ROBERTO “EL POLACO” GOYENECHE Episode 2 - Solo Career - May 05, 2023

Consecrated as one of the greatest voices in tango, Roberto “El Polaco” Goyeneche embodies the melancholia of the Buenos Aires nights.

Episode Transcript

(00:21):
Said no the motion it Also,he was a guy who never lost the
essence of being a neighborhood guy,a neighbor of his neighborhood, a humble

(00:41):
guy, very generous. He wasalways there and never moved away from his
home. At night, he performedin those magical gatherings with Pichuco or with
other musicians, and later he wouldreturn to his house and take his birds

(01:02):
outside and talk with the neighbors.There seems to have been a mix between
the famous and well known personality andthe common man, ordinary man, a
neighborhood guy. He was a modestman, generous friend of his friends.

(01:23):
Welcome back to Tango anculus. Iam Ronaldo your host, and that was
Marcello Gojaniche, the director of thesoon to be released Polaco Gojaniche documentary Roberto
Polacoche last Foremas talking about his famousgrand uncle. On our last episode,

(01:49):
we talked about Gojianich's childhood, hisdebut with Kaploon after winning a singing contest,
then his stint with Saigan and fulfillinghis live's dream of singing with the
annival Troilo Orchestra. We ended thefirst episode with the beginning of his solo

(02:09):
career starting in nineteen sixty six withArcier's album with Armando Pontierre and then Baffa
and Bellingeri in nineteen sixty seven andsixty eight, and the start of a
lifelong collaboration with Orchesta Tippica Purtena directedby Raoul Garello. In tonight's episode,

(02:35):
we are going to focus on thesecond half of Gozzianech's career, his reunion
with Pichuco, his amazing collaborations withAstorpiasola, his ongoing work with Raoul Garello
and Attilio stamponin his iconic presence atthe legendary venue Canyo Caatrce, and later

(02:59):
his profound on connection and influence onthe next generation of musicians and not just
tango musicians, but also rock androllers. So let's begin our show tonight
with Malena, composed by Lucia lemare to the lyrics of Ameromanzi. This

(03:20):
song was recorded in nineteen sixty eighttogether with the Orchesta Tipica Portena under the
direction of Rool Garello. This isTango Anculus and I am Ronaldo. We'll
be right back the light. Amore sad of the because of ron or

(04:10):
across a cameramansa chris so man indof the one to conceal, the the

(04:33):
one coin murder to conceal. Hesay, I say it's the floor.
The sstangles mana Tosa, son ofGudoso or those mothers Fario. This video

(05:28):
nicho us tons iladsman cousin Ceo comone of the most charming things about Buenos

(05:57):
Aires that we miss the most orall. The cafe is large and small
that dot the city. Last yearwe stayed in Santelmo, a mere steps
away from Lapoisia. Back in theday, Lapoisia was where well known musicians
and writers congregated, held workshops suchas Bosia Lumfarda to discuss lumfardo poetry.

(06:25):
This was also where Oracio Ferrera methis wife Lulu. Cafetina Buenos Aires,
written by Enrique Santos Disipolo and MarianoMorris, is about one of those cafes
which have edged indelible memories and somany hearts. Gojianchi recorded the song in

(06:46):
nineteen sixty eight with the Orchesta TipicaPortenia, directed by Raularello, and this
song is about a man recalling asmall cafe in Buenos Aires which was like
a school of life for him.The caffetine taught him, among other things,
the cigarette, faith in his dreams, and the hope for love,

(07:12):
and the lyrics go like this,in your miraculous mixture of wise guise and
suicidal types, I learned philosophy,dice, card games and bitter poetry of
not only to think of myself.You gave me and gold a fistful of

(07:33):
friends, the same who cheered mylife in my hours, Josse the day
dreamer, martial who still believes inhopes, and the skinny avel who left
us but still guides me Zile.They meet Lamois a csa window had Carlstrado,

(08:22):
the soul the for you wall be. Come on, he said,
and pay in the son burros andcigariso lafe and miss you be Gromov fat

(09:00):
she so load he guarded, Lavidacsipo, and to me this how you go?
He sue s in the philosophy andlost deem by the open side of

(09:28):
Mars, and me at least thingand for the other the amigos kiss me
getting in and miss the luckymrall cancrank be listeners, boy me some of

(09:52):
it doesn't miss us, knotty prettybetterness, thank god you see your spaders,
the v beside you, even Chromoviacomfort that one si lo deca kiss

(10:28):
me and to make so appy philosophytemba bo and then openside us welcome back.

