Enrique Cadícamo, author of two hundred titles, some of them worthy of inclusion in an anthology of the best music citizen like "The mareados", "The house of my old" or "Nostalgias".
Source: MagazineSeven days, 15 August 1975, P. 50-52.
Veteran lyricist and writer is now preparing to publish a book, "The history of the tango in Paris", of which, Of course, It is also the protagonist. In a talk with Seven Days, the teacher toured the landmarks of his biography rich, wherein Gardel are present, Razzano and Cobián.
Just a couple of hundred titles composed -The seasick, nostalgias- sufficient to assure a place of prominence in the parnaso to the doors of avalanches hit verseadores but only some elected poets get franking. as Manzi, as Discépolo, Enrique Cadícamo integrates a race of bards popular fine, rare lyricism, obstinately deaf to the seduction of predictable rhymes, those that combine mud and murky tango or suburb and harass -sometimes successfully- Stoics files SADAIC.
Many of his lyrics were set to music by Juan Carlos Cobian, He is known as "the Chopin of the tango" (The house of my old, Mist Creek and the aforementioned Nostalgia and Los mareados); other, as Garúa and Pa bailen boys, They had as a music associated with Aníbal Troilo; The three are corners and dark-haired and East are inextricably linked to Angel D'Agostino and the voice of another angel unforgettable timbre: angel Vargas.
Of all his subjects 23 They were beatified by the voice of Gardel: since Cadícamo compose his debut -Tango Soap bubbles- Thrush she made him something of his lyricist header. In order composed, just in France, the hit Anchored in Paris, a kind of requiem for so many frustrated dreams Buenosaireans legs.
Of course even if not mediate these two hundred titles that cemented his popularity, Cadícamo had achieved fame for his work as a poet and writer, evidenced in his books and brings leading wind, Moon shoal and waitresses Coffee, warm testimony, the latter, Buenos Aires an unrecoverable. A new title, edited by Corregidor, It is added to the literature soon Cadícamo: The history of the tango in Paris, a work of which the author was, of course, enthusiastic protagonist. inveterate traveler, He spent long periods of his life in Madrid, Barcelona, Roma, London, New York, and of course Paris. Alluding to his hometown and this nomadic vocation, the poet César Tiempo usually call Cadícamo Ulysses Lujanero. another poet, Héctor Blomberg, She said of him that "has the blood of nomads and sweet evil walking". But nevertheless, EC now seems to be firmly anchored in La Lucila, where do you live, in a cozy cottage, with his young wife Nelly and Monica, if daughter 12 years, which he defines as "the most wonderful tango I wrote in my life."
On all these milestones in his long biography -Cadícamo was born with the century of next stay at Luján, of which his father was butler- Seven Days Chatted, last week, By the author of turn. What follows are some of the most significant sections of the meeting.
The swish of Gardel
How was his poetic vocation?
Actually, It gave me everything I giddily. I entered circumstantially in contact with poetry because I got a job at the National Education Council. Although I was a mere archivist, próceres was surrounded by figures in points, as Leopoldo Lugones and Enrique Banchs. Next to my desk working Pablo Suero, extraordinary poet, libels writer, demolishing false Reputations: he was, initially, My director readings.
How that time dates his first book?
So is. Gray was called Songs, a lyrical work not worthy to be taken into account that, but nevertheless, He deserved some nice lines Lugones in The Nation, for attention, surely.
And its beginnings as tango lyricist?
They were after my literary debut. Tanguero of the environment alone knew a little Roberto Goyeneche was, father of the popular Polish, an excellent classically trained pianist. To him I showed him, shyly, newly composed song: It was called Soap bubbles. He excited that put music right away. The thing did not stop there because Undertakers quickly reached the hands of Gardel, who wanted to record it soon. For me it was the accolade. For those -fines times of the decade of the 20- Gardel was already a star.
How did you meet him?
The link was José Razzano. Pepe was a kind of messiah of young authors. Since both lived in Flores, one night, homecoming, I found it in the basement and told him my desire to meet Gardel. "Clear, kid, 'he said- if he also wants to know who is you ...!"And there just set me an appointment to see a variety show which occurred in Lavalle to the 1100.
Agreed on Carlitos I waited in the hall of the theater and when he came to meet me first thing he told me was: "Pucha, How like Julio Navarrine sos ", it was another lyricist author of hits like the light of an oil lamp and bitter Tango. Well ... if Carlos said it, we would have something in common: age or light eyes, I do not know. All I remember is that I was looking at him like a being from another planet. I patted his back and from that day were friends. Out several times together, I had to take ice cream Vesuvius, Corrientes Street or the Saverio, de San Juan, Carlos was very sweet, he used to take a mouthful of water every time you eat something sweet; as was the victim of fatness, gárgara supposed he eliminated the sugar.
