Why Does Sleep Eze Not Work

beach cleanup. 15th Ocean Initiatives: from 18 to 21 March 2010

The Ocean Surf Club will once again be in the cleaning campaign Beach Surfrider Foundation organized the first weekend of spring. This will be the 11 th edition in which we participate. Appointments, on 18 March and 21 March, both on the beach Doniños.

the initiatives Ocean.

Each spring, from 15 years in Europe and 11 in Galicia, Surfrider Foundation Europe invites its members, supporters and all lovers of the sea, to participate in beach clean-up operation called "Ocean Initiative."

we gather all (11,000 persons in the year 2009) and in the same weekend, so set to show rulers our love and respect for the ocean.

this year's campaign, like previous editions, focuses on macro-called waste, ie, solid waste, visible to the naked eye, resulting from the consumption.

is a pity that after 20 years of struggle and action, these wastes continue to pile up on our beaches, lakes and rivers. The solutions that are being taken are inadequate. In fact, mechanical cleaning carried by the authorities treat the symptom but not the cause. Besides these mechanical cleaning utensils but they do not increase erosion beaches, and do not prevent the waste of substantial harm and irreversible biodiversity. In fact, 1 million birds and 100 000 mammals die every year worldwide by marine debris.

Therefore, the objective of the campaign, in addition to cleaning is send the message that we must act quickly. These cleanups are a great opportunity to sensitize society about the protection of ocean and coastline. Furthermore, in each of the cleaning, will be used to count the volume of waste collected and will gather signatures Surfrider Europe delivered to MEPs on May 20, 2010 in Gijón, in the European Maritime Day, and that will get our demands on the macro waste.

Individuals or entities wishing to organize a clean up, can register by clicking HERE .

To date there are over 160 cleanups organized throughout the European coast. So far in Galicia had been organized only two cleanings, both on the beach Doniños, 18 and 21 March, organized by the Ocean Surf Club.

This is surely a very good opportunity to give back to the ocean, and all species that inhabit it, a small part of the immense satisfaction that we offer. More about the macro HERE down waste.

Spin Bike Brake Pads Squeal

Interview with Ignacio Corsini to six years of retirement

The gentleman singer gives an interview to be published on 3 June 1919 54

In 1954, he published a note with an interview with Ignacio Corsini in the journal "La Cumparsita." The note, interesting in itself because it contains the actual statements made by Corsini, also contains some rarely seen photos, but unfortunately too retouched.

Subject that the note comes from first hand, the report contains many inaccuracies. Some of them due to the memory of facts Corsini had passed many years ago, others perhaps more committed intentionally and some due to the pen of the chronicler.

Among the "errors" that attracted the most attention, is the birthplace of Caballero Cantor. In fact indicates that it was in "Boedo, Venezuela and Belgrano", when in fact he was born in Italy. It is possible that it has appointed for not disclosing that he was born abroad, even in adulthood was granted citizenship of Argentina. It is very striking that the locations shown for the neighborhood they spent part of his childhood and youth, where in some way could be said to truly "born" as an artist. On the other hand we must remember that Ignacio Corsini always felt deeply Argentine. The above may explain why your statement about the place of his birth.

Another situation that appears not too clear is the fact that Corsini said that when he moved to work as a laborer in a stay of Carlos Tejedor (Buenos Aires), did his parents. It may have been a mistake of the chronicler. Ignacio Corsini is known to be transferred without any family company to stay in Carlos Tejedor. On the other hand, did not meet his father. But surely it must be true that he felt a huge penalty to be transferred with only twelve years old (1902) to the country away from everything he knew, and their memory of a very important figure of his childhood, the "black" Sunday , who taught her early folk songs and play the guitar.

For the first years after the return of Carlos Tejedor, said on several occasions the difficulty to survive in the Centennial Buenos Aires, emphasizing the "lack of resources and means, and the need perform all tasks in order to live. It is known that masonry work performed as frontage, for those times when the fronts of the houses were decorated with a profusion of molding and other ornaments. Leave

see in his words, the enormous effort that had to do to get to the privileged position he held as a national singer. For

filmography Ignacio Corsini, are omitted his interventions in the era of silent films and the making of the film "Rhapsody gaucho" and chronological errors are incurred that are unfortunately typical of this type of reporting.

Regarding her career as a singer, although it had already achieved great success before 1929, clearly shows that, as a matter of massive popularity concerned, his career was a "before and after" from the premiere of "The little store in Santa Lucia."

The Prince of Song. unforgettable figure

There was a time, call Gold, when three great figures of our songs put the excellence of its fiber, insdiscutida personality and his personal qualities, strong, identifiable as the listener would contact their voices were they Carlos Gardel and Ignacio Corsini Agustin Magaldi.
The three have already been in heaven of the fixed stars, which over time will regulgiendo as in the first instance. Two of them disappeared, but the third, embodied in Ignacio Corsini, is still putting the note of remembrance and shine in the artistic world and the excitement of our popular songs.
At the time the popular singer with his distinctive voice broadcast and personal "The little store in Santa Lucia", not everything was easy for those who wanted fame, for those in search of victory, put their best efforts to make his art means of reaching the heart of town. However, Ignacio Corsini, his voice full of fantasy and emotional tone, soon got put in pride of place.


speak with Corsini

To reach a better understanding of the path the life of popular singer, nothing better than talking to himself, for which we interviewed.