(10:56):
Remember. In nineteen sixty three,as the winning tango scene made it
difficult for Pichuco to adequately compensate andtherefore keep this rising star, he had
no choice but to let Gojianechi go. However, Pichuko promised that they would
remain friends and play music together again, and the next time he would accompany

(11:20):
Polaco without him being the singer ofhis orchestra, it would be instead Roberto
Gojanechi accompanied by Anni Altroilo, Andsure enough it happened. Pichuko and the
Polaco got together again and made atleast four albums, starting in nineteen sixty

(11:43):
eight with the album Neustro Buenos Aires. Unfortunately, this first reunion album didn't
do too well. It was aconceptual album with all new songs with a
theme revolving around the city of OsAires. Despite this disappointment, Kojanech ended

(12:05):
the sixties with a bang. Innineteen sixty nine, Orascio Ferrera in Astor
Pisola presented a song so different andunique that it was like musical dynamite that
detonated at Luna Park at the firstIbero Americano Song and Dance Festival. With

(12:26):
this song, Pisola demanded that tangobe listened to for its own sake,
untethered from the confining demands of dancers. It is fantastical, tender and whimsical.
Don't you see the moon rolling downCajao. When the song had initially

(12:48):
debuted at Michelangelo, people didn't paymuch attention. Then Ferrere and Piasola remembered
in erie and fantastic stake waltz rhythmthat they had heard when they saw a
French film called Le Rois de CoeurKing of Hearts. Inspired by the rhythm,

(13:11):
they added a few touches in waltztemple to the song and it became
immortal. Here are a few notesfrom that movie. The movie tells a

(13:48):
story about a small French town inthe middle of the First World War,
where inmates spill out of an asyluminto a recently evacuated town and fill it
with all kinds of whimsy. It'ssort of like circd the sole on acid.
In contrast to the inmates, themilitary on both sides shoot at each

(14:11):
other at close range for no apparentreason, and it makes you wonder who
exactly are the crazy ones. Justas in the film, Ferreri and Piasola
explore the meaning of reality through thecharacter of a madman with half a melon
on his head and a striped shirtpainted on his skin. I already know

(14:37):
I'm crazy, don't you see themoon rolling down Cajao and a band of
astronauts and children dance a waltz allaround me. Come dance, fly crazy,
crazy, crazy like a mad acrobat, will leap into the abyss of

(15:01):
your cleavage until I feel that Idrove your heart crazy with freedom. You'll
see ladies and gentlemen baarn locum,kisses salas bos guando de ribi, Miao

(15:31):
michlaraa the penultiaplus meria melon and lacasl don't as peace you never underaginian lists

(16:00):
Ila narasires Reni, Casi mediolando,Orlando Mesaco, melandita ite vi Jassacus toy
pian pian Tau piano, Tao novesque, Luna brother Porza, Camcorso, di

(16:32):
Astronauta, semenos convales me la Jassacus, topion, Tpian town Pi zobiuenos aires.
Then either the jabott benia sentim helloovert but I was la rivera.

(17:15):
The goun to solve is more thatCora soona subtilior Ibama Cornias Gonna Goldrin deviates

(17:59):
a blow lor Loco convent movie unUs love unenia norvan Balito by Leo Copero,

(18:19):
Porco Campanario, You femino e cantoa mediavos Caspian to pian pianos Ka

(18:40):
and me on it is lombras evolaja beni volveni amar someone that's given a
sighing you welcome back to tango.Uncles Ferrera and Pisola considered calling the song

(19:47):
Balladakura Ballad for My Madness, butPiola rejected it, joking to Ferrer and
I quote, people are going tothink I am the madman, when in
reality you are. That's a funnystory. As you may know. The

(20:07):
original version was sung by Amenita Baltaand it won the second place in the
tango division of the first Latin AmericanFestival of Song and Dance by a jury
vote of twenty five to nine.Many people absolutely adored the song, but
an equal measure the song received manyjeers and hisses, and some people from

(20:33):
the audience even screamed, go andwash the dishes. Emotions ran so high
that after the contest was over,audience member got into fist fights outside of
Luna Park and this went well intothe night. There were some detractors based
on technicality. For instance, thecomposer of the third place winner said that

(20:59):
Ballada should have been disqualified because ithad more waltz rhythm than tango rhythm.
The important thing is that Ballada wasthe song everyone remembered, and not jrges
So Brales Astuti Motrin, which didwin the first place. Fell in love

(21:21):
with Vallada so much he instantly askedPasla for permission to record it. And
this was perfect because when Ferrer wrotea song, he had the Polacco and
mind Plama a momento complete who classic. In nineteen sixty nine, one of

(21:59):
the first things that Polacco did wasto record Ballada parun Loco. He captured
one of the most impressive recordings inthe history of Argentine tango during a difficult
moment, let's say, because therewere many detractors, and yet the Polacco
gambled and did it because he knewit was going to be a classic that

(22:22):
would last forever. When the gojianichA version came out within days, seventy
five thousand copies were sold and becamean instant classic. The nineteen seventies ushered
in another chapter in Gojianicha's collaboration withAnnivel Droilo. In nineteen seventy one,

(22:45):
a new album was released, TakorasPolaco Do you remember Polacco. This album
was completely the opposite of the previousalbum. Instead of new conceptual song,
this collection was filled with classics fromthirty years before, and according to the

(23:07):
newspaper La Nacion, the result couldn'thave been more paradoxically modern. Next from
the album, takspolco and We'll beright back and got to the head miss

(24:06):
then Bland, who have want meyour Yes? Divorce can be me and
me canstas look for the man soforty for take kid no ya no can

(25:11):
be he love on me Missa whenthen Blunder then who want me care Yes?

