For some time now night has fallen. Once again we are walking through the tumultuous streets of the red light district of Paris, between the sex shops and seedy bars of Pigalle. Our hotel is near there, and what was once an unimaginable night has already become a habit. After leaving Nashville Club, past the Moulin Rouge and got deep in a dimly lit alley, between the shouts of a group of drunken shoving celebrate their misfortune.
slightly squeaky door opening and are greeted by a slap from heat and cheap perfume, while environment eyelids to get used to the darkness, broken by dim lights slightly pink shades. Heavily, we support our body in the bar and ask the usual. The usual drink, the waiter always looking at us as coolly as ever. And when our third glass is nearly empty, she appears. It is not the first nor the second ... or the tenth time you see it. In fact, if we are there is for her.
Roxanne, bad woman. Roxanne, girl of the night, whose real name is unknown. Just know that chose his nom de guerre in honor of the bride of Cyrano de Bergerac. Roxanne, female loose morals ... but do not care. Because if we are there is for her.
Tired, hot, be aware of our presence. Does not bother you, but also fills him with joy. He knows that, once again, you have to listen to our usual milonga, or any variation thereof. But business is business. If we invite Drinking will listen, as you would any other. We call for the quarter for us, yet another for her, and we jump into the abyss of the words and feelings.
His face does not change while insisting. He is no place for it, not trade for it. No one should force her to wear that dress to go out at night looking for money hidden in the lust of any stray bullet. But she seems to care little. Does not arise if he does is right or wrong. It's just work, and so we ask you do know while two more glasses. But we mortify us.
We do not want to speak with contempt and, despite knowing the futility of our words, we can not avoid saying what we feel. We do not want to share it with anyone else, we want to continue on this disastrous path that undertakes every night, from before sunset until shortly after sunrise. No, that's not the right path for her or for us. We swear to her and ourselves that this is the last time you repeat. But Roxanne only alters the blankness of his face to smile with a sneer of disdain.
hurry, remains clouded glass and we said goodbye to continue, again opposite directions. We, at the now silent street where they start to leak the first rays of sunshine in Paris. She into the local, where a man face contorted and red eyes out.
As the morning chill clings to the bones, slowly return to the hotel thinking about the futility of our words. Request has been useless. The red light will stay on your little room despite our pleas, despite confessing that we are in love with her. And back to jurarnos, this time only to ourselves, we will not return.
http://www.larevelacion.com/Musica/roxanne.html
"Roxanne" is a hit British rock group The Police, first released as a single in 1978, relaunched next year taking advantage of the growing popularity of the band. It was the second official single from the band, and possibly one of the most popular and successful. Also part of the first record of the mother band, Outlandos d'Amour as well as the live album Live. Sting had conceived "Roxanne" originally as a Bossa Nova, Stewart Copeland but referred the final to a tango rhythm.
The Argentine Tango is not.
Tango, as everyone thinks, is Argentine. But tango dies of exhaustion in between the houses at a distance greater than 200 meters. What I mean is that tango is a music city and therefore may not be typical for an entire country, let alone a country that is practically a desert. (...)
If you look at the place of birth and life of the majority of authors and composers, conductors, singers, musicians and fans, the tango is Argentine, but Buenos Aires (Buenos Aires). Thanks to the musical traditions in which it was based (and milongas candombe African and English, the Cuban habanera), are the tragic and dramatic texts (songs neapolitana), language (Castilian River Plate) , The source of its greatest creators (inpreciso still not entirely clear), instrumentation (bandoneon is a German, a typical folk orchestra is a reflection of a symphony orchestra, with Italian and European instruments), to the name (African ), the tango is global (again I repeat, not international, it is global, or worldwide ).(...)
Here is a story that proves this thesis: a musician who played tango could not get into his apartment in New York, closed in and sought help from a Brooklyn Argentinian guy, the grandson of Italians, who had just found by chance on the street. The boy climbs the stairs from outside, enters the apartment and wakes the singer (Carlos Gardel, who until today was not known whether French or Uruguay), and tells him to open the door to the violinist. When musicians give thanks, the guy says he can play the accordion, because he had learned from a master Hungarian. The famous Gardel showing interest in the boy (which is the very ... Piazzolla) and asked to play a tango. What he says in French or English this Uruguayan singer to Argentine boy of Italian origin, grown in the United States had learned to play music through a musician German Hungarian? He says, "Boy, you play the bandoneon as a English" (This anecdote is recounted in the biography of Astor Piazzolla by Natalio Gorin).
Finally, despite our mental habits that make us call everything by its name to define its origin, the tango (like Argentina) does not allow sorting and attach to a nation defined and instead oscillates between the simple and universal. This is a phenomenon that the Anglo-Saxon writer Roland Robertson called "glocalization", which means site globalization.
We can also say papal style, which ideally goes to Rome, the place of origin of these reflections, the tango is Urbi et Orbi. And to be more provocative: Argentine tango is not, then no matter what they say many nationalists who speak of him without even knowing sing or dance.
Article: El Farolito (July 2003) Author: Fernando Iglesias
An array of Jose Feliciano makes this piece the best song from the musical movie Moulin Rouge. In 2008 the group "The Tango" The album includes his first Tanga Swiat to show the world that Argentine tango is not. Piotr Rafalko sings tangos collected on the disk in several languages: Polish, Castilian (River Plate), Russian, German, Turkish, French, Finnish, Yiddish, Slovakian, Romanian, Italian and Czech.