- Where were you born, Ignacio ... ? - We asked

- In a neighborhood that then gave figures of renown, and where they left after they put many more gold to the pages of our music. I was born in Boedo, between Belgrano and Venezuela.
- those difficult times do you ...?

- If, for those who were living in the art world was not easy to do. The means were limited and restricted scope. I learned to love our own, listening to the best singers and minstrels of the time. I remember in the clubs in the area, disembark the very best there was, and me, my mouth watered hearing them in a song expressing the wonder of our songs,

- And then ... Did it begin immediately to act ...?

- No, indeed. At twelve years old my parents moved into the town of Carlos Tejedor. When we went to there was as if I had torn a piece of soul. Only the thought that he should leave the places where he could be close to the singers, and gave me grief ...

- however we know that in Carlos Tejedor, was where they took the first steps on the road to success ...

- much as it does not. But it was where I could get in touch with what he loved: the songs. A countryman, called Sunday, the days not worked, taught me to play guitar. He did it with some skill, and what he lacked in knowledge, put him in sentiment. With the first songs I learned. Were styles I will never forget ...

- That means he had not forgotten his first idea, of one day to be a new singer in the world of singers ...

- Indeed ... - Reminisces Corsini. I think it took me well defined vocation, and only needed the time and opportunity to express ... When we returned, I was willing to never give my inclination ...

- acted at once ...? - Question.

- No, the livelihoods were scarce at that time and I had to dedicate myself to make a living working as it fell. I think that also helped out and form a better view of what life was like and at the same time wanting more and more the excitement of the people.
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Note: The photograph of the right , Ignacio Corsini is accompanied by his guitar Armando Pages, Rosendo Weigle and Enrique Maciel, in studies of Max Glülcksmann, the microphone of the recording room, before which, among others, sang Carlos Gardel, Mario Pardo, the duo Ruiz-Acuña, etc. The picture may be dated approximately around 1930, and was taken in the studies had enabled Max Glücksmann in the upper Cine Teatro Grand Splendid, located in Santa Fe and Callao. We recall that the building of the Grand Splendid, opened in 1919 and had an imposing room with four rows of boxes and an audience of 500 people. Epoca

glorious circus

Luck gave a change of course the fate of Ignacio Corsini. Already in the Federal Capital, he began his courtship with his wife who later became best companion, the daughter of the famous circus actor Pacheco. Corsini was young but full of enthusiasm. He knew, by a dark premonition, that would reach the target destination. And so began one night when his future father, then, should work in the circus of Don Pepe Podesta, replacing Hubert Zurlo, Corsini was also to accompany him, and in the dressing room it started to sing to entertain the moment. A voice interrupted him. Podesta was Don Pepe, who said:

- So, che ...; song again ...

Ignacio Corsini, a little excited, he repeated his songs, and at the end said Don Pepe:

- Want to sing at parties gaucho of the work ...? 're Doing, "Martin Fierro" and you're able to work ...

With a lump in the throat of pure emotion, Ignacio Corsini said yes. Precisely what I was expecting. A place from which to assert their merits. And so it began. The year was 1910, and since then the voice of Corsini is putting his personal note and loud in the native songs. Corsini
himself resumed the thread of memories.

- I repeat, was not easy then to get the public is set at one, except that the media was precarious.

- began working at the circus ...?

- Yes, I started to work in the old romances rebate theater living under canvas circus. I did until it started to decline the star of the circus and disappeared dramas from the carousel. Worked, however since 1910 to 1920, going from the circus of Don Pepe Podesta to Casano and many others since.


Gardel Friend
As one would expect, Ignacio Corsini was a close friend of Carlos Gardel. The Abasto Morocho was among the best friends he has tuco and unforgettable memories.

- A Carlitos I met him in 1913 and beyond Bahia Blanca, and since then our friendship never waned. Instead each of us was always ready to come to the aid of that needed something. Gardel always try to put our song above all the interests and indeed I can assure you fight enough to do it.

- When leaving the circus life, what did ...?

- I started working with the company of Pepe Ratti. Were playing at the Apollo Theater's Nest condors. " I worked for the company's young lover. My performance at the circus had given me poise and experience. But it was not until two years after beginning my real ascent on the road to success. Premiered at the time, in the same room with the same company as "Patotero sentimental." Don was an event and Mauricio Godard took me to record the signing of the National records.


emerges as singer

that work and many sacrifices, denia bear fruit. Ignacio was not in vain so many years struggling in the gap to get through. While he was still performing as an actor in front of the companies at the time, it was clear that his world and his true personality was in the song. Missing only the springboard for the leap, and it came with una canción que llegó a cobrar inmensa popularidad. Corsini, nos dice:

- Se abrió definitivamente mi camino con la pieza de Blomberg y Maciel "La pulpera de Santa Lucía", junto con "La mazorquera de Montserrat".