(25:55):
And member got he can't us notfor the helmia he up the other

(26:26):
because the cons so for he's beenout of the corn. What the kid
tes he know me? Ay,oh you can go iven time for the

(26:55):
said us gone. Welcome back toTango ancles that was stas written by Mariano
Morris and Jose Maria Conturci. Thealbum received the highest critical acclaim. According

(27:22):
to Ignacio Varchowski, tango journalist andfounder of Larrance, called this album a
vadi mikam album, in other words, Emmanuel on how to do tango because
it has arrangements made by three grades. Arcentino Calvan who arranged for Pichuco from

(27:45):
the beginning of his orchestra, RaulGarello, who brought his contemporary modernity,
and the inimitable Astor Piasola. Barchowskiexclaimed, and I quote Gojaneche with his
impeccable voice, the inspired and classicsound of Troilo and an invincible repertoire.

(28:11):
The album features many classics, includingsur barrio, Letango, tolamvida, tinta
roja, trinzas and of course anEstat de gris which you just heard.
I want to play another song fromthis impeccable collection Sur San Juan, Ibolo,

(28:37):
Antigua, Itol, Cielo, Pompeija, Imasa la undacion to Milena Lenovia
in l recuerdo itunombre Florando and eladiosold San Juan and Boedo and the whole
sky Pompeija, and beyond that floodyour long bridal hair and my memory in

(29:03):
your name flowering in their goodbye.Manzie's poetry is so evocative even those who
have never been to Sure or theSouth feel a pang of nostalgia. Su
the working class barrios or Buenos Aires, Boelo, Pompeija, Parche Patricios,

(29:27):
and beyond the small river Darria Cuillo, some foe the one tu bomb face

(30:32):
like myssl the ceo to man anotherNovia and report it to Nonvio like another
keep lukas ye some fun for fusseither fas another who he does pour whose

(31:11):
play my saying he's an her richvie pispit UN's anka seeing crazier for the
place. Locas give me a morningto Benana h m Howard boy, the

(31:57):
one deep wolf seeo bomp a bandbut the vessel can you, sister nos
Ampasaka, Come via your and yourpo souls, bans Ana Alumba, seeing

(33:06):
Lacas, Welcome back to Tango Anculus. That was Sour from the landmark album

(33:30):
Da Corras Polaco, which Kjechi recordedwith Annual Troilo in nineteen seventy one,
and the song was written by Troiloand Manzi. As an aside, every
time I come across an anecdote involvingPichuco, I'm struck by how much he

(33:51):
was loved and respected by his musicians. Of course the public was crazy about
him, but he must have beena true leader and a musician's musician.
And here's what Polacco's son Roberto hasto say about his father's relationship with take

(34:36):
Always always, they were always together, and after they separated they were closer
than before. Troilo would just showup at her house. He would come
by and shoot the breeze, andat night they would go and listen to
orchestras. They were always together.And what's more, Picchu was the cutest

(34:58):
guy in the world. There isa memorable line about the South in Kurgeluis
Borges's short story Il Sour. Thisis one of those Burges's fantastical short stories
about a city dweller dreaming about amacho gaucho death with the goligos of honor.

(35:21):
The line about the south sour inthe story goes like this, nobody
is unaware of the fact that thesoul begins on the other side of Abenia
Ruadraba. Dhal Man was given torepeat that that's not just a standing custom,

(35:42):
but rather that whoever crosses that streetenters an older and steadier world.
Bordering on Abenia Rivadavia in the northin the Matanza River in the south.
The barrios in this area Pompeija,Barracas, Boelo la Boca, were populated

(36:05):
with new immigrants from Europe at theend of the nineteenth century. Many lived
and crowded combentios and worked in slaughterhouses. Hence the name given to the river
is Matanza, meaning slaughter. Also, this area was known for pulperias city

(36:25):
saloons frequented by butcher's, mule driversand guitarists. The main street that goes
over the river by way of theAlcina Bridge is called Abenita Saints, and
it is still called Abenita the LosWhistles, the Street of Bones because many

(36:46):
cattle bones were strewn from the animalsthat died on the way to the slaughter
houses. So when Manzie paints apicture of Pompeija imazashaon Bompeja and beyond that
the flood, don't imagine a nicemanicure neighborhood with the Parisian architecture. These

(37:12):
were barrios where the city's poor ekedout a living during the day and found
small comforts in a few nocturnal hoursand drinking, playing the guitar and dancing
tango. Sue has a mythical statusand our imagination, whether we are familiar
with the area or not, somuch so that it has inspired many artists.

(37:38):
Later, we'll return to this subjectand talk about a film by the
same name that the Polacco started.Some movie Kills, Cantrello imps. The

(38:12):
distinct phases of the Polacco's career arevery clear. There is a marvelous voice
in the forties and fifties and adifferent type of interpretation in the sixties.
When he is in his solo career, you can tell he's feeling comfortable just
singing and being himself. It waswith some very impressive arrangements of Attilio Stampone.

