Tango has been compared to vampirism in its nocturnal practices, and more than one popular representation has evoked the danse macabre. It has adherents as a religion does, and there is little point denying its cultish aspect. It is famously addictive. Danza maligna captures such feelings and more, musically and lyrically. At Café Argentina, Milonga Falucho celebrated the summer season with John's recitation, music by Maurizio Najt on keyboard and Juan Carlos Arias on bandoneón (to which Danza maligna is something of a hymn), and a dance show by Andres Bravo and Sarita Apel. Renée hosted and dejayeed. Danza maligna (1929) Letra de Claudio Frollo Música de Fernando Randle Dance Malignant (1929) Lyrics by Claudio Frollo, trans. J. Osburn Music by Fernando Randle Se arrastran los compases compadrones Del tango que se encoge y que se estira, Su música doliente pareciera Sentir que una amenaza se aproxima
Ventarrón is in a line of guapos and posturers who are legends at home but move on in search of fortune and social status, then find it impossible to return, either because they were beaten by the world or achieved a success that alienates them from their roots. Of the latter, the figure celebrated in Bailarín compradito is iconic. The title character of Ventarrón is emblematic of the former. In the event at Café Argentino, John recited, followed by dancing to the original Gardel recording. Argentina's national day was marked along with the birthday of bandoneón player Leandro Ragusa, who performed with Pablo Cafici (piano) and Sergio Reyes (violin). Mariano Logiudice taught the class, and host Renée deejayed. Ventarrón (1933) Letra de José Horacio Staffolani Música de Pedro Maffia Ventarrón (1933) Lyrics by José Horacio Staffolani, trans. J. Osburn Music by Pedro Maffia Por su fama, por su estampa. Sos el malevo menta