En esa parte de los recuerdos de Corsini, aún está fresco en nuestra memoria el éxito de ambas complsiciones, que en sus grabaciones se vendieron en cifras fabulosas tanto en nuestra capital como en el Uruguay y en otros paises.

Ya estaba consolidada la fama de Corsini. Su recia personalidad había logrado imponerse en el difícil mundo del arte y hacer brecha en la opinión popular, para constituirse indiscutiblemente en una de las primeras figuras more listed in our songs.

- What did you do thereafter? - Want to know.

- Ah, from that moment began a real life job. Possibly more work than ever, but I was pleased to see that it was in vain all that fighting. From the jump, began to get the proposals for action in one place and another. Employers that two or three months prev not even have deigned to listen to my proposals to act for them, came alone to propose business.

- Did you tour ...?

- BTW. Although I could have stayed in the capital indefinitely to give OMPLIANCE to contracts he had, why not let leave aside the inland. I knew that much public wanted to see me and they had a moral commitment that turned many times as I could. And you are always happier back, making sure that my audience around me affection and attention. Login

in film

Our cinema, in 1930 was still in diapers. Took its first steps to try to become a means of efficiency in the concert of world movies. For the time needed to rely on renowned figures who managed to muster the people's attention.

And for that, nothing better to rely on the highest exponents of our songs, among whom was Ignacio Corsini. To him, it was used, to cheer one of the movies then. Made his film debut with "Idols of the radio." Production, except the work of Corsini, was a poor film shows us, but that was fixed the first milestone would be where it is today.

then encouraged "high fort, where I could see an improvement in the quality of the presentation. But while the film itself was not what was, Corsini interpretive work was at the height of his personality, and thus got a new award in his career. Already there were those who thought it when they had put on a show of hierarchy. Such a thing happened with Canaro Francisco, where in 1934 the now defunct Theatre Sarmiento presented the musical "Song of the neighborhoods." With regard to that, he says Corsini:

- In this work I played the waltz "A garden of hope" and triage "I do not know why I love you", which then quickly gained popularity. I remember also acted Alicia Vignoli, Francisco Charmiello, Climent, Hector Calcagno, Margarita Padin and then Pirincho singer, Ernesto Fame. We had a good season and I think that was where I could breathe easy with respect to my Porvair, as the public showed sympathy at all times and do not forget to have me ...

Prince song

Corsini had not been mistaken in saying that your audience and do not forget and faithfully followed him as one of the best exponents of our popular songs. The confirmation of his hunch had it a year later, through a competition organized by a magazine of Buenos Aires. It was elected by the "Prince of the song." Began to rain the ballots supporting the name of Ignacio Corsini as the strongest candidate for the title. And when it ended the contest with the count is confirmed that he had won by a landslide. The public had turned addict by the name of the singer who represented the best that there was: Ignacio Corsini.

life of the famous singer was multiplied to comply with the various contracts it rained. Film, radio, tours, cafes ..., the most desirable rooms in the capital, interior and neighboring countries want to count him among their numbers strong attraction, and that the mere announcement of the presentation and was a cause for concern.

is curious to note that there was always a special feature in the success of Ignacio Corsini. From the first moment that turned in the way of art, always managed a current of sympathy in his wheel. It is true that in the beginning when he defended himself from the arena of Don Pepe Podesta, could not leave the small area of \u200b\u200blimited popularity, limited in the world of those who attended the circus performances. But whenever his name was being printed in the memory. It said this feature when I raised the bow and went to the theater with Ratti, to assert with Canaro and subsequent performance.

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Note: The photo caption says "Year 1936: the magazine Supplement, organizes a contest in which the public voted across the country that lasted for a year and a half through this event will be devoted Prince of Song Ignacio Corsini. Footnote (graphic) said delivery of a prize on that occasion by Mr. Fields, director of the publication. Corsini

today

The Ignacio Corsini today remains the same Corsini enthusiastic as ever. Although retired from the artistic activity in 1949, is still visiting the old places of their greatest hits and cultivating their friends as usual.

now covered with glory and surrounded by the love of thousands of fans do not forget, and welcomed retirement, go to the world of his memories and is "always ready to reissue another success, even in the intimacy of a family party."

The year 1891 saw the birth of Ignacio Corsini, and since then here, a fighting force, with the base of his personality, his ability to work and tenacity of an unshakable, was leaving memories in your way until you reach form a single memory in the hearts of all, because the name of Ignacio Corsini, who so brilliantly gave our music, never ceased to shine with her own lights. Not even now, that lives far away from art, but instead, remains firmly in the memory of the people who believes and applauding, ratifying now with the reissue of recordings of popular singer, and when you can personally give his approval so ago, because he knows he faces a decent and full artist, worthy of greater recognition.