(38:37):
Together they created three amazing albums inthe seventies. So here. Next
up is Gorgianci with Attilio Stampone andthe unforgettable Grisell from the nineteen seventy two
album Sentimiento Tango We'll be right back. No that he bends sat and look

(39:20):
at the score. You see himbody go. It was good. I
was to me and thin he coldhis face was seeing him boarding maget his
boy see you boys set him befor the boy, the new, the

(39:51):
new somepody god boy, huh nottill that mean that this mass I give

(40:17):
me boy, look I see thoughI cannot feel them be a quarter?
Does that mean? Said pretty saidmy fine for this voice? The voice,

(40:40):
yeah, got lord it meddy golocal to scared. It was unknow
point you know the face give mebe the mother I'm being god. He

(41:06):
me sick real the lateral Morcas wasquoted the pass this job. But he
they super done. You know theolvia isn't the doves made still get you

(41:42):
see either? I cannot the oldmetia quarter does than men say? That
was Grisel, written in nineteen fortytwo by Mariano Morris and Jose Maria Conturci.

(42:07):
If you want to learn about theincredible love story behind Griseilles, you
can look up our Valentine s Dayshow which aired last year on February fourteenth,
twenty twenty two. The title ofthe show is if Not for Love.
Please visit Tango Unculis dot com forthis and all of our episodes,

(42:30):
also on Spotify, iTunes, podcast, Stitcher, and many other platforms.
It would be remiss of me notto mention one mythical place in the history
of tango, a place established byStampone in where the Polacco became an iconic

(42:51):
figure along with Pichuco. In thesixties, the golden era of magnificent cabarets
was gone and tango was being pushedout by rock and roll. When tango
souls found nowhere to go, atempo rose out of their desperate yearning.

(43:12):
Kanyokatorce was the name of this sacredplace. There was a small venue a
Tilio Stampone started with his friends ViscentiFiasch, an actor, and also Rinaldo
Martino, a very famous former soccerplayer. These friends wanted to open a
place where tango could find a home, and for this idea sought the blessing

(43:37):
of Pichuco. Troilo, of courseloved the idea and did give his blessing,
but he also warned most likely wellend up living inside the pipes.
The word pipe in Spanish is kanyoand the number fourteen catorce is a term

(43:58):
used in billiards for the one whotakes bets. They can also mean drunkards.
You can say. Picchuco even christenedthe place with his quip. Troilo's
blessing didn't hurt with investors either.Kanyakators opened and marched nineteen sixty two on
Uruguay Street between Paraguay and Marcello tAlbarre, and this was a small venue

(44:27):
with a capacity of about fifty people. They soon agrew the venue and moved
to a much larger space in thebasement of Talcahuano nineteen seventy five, which
could hold up to four hundred andfrom the very first night, the musical
lineup consisted of the Creme de laCreme, Attilio Stampone, Annual, Troilo

(44:52):
Orracio salgan ualdo Elio, Roberto Grillaand Francini, all aces many famous singers
joined in as well, besides scosiachAlberto Polsta, Raoul LaBier later Ruben Juarez,

(45:15):
just to name a few. Andthe person who introduced these stars on
stage was Tampone's wife, Lucia Marco. The tango sessions would begin around eleven
PM and end in the early hoursof the morning. During the breaks,
the musicians would go next door toa pizzeria called Guartito Knyokators became so popular

(45:43):
there was always a queue of peoplewaiting who didn't always get in, and
once one of those who was turnedaway was Argentina's Vice president Carlos Perete.
How about that TV personality? Carrisorecalls Gosjianecha saying he was present at Kanya
Katorse every night, or almost allnights, and after the show was over

(46:08):
at Kanyo, already at dawn,the Polacco would bounce into an old cafe
in the heart of the Savedra neighborhoodwhere he said goodbye to the day with
his friends from the neighborhood. Thefarewell was also full of tango. The
Polacco was known to never say noto anyone or anything, and one of

(46:32):
his friends said, yes, Ieven heard him singing boletos in a nightclub
four blocks from his house. That'sthe same neighborhood guy that the director Marcello
Gosjaneccha talks about, and every manfrom Savedra willumine gon n gone on.

(47:00):
He was a neighborhood guy, aguy who never moved, always lived in
Savedra. At the same time,he was a very simple guy, humble
with a very special gift. Gojianechehimself said, one night I sing to
five hundred people, and the nextday I put on my shorts and go

(47:23):
out to play ball in the streetwith the boys. Up next another song
Gojianeche recorded with Stampone in nineteen seventytwo called Afiches. This is Stampone's own
composition to the lyrics of Ometo expositoafiche and Spanish means poster. This song

(47:49):
is about a beautiful woman featured onposters all over the city. She smiles
to everyone now like a naked ladyin a shop window, but her cheap
smile is a cruel reminder to oneman who once had made a humble home
for her before he lost her tothe world. We'll be right back.

(48:29):
Coruel and El Cartel coul Cartel afeature, the Papel seven, Lucian sf
Corasona pars Venion de la CRUs,Gold and Dan and drink za Ala can

(49:15):
say soup zamos selling kayas or nomvita seas version Zac's Supinas welcome Back.

