
Subject: Enrique Cadicamo

Here is the bulletin from Clarin On-Line. I am sure there will be much
more news in the coming days concerning the death of Enrique Cadicamo.
""""
3/12/1999 - 12:32
Murio Enrique Cadicamo
El compositor de tangos, de 99 anos, estaba internado desde el viernes
en la clinica de la Fundacion Favaloro, adonde habia ingresado por una
indisposicion cardiaca.
""""
Translation:
"Enrique Cadicamo has died.
The tango composer, 99 years of age, had been hospitalized since Friday
in the Fundacion Favolaro clinic,  where he had been admitted with heart
problems."

Here are some of the songs which he composed or collaborated on:
A pan y agua
Apologia tanguera
Ave de paso
Che bartolo
Compadron
Cuando tallan los recuerdos
De todo te olvidas
Desvelo
El aristocrata
El cuarteador
El lloron
El morocho y el oriental (Gardel Razzano)
Garua
Gran Senor
La barranca
La luz del tambor
La que nunca tuvo novio
Lagrimitas de mi corazon
Los mareados
Madame Ivonne
Mascarita
Mientras gime el bandoneon
Muneca brava
Naipe
No creas
No hay tierra como la mia
Nostalgias
Olvidao
Otros tiempos y otros hombres
Palais de glace
Pocas palabras
Quien te ve
Rondando tu esquina
Santa Milonguita
Se han sentado las carretas
Sentimiento malevo
Sollozo de bandoneon
Tres amigos
Vieja recova
Viejas alegrias





Date:    Fri, 3 Dec 1999 20:30:35 +0100
From:    Natarajan Balasundara <rajan @EMC.COM>
Subject: Re: The lady leaning "heavy" on the man



Original Message-----
From: Alexis Cousein <al @BRUSSELS.SGI.COM>
Date: Friday, December 03, 1999 9:01 AM
Subject: Re: The lady leaning "heavy" on the man


>SERGIO wrote:
>> The lady is taught from the very beginning, (correctly), to have a
firm
>> frame "as if your shoulders and elbows were in a cast".
>
[ stuff deleted ]
>entire arm/shoulder/etc., I just tell the lady to "wrap these parts of
>the frame over me like a wet towel" -- implying a much more passive
"let
>gravity do its work to connect" than "lean, you dammit, run the leader
>into the ground", and also implying a less cast-iron-doesn't-adapt
>stance (that latter stance tends  to lead to a connection that's not
>very well spread over the entire space over which the frames should be
>connected -- and everyone knows that if you want to glue two things
>together, you don't just put glue on one spot, but on the entire
contact
>surface ;) ).
>

I think a single metaphor, whether it be a "cast" or a "wet towel" is
misleading
at different moments.

Two weeks ago one of the followers could not do  boleos which I thought
I was
leading.  The  reason as far as I can see was that she  was too "pliant"
like a
 "wet towel" or "dough" so I could not get the necessary  "spring
action" or a
pendulum action which requires certain amount of tightness near the
waist-- this
is the support on which the pendulum swings. If this is not  stiff, the
whole body
abosrbs the motion and there is no pendulum swinging but the whole clock
swinging which makes it difficult for a boleo. Of course, I apologized
since I should not be leading someone to do  something that they can not
do as
much as I myself would not want to be forced  to do something I can not
do.

And four weeks ago, I was dancing with a different partener and it was
apparent
that she was from out of town because of the rigidness as well as the
amount
of weight that she put on me as she was leaning on me. So, the first
dance we
danced with much caution and very close embrace(since increasing the
distance
would have meant more weight on me). Since the first dance went ok, I
decided
to increase the distance a little bit more, open up and do some figures
in the second
dance. All of a sudden, I felt as if something fell on me and soon I
realized that she
was fully  leaning on me and was on  her toes with feet crossed! There
was no way
she was going to be able to stand up on her own. It was as if a  full
human sized
oscar statue ramrod straight had fallen on my shoulders. It took about
three beats
of music,  much struggle, and some amusement to stand her up again.
Fortunately  since nothing went terribly wrong, we were able to smile it
away and
danced two more dances-- in close embrace ofcourse--and with no chances
taken.

I guess the degree of stiffness in general depends on the tightness with
which the
leader holds the followers hands (within limits the follower can bear,
ofcourse! on
at least two occassions I have held it much tighter than that--  with
obvious unpleasant
consequences it would mean....) and in a single dance this could
varied....


rajan.





Date:    Fri, 3 Dec 1999 17:44:33 EST
From:    Richard deSousa <M1APORT @AOL.COM>
Subject: Argentino Ledesma

Hi List:
I recently purchased a CD filled with milongas - "Milongas.... Pa'Sacarle
Viruta al Piso",  EMI Cat #8-28544-2.  One of the selections "Zapatitos de
Raso" is interpreted by a vocalist name Argentino Ledesma.  I would like to
purchase other CDs by Ledesma.  Are there any another CDs by Ledesma?
Thanks.
Rich deSousa





Date:    Fri, 3 Dec 1999 21:33:44 -0500
From:    SERGIO <SERGIO @NCINTER.NET>
Subject: LADY LEANING "HEAVY"

Rajan wrote among other comments:

"All of a sudden, I felt as if something fell on me and soon I
realized that she
was fully  leaning on me and was on  her toes with feet crossed! There
was no way
she was going to be able to stand up on her own. It was as if a  full
human sized
oscar statue ramrod straight had fallen on my shoulders. It took about
three beats
of music,  much struggle, and some amusement to stand her up again."

It seems that she did "The Bridge". (El Puente).
This is a beautiful figure that is generally lead when the woman is on her
right foot. At the end of a backward "Calesita"
(Carrousel), for instance. With full chest contact the man walks backwards
while the lady stays in place, this causes her to adopt an oblique position,
more parallel to the floor. She normally places her weight on the toes of
her right foot and might cross the left behind the right one. This position
is kept for a few beats and then the normal dancing position is retaken.
During the bridge the man may move sideways, backwards, (dragging her) or
forward pushing her, (more difficult, this requires a nice sliding floor).

But then, maybe I am wrong. I do not know what else that could be.

">> The lady is taught from the very beginning, (correctly), to have a
firm
>> frame "as if your shoulders and elbows were in a cast".
"Arms in a cast". I do not use this metaphor, I was exemplifying how
instruction, although correct may cause ladies to end up dancing "heavy".

"...entire arm/shoulder/etc., I just tell the lady to "wrap these parts of
>the frame over me like a wet towel" -- implying a much more passive
"let
>gravity do its work to connect" than "lean, you..."
"Wet Towel", as I understood it referred just to the placement of the lady's
arms around the man's body; it did not mean a poor frame, which was what
Rajan's partner seemed to have.





End of TANGO-L Digest - 3 Dec 1999 to 4 Dec 1999 (#1999-80)
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