Many

Rikers Island Inmate Visit

Ignacio Corsini foreign editions.

Knight's record releases Cantor published abroad, especially in the twenties

Continuing our previous work (see HERE ) in we analyzed the various foreign editions of Ignacio Corsini, some of them containing unpublished works in Argentina and in other cases unreleased footage than those originally published in our country, we must start by saying that probably the two countries recorded more editions are Brazil and Chile. Regarding the sister Republic of Uruguay, Caballero Cantor disks, at that time were imported directly from Argentina, which had no local representatives Odeon. We remember the way that Max himself Glücksmann, was the owner of a chain of cinemas and theaters in Uruguay, which was managed by his younger brother Bernardo Glücksmann.
is especially in Brazil, where they have found a lot of issues or disk riginal Ignacio Corsini, which were published particularly during the decade of 20.

Indeed, there has been a significant amount of discs, some of his early electrical recordings (1926-1927), and other issues pertaining to the series of electrical recordings made under Verotón system (1927 onwards). We noted particularly in the case of the latter recordings, the company led by Max Glücksmann had achieved outstanding sound quality and clarity, for the time being excellent recordings. The first series of electrical recordings had been largely experimental and the few parents that were released commercially successful reveal their little sharpness the sound being captured by the microphones emerging poor and in many cases with distortions.

striking that in Brazil have been published so many discs Corsini, especially taking into account the difference of language, and especially the fact that at that time (1925-1927) Corsini had not yet reached the projection he did in his post. Only in 1928, Knight was released as Cantor national singer, beginning his brilliant solo career.
warn about these magnificent Brazilian editions, without prejudice to the inherent imperfection in itself carries all acoustic recording, these discs are carefully manufacturing and printing a bright sound.

These discs were pressed in Rio de Janeiro, by the Odeon record factory especially for Figner Fred Edison House, a company that had exclusive Odeon discs in Brazil and is this a case similar to Max Glücksmann in Argentina.

Edison House, was owned by Fred Figner, also known as Federico Figner, who was a pioneer of the music industry as Glücksmann Max. Figner was born in the then Austro-Hungarian Empire on December 2, 1866, and after spending a short time by the U.S. where he had been naturalized as a U.S. citizen, landed in 1891 in Bethlehem / Brazil, bringing a phonograph for public display. Interestingly
Figner
Federico, come to Buenos Aires in 1896, and submitted on 20 July, the Vitascopio (made by Thomas Edison), Florida 100. Some viewers became more than once to see these "views": Enrique Lepage, Eugenio Py and Max Glücksmann, owners and employees of a trade in Photography.

According to research conducted by the Museo del Cine "Pablo Ducros Hicken, local film production, will start when Figner, in November 1896 film landscapes seconded by Joseph Steinberg. Indeed, the three films Figner first "views" of the city of Buenos Aires on November 24, 1896, these being the first films made in the country. These movies were made long before Eugenio Py, using a camera, "Gaumont", filmed in 1897 "The flag of Argentina", mistakenly considered the first study in our country. The Belgian film pioneer, was a view of flag waving Argetina in Plaza de Mayo.

In 1900 he published his first sales catalog engraved cylinders in Rio de Janeiro. In 1902 he announced for the first time as "Casa Edison" Fred Figner. He was born the first Brazilian record company. In 1912 Figner signing a contract with International Talking Machine for the installation of a record factory in an area of \u200b\u200byour property.

The factory was the most modern equipment of its time and was able to produce in 1912, and half a million discs per year (at a rate of one album every three minutes). Had 150 employees and had a plant for recycling of rejected products and record unsold balances. Dicimbre 21, 1912 is pressing for the first time an album totally produced in Brazil by the company "Odeon" in Rio de Janeiro. With the passage of time would eventually Odeon to wipe out the "Casa Edison." Figner Fred died in Rio de Janeiro on 19 January 1947.

While these albums were released based on the original matrices Max Glücksmann sent to Rio de Janeiro, which in itself gives good sound, the materials that were pressed were of excellent quality and it still amazes us the excellent performance inall these plates.

discs The issues Ignacio Corsini Brazilians and the first electrical recordings (1926) detected to date, for the years 1925 and 1926 and were originally sold in editions with gold lettering and purple color labels, then blue and finally electric blue. With regard to issues of electrical recordings, copies are for the years 1927, 1928 and 1929 editions with gold lettering and light blue cloud and then dark blue.

Ignacio Corsini acoustic editions published in Brazil

18436 A - Sparks (2828) - Tango
18436 B - Trago amargo (2829) - Tango

18437 A - Sarita (2826) - Tango.
1925 18437 B - My Forgiveness (2542) - Tango.

1925 18456 A - The wagon (3499-I) - Zamba.
1925 18456 B - Criollazo (3573) - Tango. 1925

18465 A - sorry Creole (3934) - Tango.
1926 18465 B - The white house (4213) - Vals.

1926 18471 A - Clavelito Red (4579) - Tango.
1926 18471 B - Where (4251) - Chacayalera.