(51:17):
According to Infobe, a Miami basedonline newspaper company with original headquarters in Buenos
Aires, Stamponi said this about Goji. I think Gojianiche was the tango singer
for the way of expressing himself,of feeling the melody and the lyrics.

(51:40):
Polaco was a phenomenon and the feelingswere mutual. Gojianiche too, thought Highlio
Stampone, who he called Chupa Chupeta, is a man that if you tell
him, write me a song aboutthe soccer ball that fell out of the
stamp and when so and so kicked, it creates music that elevates you to

(52:05):
heaven. Upita is someone who hasgot all the conditions that give meaning to
the word music. What's interesting aboutis that not only did he sing many
original numbers, but he also didquite a few covers that he made his
own. And and Lautimur floor anda features No Timkil No Sure Laura,

(52:45):
and the features songs he interpreted insuch masterly and unique ways that he ended
up appropriating them. This happened alot. In the case of Timacuria,
it was a Mundo Rivero who sangit first with Troilo. Nana join Flord

(53:07):
was done by Florial Ruis with Troilo, but Gojianecci recorded it many times and
completely stole florial Ruiss's thunder Risell andGarua were sung by Francisco Fiorentino, and
also his excellent version of Margo,which was first recorded by Miguel Callo and

(53:30):
Raul Liriarde. He also did amean Malena, as you heard in the
beginning of tonight's show, Gojianeche alsosang many of Gardel's classics, including Pompa
di Javon and Eldiakmechierra's I don't rememberwhere I read this, but someone said,

(53:53):
when Cardel sings the song the DayYou Love Me, he is hope
that the day will come. Butwhen Goojanecha sings it, you sense that
he knows the day will never come, and that to me sums up Goojianechi
up. Next, we'll listen totwo of these covers. First, Eliakmekiras

(54:20):
He recorded this in nineteen sixty eightwith Raoul Garillos Orguesta Tipica Pordena. You
decide if he sounds like he ishoping for the day to come when the
woman will love him back, orif he sounds resigned to a sad,
fatal loneliness, then I will playMargo that Gojianecha, recorded with Armando Pontier

(54:45):
in nineteen seventy nine. We'll beright back. I could he see a

(55:13):
means for you? Whose and thenthose was Peter and I either sit the
sucker doesn't make it. He seesme with a bottle. It's it's looking.

(55:44):
I can't even he'll be the cokethat because I can't servest the call.

(56:13):
I Vin's heir. You know,cuss that's fun, said the swam
ball. Those who come here,here's something aside aside lost men A side

(56:51):
lies a meaning as God have meborn the boy, you'll see her Gods
go and thea can be hears nor, said the clar try more the middle

(57:34):
of DearS. It knows not enoughwind. So the crystal and Floressa lavia

(57:59):
no no loss also an aside loveme that he don't dies on me.
Also, you don't see it,that's pretty aside. God doesn't be calm

(58:36):
so Margo Connel tango mas amgo soconcerns your forts. Mars Various noted Lazar

(59:30):
sais of Zooma than the avon DevaConnel Tango mas a Mario Satan com okay

(59:52):
than God as the visor as Okoit is possibly I love you with a
mask, but he head off tocan soupime be simples over cita review if

(01:00:16):
you see aldiment Magnolia entered the boythen to say this Marco seem consil it

(01:00:38):
seemed fair ooim blood under rod.He's a weak Marigo CM performer. Ma

(01:01:10):
here'santo loca los amigos canos son insoundango Tomara Marco, I see and consent

(01:02:07):
physical Olia compania. He gave athroat surgery had in nineteen seventy nine,
which marked him as an artist whosees as to be the great singer with

(01:02:31):
that powerful voice and conscious of hisphysical limitations, he began to transform into
a decidor of tango Argentino who knewhow to use the commas and the periods
that he transmitted he was like apoet. That was what was incredibly fascinating.

(01:02:55):
The word decido, you heard Marcellouse means someone who gives meaning to
something with clarity, eloquence and grace. And stepping into this new role as
a lessidor de Polacco transmits the poetryof tango not just through his battle warremth

(01:03:16):
road, but also by using hiswhole body as a vehicle in the service
of the unforgettable words written by thelikes of Exposito Contursi, Manzi Ferreri and
many others. You can see thisin many of the videos where Gojianeche wails,

(01:03:37):
sighs and beats his chest. Innineteen eighty two, Gojianeche had another
opportunity to work with Astor Pesola.That year, Piasola performed with his quintet
at Regina Theater in Buenos Aires asa preparation for his upcoming European tour.

