Aquel muchacho triste carlos gardel biography
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Otros Aires
Otros Aires is an Argentine 21st-century tango music group founded in 2003 in Barcelona by Argentine musician and architect Miguel Di Genova.
Otros Aires mixes early tango and milonga structures from the beginning of the 20th century (Gardel, Razzano, D'Arienzo, etc.) with electronic sequences, melodies and lyrics from the 21st century.
The project counts many collaborators like Diego Ramos (piano and arrangements), Chloë Pfeiffer (piano), Lalo Zanelli (piano), Martin Bruhn (drums), Martin Paladino (drums), Manu Mayol (drums and production) Pablo Potenzoni (drums), Javier Saume Mazzei (drums), Christian Maturano (drums), Carlos Ocorso (percussion), Hugo Satorre (bandoneon), Lisandre Donoso (bandoneon), Herve Esquis (bandoneon), Emmanuel Trifilio (bandoneon), Simone Van Der Veerden (bandoneon), Korey Ireland (bandoneon), Joe Power (harmonica), Nick Wadlew (cover art), Pablo Meketa (cover art), Marcelo Sofia (cover art), Charly Fiorentino (cover art), Miru Trigo (photography) and Santiago Saponi (video director), among others.
On December 11, 2004, known as "Tango day", Otros Aires released its first CD at the Carlos Gardel House Museum [es], commemorating the birthday of the singer.
The band's quick international success has led to them tou
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"In the card-game of life, I usually know what's in the dealer's hand. And at my side, I hear them say it’s ‘cos I’ve got some crazy luck!"
On one level, the tango SUERTE LOCA (1924) is a kind of gambler's testament in which the narrator, a hard-bitten card-shark, explains the facts of life to a younger opponent, somewhat pompously taking the game and its many challenges as a metaphor for life in general. On another level, the gambler's long, rambling, but thoroughly entertaining monologue is a colossal bluff designed to distract and disarm the younger player, who almost certainly holds the better hand; such bombastic chicanery is an indispensable feature of Argentina's and Uruguay's most popular card game, truco. "Bravado, lies, and perhaps some truths are shouted around the table as the round gets underway." (argen-times) The speech also contains numerous covert, coded signals addressed to the narrator's partner. Fertile ground for any tango decoder!
As was the case with many Golden Age tangos, neither Francisco Fiorentino nor Armando Moreno sang all the stanzas; the denouement of the third and final stanza would have been lost to listeners of those recordings. I guess o
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