1926 18477 A - Mary (4440) - Vals.
1926 18477 B - Violetita (4448) - Tango. 1926

Except discs 18437, 18471 and 18477, the remaining copies are different couplings to the original editions published in Argentina at that time. In fact, in the Argentinian serial 18456 and 18465 discs containing the following books:

18456 A - The wagon - (3499-I) - Zamba
18456 B - Mr (3575-I) - Tango

18465 A - Chords ( 3826) - Tango
18465 B - I'm Creole (3924) - Tango

Moreover highlight
The songs "Criollazo" and "white house", were published in Argentina with different couplings on the numbers:

18457 A - Criollazo (3573) - Tango
18457 B - Echoes of Arabia (3574) - Fox-trot

18472 A - A good guy - (4211) - Tango
18472 B - The little white house - Vals (4213)


electrical recordings edited in Brazil Ignacio Corsini

18481 A - Parent (e- 23) - Tango.
13/11/1926 18477 B - If these payments are - Tango (e-22). 13/11/1926

1244 A - Night silent (e-1000-I) - Tango. 8/7/1927
1244 B - grumbles (e-474) - Tango. 22/2/1927

1355 A - Bandoneon (e-2030) - Tango. 10/2/1928
1355 B - Fingerprint ... mark (e-2029-II) - Song. 24/2/1928

1378 A - The mazorquera of Montserat (e-3998) - Tango
1378 B - The general store in Santa Lucía (e-3999-III) - Vals

1665 A - Between Two Lights (e- 4590-I) - Zamba
1665 B - Since You Went Away (e-4636) - Style

All these editions were published with the same fittings as the respective editions sold in Argentina, with the exception of 1244 album B - "grumbling" that was published in Argentina under the number 18488, A side, with the coupling in the B-side of Tango "compadre" (matrix e-413). In terms of side B of disc 1244, which contains the (e-1000) of "silent night", remember that it has been thoroughly unprecedented in Argentina. In fact in our country, was published, and re-1000-I, under the disc number 18499, with the coupling on the B side of the waltz "Dreams" (matrix e-1077).

Finally, we note that there is knowledge that there were many issues in Brazil Ignacio Corsini (nearly a hundred records). We hope with time to complete the information as it becomes available new data and Brazilian discs Cantor Knight.

Unlike the case of Carlos Gardel Gardel-Razzano duo have not been detected so far different runs of acoustic recordings of Ignacio Corsini, subject to which it does not mean none exist. We should not rule out the emergence of other "surprises" in the future.

Carlos Gardel's case is special (see Fabio's blog HERE Cernuda), as the oldest Brazilian issues identified so far for the year 1922. Instead of the oldest issues Caballero Cantor detected so far date from 1925. Indeed detected
acoustic Brazilian editions of Thrush in the series cloud orange, red, purple, blue and electric blue. They are also countless Brazilian editions of electrical recordings, which were reissued to the fifties in 78 RPM. This is reasonable, the fact that Ignacio Corsini obviously did not have the same international was Carlos Gardel, nor reached the popularity of the Thrush obtained in Central and South America primarily through the dissemination of his films.

On the left side of the blog can hear full versions mastered, taken from the Brazilian edition of "Sarita", "Lamento criollo", "Violetita" and "If these payments are, where you can see, in addition of the successful Cantor Knight's interpretation, the quality of these issues and the clarity of printing, due in part to the excellent quality of shellac used in the press. Sources


www.gardelweb.com - As they made their fortune - Max Glucksmann
Museo del Cine "Pablo Ducros Hicken, First anthology of Argentine silent film - Dossier
Fabio Cernuda, http://www.blogger. com / www.carlosgardelgrabaciones.blogspot.com and http://www.blogger.com/www.ignaciocorsinigrabaciones.blogspot.com
Dr. Ignacio Corsini (h): "Ignacio Corsini, My Father" - Editorial All is History (1977)
Faces and masks. Edit Sound Archives
27/11/1926 - http://arquivossonoros.blogspot.com/

Astra 28 Hindi Channels

Part Two Premieres at the Apollo Theater the play "The cabaret dancer" on May 12, 1922

Ignacio Corsini makes a figment of his performance of "The bully sentimental", and so secured as singer and heartthrob future great interpreter of popular music

ran from 1922 and Corsini had not yet moved into his house at Otamendi 676, located at Centennial Park.

El Caballero Cantor and his family lived at that time in a family house located in the so calle Corrientes "narrow" in 1318, between Talcahuano and Uruguay, in the suburb of San Nicolas, in same path of the Apollo Theater. Those were the days when the street was far from ordinary broad avenue that is now, but without prejudice to this, flourished and proliferated theaters that made it legendary cabarets and reflect how well they knew the lyrics of the tangos in vogue at that first half of the twenties.