(01:04:00):
He invited the Polacco to perform withhim, but because of the throat operation
he had three years prior, Gojianetchewas nervous. Pesola calmed him down and
reassured him, suggesting he could singwhatever songs he wanted in state of the
new numbers Pesola had written for him, So Gojianech ended up singing traditional songs,

(01:04:26):
and when the time came for himto sing the dis sepolo classic Gambalace,
he slipped into some impromptu reference toMargaret Thatcher, who that year all
Argentinians hated with passion remember the FalklandWar. Excuse me las malinas. The

(01:04:48):
audience absolutely loved this performance. Theshow was such a great success it emptied
out Kanyokatorce, and this marked thebeginning of Kanyo's decline. Sooner after,
in nineteen eighty six, the legendaryvenue would close its doores for what seemed

(01:05:10):
to be forever. Ten years laterthere was an attempt to revive Kanyoka Dorce
at another location, Enricoletta this time, and although it was well organized by
the new owners, Rodolfo and LoriaDinsel, it never recovered its former glory.

(01:05:30):
After the final show at Regina Piesolaseid to Goshenech, you know what
worries me, Roberto. If youand I die, there'll be no real
tango. People left Piesola and gojianechehad kept the tango going after Troilo's passing
in nineteen seventy five, when peoplepredicted after Troilo the deluge the end of

(01:05:58):
tango. Ten years later, innineteen ninety two, Piasola passed away,
preceding Gojanche by two years. Sofrom the Regina Theater show, next up
La Ultimakura, Last Team Abandona Mison seem to like you don't love us.

(01:07:20):
Here's to come because when I goanother worse Miko conn the metal arcas
no kim. He implimented the kilaments, saying random Mundevin Brabantio, he was

(01:08:08):
Licquet Terminosio Corean go Umpcord. Heseems suport Mariola cr rust so sol caracoll

(01:08:54):
the sue Novice giving because Brita Greececonta metal for a cousin. Louis being

(01:09:18):
a comedy is implemented the Killamo forthe sail Orderino Co. What was remarkable

(01:10:10):
about Gojanicha's life is that he notonly reached an iconic status as a singer,
but he was also loved as anactor. In nineteen eighty eight,
director Fernando Pino Solanas made the movieSure featuring Gojianiche. The music in the
film is a magical mix of classictangos, folk music and even rock and

(01:10:35):
roll. Solanas, who won theDirector's Award that year at the Khan Film
Festival, is known for his fantastical, dreamlike films, and if you have
seen the movie The Exile of CarlosGardel, you know what I'm talking about.
Suit is about a victim of themilitary Junta period returning home after a

(01:11:00):
five year imprisonment in Patagonia. Thestory spans one night when the protagonist walks
through the streets of Whenos Aires,a dreamscape awash and unearthly blue, filled
with characters from his past and present, and in the end comes to a
kind of reconciliation with all the peopleand memories that haunt him. The film

(01:11:28):
is stunning in its visual and musicalpoetry, and like a ghost from the
past, Gojaneche interprets the poetry.He performs several old classics as well as
new pieces by Piasola. One ofthe songs featured in this movie is Naranjo
and Floor, a classic written bythe Exposito brothers Vilhelio and Omero. In

(01:11:57):
this scene, people are drinking anddancing tango at an open bar on a
barge while Gozinecha sings the song withPiesola's Tango nuevo quintito. I believe the
setting is Porto Mado, at leastit looks like it. I will play
the song first and follow that withPiesola's Will Wall Sour. Will Was Sour

(01:12:23):
was written by Pisola to the lyricsof director Salanas. This song is like
Piesola's response to Troilo Sour, whichis played to the opening credits of the
movie Buill Walsour is heard during theclosing credits, two songs forming perfect bookends

(01:12:44):
to this complex tale of suffering andforgiveness. This film version, I am
going to play as arranged by Piesolawith Marconio Nebandognon. We'll be right back.
M it a must Rulanda, Yeah, hello land he I must perished,

(01:13:13):
ruggle, real m complor and it'sa Cajadic dealera the four bea.

(01:13:33):
It's summer to pressmar and the prosperityhell beenunder zim pantamiento. But promise as
a famar chrisskapar. I'm gonna bethe fucking plan he told me. In

(01:13:59):
again came with the ten Bazzardo atthe name. Come on you loose the

(01:14:21):
Calabar nature is manos m h Koand Pato Lord see on his quina larn

(01:14:54):
floor, premiss qui some mind,there's prosperity. He'll been under him.
Pencim into Moro, Casaro, thepork into the mean. He's as soon

(01:15:17):
as they community and Bazzardo going tothe camel Grando. They come on part
lose wolves almost the whole seem moreworse. Call me the sl call me

(01:15:51):
the morl. Come on this teamof the sorry and soul. Come on
aside the landmion nuon soul, bemmentsaloona seeing as howeful soul and the imbers

(01:16:30):
of this voice hear soul, sosod me love seeing to her soul.
Come uto cor and I be methat yes fool. The year was sure

(01:17:48):
almost have wanted to see him putin a more for was for mins hell
cat meet the more was sore.Come on this team of the long side

(01:18:14):
that is sore. Come on theside the vandonion h ship was the kid

(01:19:20):
South like you always go back tolove, I am returning to you with
my desire, with my fear.I want to go to the South.
It's good people. It's dignity.I feel the South like your body and

(01:19:40):
intimacy. I am returning to theSouth. I carry the South. I
love you South, Beautiful. Thisfilm also served to expose young people to
the charisma of k There is ascene where an up and coming rocker Fito

(01:20:01):
Pais sings in front of a largegroup of young people at a club and
afterwards, Gojianiche goes on stage andembraces him and pays him a compliment,
and he says, this dude hasmade Rabbiolis. This is a symbolic embrace.

