(Header Google on December 11, 2010 )
third consecutive year we dedicate a few lines and a word to Carlos Gardel, the universal King of Tango, who was born this day as a, 11 December, but played with year and country: Uruguay claims that he was Tacuarembó in 1887 in France, Argentina (and most of the rest of the world) agree that it was in 1890 in Toulouse, southern France.
Gardel once again have to say and never tire of repeating, was 1 great Latin American artist of universal projection, the first artist of this great region that broke the power of formats and media available to then (vinyl records, radio and film) to become an idol like no one not of thousands but of perhaps millions of people to achieve their image and voice an impact far beyond what could an artist so far .
(Gardel singers live for Radio Caracas Radio, 1935)
For the first time its power of penetration will allowed to stand not only as a singer of the Río de la Plata, for a purely local audience, but his figure was released in destinations as far away (to Buenos Aires and Montevideo) and Caracas, Mexico City, Havana, Madrid, Nice, Paris and New York course. There was no one that within such a relatively short (about 10 years) had achieved such success simultaneously, so set the precedent for new generations of Latin American artist who would use those same strategies to succeed in their home countries after Latin America and eventually the world.
And it would be: Gardel was the first to point the way and open the door to figures (just to name a few) and Jorge Negrete, Pedro Infante, María Félix, Mario Moreno Cantinflas, Carmen Miranda, Tito Puente, Ricky Martin, Celia Cruz, Sandro, Jose Luis Rodríguez, Roberto Carlos, Ruben Blades, Juanes and Shakira, among many others, who have succeeded in highlighting and making the world our latinidad universal.
His fame, was indisputably linked to the genre that catapulted him to fame and established him as a singer: the tango, the anthem of disaffection in the Rio de la Plata, particularly in the streets of Buenos Aires reached a character existential music and soul of the city was not a genre of songwriters, professional musicians and dance halls, no. It was a dramatic art that reflected the passions of real life, the streets themselves, full of real human beings-indeed, suffering, dreams dreamed and struggled in a tough world and sometimes cruel.
No one doubts that the tango "is a genre for masochists" for what there is nothing black or dramatic point of one of them, but that is its hallmark, as the Rumba , Salsa, Merengue Guaracha or holidays are singing genres with joy (and busy) the funny things in life, Tango is concentrated on those other things that make the other half of life, the sad and hard, making it much with the other sister genre of love and indifference Iberoamerican Bolero and somehow the Mexican Ranchera, Latin American genres that have been transforming the saddest chronic melodious passions that make an anonymous listener immediately identify with what describes the lyrical drama because that sings the Tango, Ranchera Bolero or even when discussing a particular story, he plays very universal elements.
In the case of tango, the bitterness of life, the pain of poverty, betrayal of love affairs, duels to win a wish, underpay women, false friends, the torn family and all the disappointments that makes existence when reviews the past are themes addressed by this magnificent lyrical hymn to life that is the tango, because if it is true that life is beautiful "not everything is rosy" and there's the Tango to recall, explain and describe.
(Gardel Monument in Caracas)
And nobody better than Gardel to sing crudely torn and all the world has many thorns Rose of human existence ...
Health che Carlitos, a year of your legend, because every day you sing better!
Thanks for reading!
Dantesol
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