This family home was a tenancy which abounded in those days in the city of Buenos Aires and, for better or worse could solve the housing problems who could not afford to have their own. In those 20 years, these tenements were occupied by workers and employees (alone or with their families), and also by artists, writers, journalists, actors, poets and musicians who were struggling with their art. There

recalls Dr. Ignacio Corsini (h)-who at that time then had 11 years of age, "lived among other actress Tita Merello, who at that time was a young girl of 17 years.
evokes
So Caballero Cantor's son: "Tita, a teenager, was a beautiful brunette ... often used to take me out ...". Tita Merello

died in Buenos Aires on December 24, 2002, in room No. 924 on the ninth floor of the Favaloro Foundation. The next day, the funeral cortege drove his remains were stopped minutes in Favaloro Foundation and then back again one last stop in Avenida Corrientes 1300, remembering the place where the actress had been in their teens.

Today, a monolith placed in front of the numbering of the Avenida Corrientes 1318, remembers the tenancy where Tita spent those early teen years, and although the historical reference makes no mention of the passing of Ignacio Corsini for that house, from these pages also included in the tribute. Then it is worth remembering these two great figures of popular culture in Argentina, which once knew match during its times of struggle, the humility of the tenancy.


Apollo Theater

The history of the Apollo Theater, like the history of many city's theaters, a story of contrasts. On the one hand the brilliance and splendor of its best moments, filled rooms, the great personalities of the National Theatre in endless procession, and the other the slow decline, the shadows and the final demolition. A sad commonplace for many of our most cherished theaters, through which night after night the theater and the history of popular entertainment, and disappeared Politeama, the Odeon and many others. In this case, fortunately, the Apollo Unlike those, because after its demolition was promptly rebuilt and is now running with his original name and prestige.

Doing a bit of history, the Apollo Theater was originally opened on March 21, 1892, and the family for decades Podesta knew how to shine your stage with sketches and works of popular genre.
At the opening night, which coincided with the start of the fall of 1892, however there was a benefit performance for the Ladies of Charity, where the program included: 1 Symphony, 2 ° The comedy in three acts " Divorciémonos "3 ° The Toy comic one-act Quail."

That same year, 1892 is the year of his presidential term concludes Dr. Carlos Pellegrini, after having taken over the resignation of Miguel Juarez Celman in 1890. After the triumph of the formula "Luis Saenz Peña José Evaristo Uriburu", Carlos Pellegrini leaves office on 12 October. The resignation of President Juarez Celman, comes a week after the surrender of the Revolution Park (revolution 90), being its immediate political consequences. The emergence of civil society and income urban middle class into political life, was his social consequence. Celman Juarez also was forced to resign by the crumbling financial situation it was in the country, the result of excessive public spending, real estate speculation and financial, public works concession to those in your inner circle, and a high inflation. This led to social protests, culminating in the Revolution of the Park. Excessive concentration of power in his person and his officers, his government won him the name "Unicat." Returning to

Apollo Theater, it is still standing until its demolition in 1960 until mid-July 1966, was rebuilt when the Company "New Theatre - Cooperative Work", founded by Pedro Pasquini and Alejandra Boero, began his season in the hall and took over its management until 1971. This company was built by none other than actors such as Hector Alterio, Rubens Correa, Norberto Pagani, Lucrecia Capello, Jorge Hacker and Enrique Pinti.
Subsequently, the late 70's, the Board changed its name to Theatre Lorange "then as a theater and cinema alike, until the 90's.

After being closed for a few years, the July 27, 2009, is reopened for the second time, now with its original name, and begins its new phase as of August 5, 2009, with the premiere of "King Lear "starring Alfredo Alcon.


The Cabaret Dancer

In 1921, Ignacio Corsini is hired by Julius Traversa to integrate César Ratti troupe, at the Apollo Theater. While previous seasons of his career as an actor, Caballero Cantor had acted sporadically in this room is from the introduction to this company that its presence at the Apollo, begins to be almost permanent. Be presented in future in the theater as part of various companies until 1926. In 1927 the company will Luis Arata the Comedy Theatre, Teatro Lola Menbrives now located Avenida Corrientes 1280, just 100 meters from the Apollo.
El Caballero Cantor
account in 1921 with 30 years of age and stands as a handsome and gallant and great singer of our things. Tall, blond, with excellent diction and slender figure, joins the cast of the company (in its various denominations) characters embody a large amount of work during the seasons 1921 and 1922, according to the following chronology presentence below.