(01:20:23):
The cheering crowd of youth have justwitnessed a beautiful union between two musicians
generations apart. The young generation ofthe eighties and nineties who thought dango was
embarrassingly schmaltzy and outdated, went wa, Who is this whizzened dude with a

(01:20:45):
gravelly voice. He's kind of cool. The following year, Fito was featured
on a magazine cover holding a bandonnonin his lap. Also, it is
no wonder rock, Ricardo Mojo declaredonce was the first Argentine punk. Director

(01:21:09):
Marcello has this to say about thePolacco's role as the bridge between generations corness,
I mean it takes the Los Angelesrockin an Offici Litton area, batoum

(01:21:31):
alumundo on the almost, the miracon the confienceness. One of the Polacco's
many facets was his ability to connector build bridges with different generations, and
especially with the youths from the eightiesthat made up the Argentine rock scene fo

(01:21:58):
Pi Litton Neva Baglietto. In aworld where orthodox tango, let's say,
looked with mistrust at the youth whowere inspired to do something different, the
new generation value him. Thanks tothis new found popularity from an unexpected group
of young people, Goggianecchi inspired severalsongs dedicated to him, among them,

(01:22:26):
first, I want to play partof El Polaco, a song written by
Oracio Ferrere and sung by Gigermo Albertto Leopoldo Federicos van nonnion. Here is
part of Ferrer's lyrics in Ilpolaco bourtegnoskinny and blonde. They call you Elpolaco.

(01:22:54):
Maybe you were dark and it wasthe dawn that combed your hair blonde
with tears of the moon. Veryyoung in that patio pain that debuted in
an orchestra of blackbirds. From thebasement of the soul comes the song the
asphalt Angel blooms in your tremor,and when the bellows drive their heart attack

(01:23:20):
gale dango is a poetic intoxication inyour voice, your hour glass face,
the clothes that really hurt your grace, to refine the verses, always faithful
to the milonga of your joys andyour sorrows, in ecstasy of Trullian love.

(01:23:45):
The goblins of Gotan have not died. Roberto, lend them your mystery
that vibrate, rejoice, come back, suffer in love, che Polacco,
the same as you ban la heroothat he said, Polaco, the lest

(01:24:26):
fust the Morocho. He about them, you know, only like anyone being
in a bacio. The Lord canno questam lost, the son, the

(01:24:50):
love, the scanto altilda falto Floresneed to commute it all. He going
finds suvendavalding fire flock and time poetdeclined to not get the said to get

(01:25:27):
us the funmous of aniso see himbefien alumni. Longer is dechus to spend
us and excuses. They all justgo down noon. But estonished to be
saying evening going semen who. Oneof the monikers given to Gojanechi comes from

(01:26:14):
Kaccio Castagna's homage to the Polacco andhis song Garganta Kara throat with sand.
This takes me back to the timewhen I first discovered Kaccio. It happened
one early morning in Buenos Aires,returning from Milonga. I think it was
around twenty fourteen. Our driver whopicked us up in front of Elbaso as

(01:26:41):
we drove off, quietly slipped theCD into his player. A gutteral voice
came out of the speakers, andI immediately fell in love with the music.
I asked the driver to tell mewho that is, and he said,
this is real tango. It's ChoCastagna, and not another word was

(01:27:02):
exchanged between us as I sank backinto my seat during the rest of the
ride, and when the driver droppedus off on a cobblestone street and Santemo,
he pulled a CD from the playerand said, here, this is
for you. You know I stillhave that CD. So here is part

(01:27:25):
of the lyrics of Garganta Conarina byKaco Castagna, your voice of goblins and
ghosts, breathes in the asthma ofan old Bandognion sing throat with sand.
Your voice has the pain that Malenadidn't sing. Sing what kuais condemns you

(01:27:50):
too by lacerating your grief with hiswhite Bandognion seeing the audience is clapping,
and even if you are dying,they do not know your pain. Seeing
that troil a verse from heaven,he left you under your pillow. Javes

(01:28:21):
el Lian womanes nakubuzineche condamnim dang bumaschavez la nia sila rugat toubi datidu garama
cantarsimpricandar tu bos keeldangmosion naisi and bubuntuikoma kennadil kant tu bos buendesivanandasmas raspida gonelasmafubad

(01:28:57):
Danagarian dagnae end up and I cameup in idzublang God, God, you

(01:29:25):
know this here water who murders Tangowas reduced to something like two hours a
week on TV and the likes ofEdmundo. Rivero said that rock and Roll

(01:29:47):
was there to uproot the young people. Young people found tango uncool, stuck
in the past. Go Jane,However, had a more open attitude.
Through Gojanech. Young people steeped inrock and roll and Hollywood movies discovered tango

(01:30:11):
as if they had never heard itbefore, and in November nineteen ninety one,
the Polacco closed the show in frontof forty thousand people in Abenita Nove
de Julio, a show featuring rockersinterpreting tangos. Singer Ariana Varella was also
one of those who discovered tango andbecame almost a god daughter to Gojianech.