And at home they did you problems by linking with tango?
I had the distinct things. On the one hand the family and the other, the tango. My father knew I worked at the Board of Education and that was enough: It not meddled at all in my world sacred. Of course I was wary of the ways: not return home at dawn, I alternated my home with a small apartment he rented in Florida and Viamonte. There I was writing until very late. But not everything was working and trasnochar: I was also a member of a club Flores, where (even though he never played sports) I joined with notable athletes; some of them, real stars of amateur boxing as the O'Connor brothers, Cock, journalist Billy Kerosene ...
How was your European experience?
The idea of knowing the old world fascinated me and also needed to take some distance with my work. Around that time, since Enrique Saborido, author of La morocha, She fascinated the French aristocrats with their American pint, all the inhabitants of the night porteña dreamed dive into the sweet lap of the City of Light. I went first to Barcelona, where he was the trio Irusta event, Fugazot and Demare. They had popularized two of my issues to the point that in a local evening appeared one day the headline: "Absolutely no singing Ramona and in a small town in Spain". They were right: these issues had become worse than the flu epidemic. One day I received a letter from Guillermo Barbieri, who he was in Nice accompanying Gardel: I asked a topic for Carlos premiered in Paris. I excited about the idea I happened to write about the history of many Argentine boys who came to Paris determined to conquer and then left in Pampa and route.
So he Anchored born in Paris?
effectively. The night of the Parisian debut was unforgettable Gardel: was the tout Paris, the Mistinguette, Lucien Boyer, Maurice Chevalier, Japanese painter Fuyita, with kimono and everything and even Moro Gafieri, the lawyer who defended the sadly famous Landrú. Shortly before Carlos began to sing, I saw him in his dressing room. He was doing gymnastics. A) Yes, naked all, He took the guitar and played a few bars of soap bubbles: "Do you remember this, kid?”, I said smiling. What a thrill! About ten years ago I returned to France again and when I saw how the night in Paris changed, I almost started to cry. What was done, I was wondering, of cabarets like El Garrón, the Palermo, the Seville, the Chez Pizarro? What was done, a fine, of that nightlife in which I skated everything I charged for copyright?
The poet
Cadícamo's youthful appearance contrasts with his nostalgic, inveterate adherence to an irretrievable yesterday. With undeniable emotion, exhibits old, yellow photographs, some affectionately dedicated by Gardel; other, by Juan Carlos Cobián, the one associated with his most persistent successes.
How was Cobián?
He was a strong boy, alto, that more than a pianist he looked like a boxer. I always admired it, even from my childhood. He told me that in the year 1922 He went to the United States but as he was totally unprepared he did not notice that, at that time, In the country of the North, Prohibition prevailed. "Had I known, was not going!”, used to say. He did not do very well and to survive he had to play jazz, thing he did better than the americans. He always lived like a bohemian, but high-flying. I could not bear the mediocre. He used to be seen in an impeccable tuxedo, sometimes without a peso in the pocket. Musically he was a true talent. He left a new form in tango, Elegant, virile, impossible to imitate.
And how do you see tango today?
The truth is that the authors who once had some successes, we can say that we have become slaves of our own invention, since those successes remain in full force today and would stop any penalty that we could kick to achieve a new event. But we have to give way to the new ones. Topics are not missing. Our news has them to spare. Of course, his lyrics will not find a suburb or a suburb or a boundary in the periphery, since the city has penetrated with its progress by installing a supermarket, a gallery or a service station where there used to be a pretty bowling alley.
And to what do you attribute the pessimism that some lyrics exude?
You have to understand that tango is the fruit of the environment where it was born. At, the woman was not a mirror of virtues. Tango is intimate, sentimental, hardly happy.
And from the musical point of view, admits to be updated?
Tango has a primal model that cannot be altered through sophisticated arrangements. The corn will always have to be Villoldo's, picturesque, frisky, porteño and not a delirious succession of notes that distort its essence. The french, to give an example, they continue today playing their dominated waltzesboat in the same simple way that they did in the keys of Paris in 1900. They don't accept a modernizing arrangement. Tango also does not admit the variations with which the so-called avant-garde artists try to modernize and enrich it.. Do not outrage tango: that's the slogan.
Source: www.elhistoriador.com.ar