1921 - White Company Podesta, Ratti and Julio Cesar Traversa:

- "The Condors nest" Alberto Weisbach. Premiered at the Apollo Theatre on 3 March 1921,
- "At 9 in the convent of Ballestero and Schaefer Gallo. Premiered at the Apollo Theatre on 31 March 1921.
- "The race of the Uruguayan" (A student life) of Peter Benjamin Aquino. Premiered at the Apollo Theatre on 5 April 1921.
- "The cave of owls, and Atilio Eduardo Trong Cattaneo. Premiered at the Apollo Theatre on 1 June 1921.
- "From door to door" of smoke Dowton and Mones Ruiz. Premiered at the Teatro Apollo, 14 June 1921.
- "Black and go seven," E. Geminiani. Premiered at the Teatro Apollo, 25 June 1921.
- "And the dog died," Peter Benjamin Aquino. Premiered at the Teatro Apollo, July 7, 1921.
- "And Bunting, colorao" by F. Collazo and T. Insausti. Premiered at the Teatro Apollo, 23 July 1921.
- "Passion" by J. Luque Lobos. Premiered at the Apollo Theater on August 5, 1921. In this work sings a Payada Ignacio Corsini.
- "Who is to blame," Joseph P. Alvarez and A. Gonzalez Revilla. Premiered at the Teatro Apollo, August 18, 1921.
- "boxing champion" by Florencio Parravinici. Premiered at the Teatro Apollo, August 25, 1921.
- "Mephistopheles" by Alberto Ballestero. Premiered at the Teatro Apollo, September 8, 1921.
- "Mother" by Enzo Aloisi and Michael Lacreu. Premiered at the Teatro Apollo, 20 September 1921.
- "A Journey to Hell" by Charles Schaefer Gallo. Premiered at the Teatro Apollo, October 8, 1921.
- "Write me a letter priest" by Ballestero and Parra. Released on November 8, 1921.

1922 - Cesar Ratti Company:

- "Able to tame a horse" Alberto Ballestero. Premiered at the Teatro Apollo, 15 March 1922.
- "Corrida de bullfighters V. And A. Pecci Bassi. Premiered at the Teatro Apollo, April 18, 1922.
- "Man of the day," Ossorio and Insausti. Premiered at the Teatro Apollo, April 25, 1922.
- "The dancer Cabaret "by Manuel Romero. Premiered at the Teatro Apollo, 12 May 1922. In this work opens Ignacio Corsini tango" The emotional bully "by Manuel Jovés and Manuel Romero, becoming one of the events of that 1922. Recorded by Ignacio Corsini and Carlos Gardel that year.
- "The arrival of Charrúa", Benjamin Peter Aquino. Premiered at the Teatro Apollo, 19 May 1922.
- "Cafe Marseilles" by Francisco Collazo. Premiered at the Teatro Apollo, 28 August 1922. In this book Ignacio Corsini, singing the tango "The kiss of death," Perez Freire and Viergol.
- "The fixed" , Julio F. Escobar. Released at the Apollo Theatre on 29 September 1922.
- "A paris boys" by M. Flores and L. Shawty. Premiered at the Teatro Apollo, 13 October 1922.
- "Ali Baba and the 40 Thieves" by Ivo Pelay. Premiered at the Teatro Apollo, 15 November 1922.
- "Johnny and Johnny" by Armando Mook. Premiered at the Teatro Apollo, 13 December 1922.

On May 12, 1922, then opens at the Apollo Theater, the play "The cabaret dancer, Manuel Romero and in it the gallant singer Ignacio Corsini, premiered his tango" The emotional bully. " The work quickly became an event, and the public attends to hear the new tango that has become a hit the voice of the young singer.

The Company was made on that occasion by the brothers César and Pepe Ratti, Blanca Podesta, Emma Bernal, Pilar Gomez, Chela Cordero, Manuela Senisterra, Mary Rose, Mecha Caus, Carmen Méndez, Ada Peressini, Mary Esther Lerena, Victoria Corsini Samuel Giménez, Alberto Puértolas, Vincent Sassone, Alfredo Lliri, Raul Castro and Ricardo Ruffa.

The scene in which the Knight Cantor sings the new tango, described in detail luxuries Osvaldo Sosa Cordero, evoking the scenic picture with these words:

"... the final revelation, and its subsequent popularity as a singer - arrived at the night of May 12, 1922, at the same theater and with the same company, playing the character of Lorraine, the "fictional piece" by Manuel Romero "The b ailarín Cabaret," opens on both "Patotero sentimental, "just Romero, music by Manuel Jovés. The public turns to Apollo attracted by the nice piece by noted or cannot, in rigorous "smoking", nonchalantly leaning on the back of a chair, resting his right knee on it, singing in the scenic picture " cabaret "

Patotero, dance hall king of sentimental bully

hide under your laughter
eager mourn ...