(01:30:38):
Guitarist and composer Estevan Morgallo, whorecorded with Varella and Gojanich, later recalls
and a quote there was an ambivalentattraction to the Polacco, that of the
traditional tango and at the same timethe transgressor who hit the when he's sang

(01:31:01):
no lapin rio, don't you seethe misery that has wounded me? Kaim
and Ruth and Uru, Washington,rock and roll singer and record producer,
was one of those young admirers whoheard sing and according to Marcello, this

(01:31:24):
is what Kaim said, Mago,yeah, are you a presentia mahica?

(01:31:45):
And I didn't see a singer,I saw a magician. It was like
a communion that took place with thepublic when he came out and sang like
la ulti macurda or Naranjo and florLet's say there was a presence that transcended

(01:32:06):
the artistic That's why I speak ofa magical communion between the interpreter and the
public. Gojianeche continued to record untilthe end of his life. In nineteen
ninety four, shortly before his passing, he recorded Los Mariados with Mercedes Sosa

(01:32:29):
and a beautiful song Viejo Siego Blindold Man. In Viejo Siego, he
is accompanied by Antonio Agri and hisheart rending violin and also guitarist Estevan Mrgado.
We'll be right back. Corno leftaigio jasna tarad vehicle a violin and

(01:33:38):
me Upanchi told rather situate a flaccocipuntu a parochiano tan vigogo alive, then
sando to ternaganzio p um pocon painmcla eldia cas you're paying the ncause home

(01:34:21):
Java ni a hugo who says yousomachinem elda keno saw the lumento whoeverever um

(01:34:45):
love seemed farsiento, colun he mh m hm, parresis unveilso, the

(01:35:30):
local Carriego, parres viego, bioleneparaviego, dans diego, Dungino, the
pena Dungino, the breend main BodyguardoJackamucaza, the tmpaio jo. Welcome Back

(01:36:35):
Bijo Siego was written in nineteen twentysix by Sebastian Piano and Catulo Castillo to
the lyrics of a Metromanzi like Aghri'sviolin and jejo siego, like the last
drop in the bottle in Ultimakura,like the abandoned bandognon in the suburbs.

(01:37:00):
Goojanitsche too was an instrument that gaveeverything, down to his last drop,
down to his marrow, to assuageour pain of being alive. And when
his voice failed, he became aninstrument of poets. When tango was gasping,
he charged on with his fist inthe air. He was a person

(01:37:31):
who finished the song and attired exhausted, because clearly he had given everything,
everything he could. And that wasthat magic that I was telling you before,
that he created between him and theaudience, a moment of alchemy where

(01:37:51):
the poet told you in such avisceral and authentic way that story in those
three minutes of a tango. Itwas a unique moment, without a doubt,
that continues to be felt to thisday in people's memories of the Polacco,
that great celebrity of the Knights ofwhuenos Aires. Polacco's son Roberto relates

(01:38:16):
a story about when the Polacco washospitalized in nineteen ninety four before his passing,
Proverto had to leave his father's bedsidebriefly to watch a Platense game.
Their team won and the players signeda shirt, and when Roberto returned to

(01:38:36):
his father's bedside, the Polacco wantedto know the result. We won and
the boys sent you a t shirtso you can recover. The Polacco's fanatical
love for the team was legendary.He would show up at the stadium wearing
a tuxedo, ready to go downtownfor the evening's performance so that he could

(01:39:00):
catch one last bit of the game. Even while driving away, his ear
was tuned into the cheers of thecrowd. Diego Maradona was one of the
visitors during Goshenecha's final days. Hepromised that when the Polacco recovers that he
would play a friendly game wearing thePlatensa T shirt. This unfortunately never happened.

(01:39:30):
Roberto Janeche passed away on Saturday,August twenty seventh, nineteen ninety four,
at two thirty pm, and everyman from Sabedra, a lover of
birds, a fanatic of the PlatenceSoccer Club, a high priest of tango
at Kanyokatorce adsidor of our suffering.Soon to be released and not to be

(01:40:00):
missed is Marcello Gojanech's documentary Roberto PolacLast forms the Shapes of the Night and

(01:40:25):
thinking about a wider audience that youngpeople could come and approach and see the
film and discover the pa that theycan go home with a desire to listen
to him and on the other hand, to celebrate those who know him and
give them a wonderful show too.Spend two hours having a wonderful time discovering,

(01:40:47):
rediscovering this celebrity, enjoying his voiceagain, his sense of humor because
he was a guy who had agreat sense of humor, and even his
story captured in the film, whichI think is appending debt. He was
a very simple guy. Success neverwent to his head. He was a

(01:41:14):
family guy, very humble guy witha special gift. A comparsita. Tonight
is by Bafai and Bellingieri. Thishas been Tango Unculus. I am Ronaldo.
Good night,