The attraction of the table, we would complete with the unforgettable tango dancer skills that he displayed the figure head of the company (referring to César Ratti, renowned tango dancer), under otherwise common in many prominent actors of the time ... "Ruben

Pesce, brings more memories of that memorable performance, describing in detail the cabaret scene, a scene in which Ignacio Corsini sings his new creation:

" Table of cabaret-in those years essential feature for the success of a farce, " Ignacio Corsini with his wife, Victoria Pacheco, and other artists of the company, occupied the first table on the left. When the pit, the orchestra DIRI Gida by master Scolati Almeyda, attacked with the introduction of the tango, Corsini took his seat, went to the proscenium , put it upside down, took the back and we supported the seat with the right knee. So-erg uid, tall, blond, dressed in a tuxedo, "sang The duck uterus sentimental"

Such was the tremendous success of the tango, the audience asked many encores at every performance of the work. Apparently this have awakened some "artistic zeal" director of the Company, the famed actor Cesar Ratti. Indeed, Sunday before the "vermuth", asked Ignatius to the interest of time, dispensing with many public, and orders once reprise the tango, giving a single encore. However, although respected Corsini asked him to do Ratti, the public was so insistent that the director of the Company realized that he must allow all encores required by the public, which at that time were no less than five, according to the Ruben interesting story that makes Pesce.

seems that this would not have been the only episode of such features, or an emergency situation for Don Cesar Ratti. Indeed, under the title "Angelic Cesar Joke Ratti, Roberto Casinelli, recounts another episode that occurred when Agustín Magaldi acted for the Company of the famous actor, playing along with Pedro Noda issues of the national repertoire. We recall that Magaldi was at that time (1926), a young singer who was just starting as a professional, and was therefore unable to "steal" public Cesar Ratti, a great actor and dedicated. Years later Henry Cadícamo, friend and collaborator of Magaldi, recalled the extraordinary human qualities that characterized Augustine, Irene Amuchástegui He was interviewed while writing the biography of the Voice Sentimental.

Casinelli Here's account, extracted from the cover of the album "The history of Agustín Magaldi" (RCA Victor Camden CAS-6035):

"Don Pascual Carcavallo the interest (the duo Magaldi-Noda) for Smart Theater and the employer hires to reinforce the cast of the work of Pablo Pascual Contursi Serum and "Cursed cabaret" or "Cachito Patotero" performed by the Company of Cesar and Pepe Ratti. Debuts on August 21, 1926, sharing the Music with the Orchestra of Juan Maglio Pacho. There were three or four daily sections to packed houses every day and liked most Augustine releases Magaldi (solo) is such as the waltz "Marchetta" version de Tagle Lara and the tango "Old Rag", the same author. On several occasions due Bisaro "Marchetta" delaying the section or bothering the "capo comic" César Ratti. other way had not come on stage dressed as a woman to dance to the beat of the waltz dramatic singing Magaldi. This situation provoked the hilarity of the audience and the singer getting uneasy with that clever play down intervention applause Magaldi and also win the "work" so artfully in the number of most popular attraction of the theater Porada tem. Caesar did not want Ratti
lose
...!" Obviously the encore "I drew" Don Cesar Ratti ...


The sentimental Patotero

Days before the imminent premiere of the play, Manuel had Jovés presented at the Apollo Theater, to end a function, with the music for the letter he had written for the occasion, the author of the work, Manuel Romero. note on our part that it was probably one of the last performances of "The Man Day ", released on April 22, 1922, the work prior to the opening of" The cabaret dancer "by the Company.
Once evicted
viewers Theater, evokes in his work must be consulted Pesce Ruben met in the pit around the piano, Ignacio Corsini, accompanied by his wife Victoria and son Ignacio Pacheco eleven-year-old Manuel Romero, the siblings Ratti and Manuel Jovés who spent several times in the piano's new composition for the present judge their composition, thus making a first trial. Once released the work, Caballero Cantor would be supported in all functions that interpret "The emotional bully" by the Apollo Theatre orchestra, conducted by maestro Félix Scolatti Almeyda.

At that time he knew immediately Ignacio Corsini "The emotional bully" would be a success. Indeed, that night after returning from the theater with his family while walking to a bakery where you bought the bread just out of a third batch "and then went to dinner at his home, his son Ignacio was whistling the tune of the new Tango recently tested, amazing father. Corsini knew well that the tango in question would be "Entrador."

After the resounding success of the work and in light of the growing popularity of the new tango, Carlos Gardel, went to the theater to see and hear personally representing the interpretation of Ignacio Corsini. At the end of the show attended the dressing room and congratulating the singer galan for his performance he predicted a bright future in the way of popular song.

Indeed we noted that "emotional bully", is undoubtedly the first successful Ignacio Corsini, not only as an interpreter of tangos, but as a singer. This creation is projected early on what will be his brilliant solo career, which will start and definitely moved away from the tables in 1928, and will keep for more than 20 years exalted among the most important figures of the national anthem.

At that 1922, although the Cantor Knight two years ago and recorded regularly for Max Gluksman house was not yet definitively established as singing in public taste, and either could say it was better known, at least in the city of Buenos Aires as a stage actor who as a performer. It is possible however, that inside, away from the stage of the capital, was probably best known for his work as singer phonograph, and less with the actor's theater. In fact at that time the Corsini family income came almost entirely from the permanent theatrical activity that developed both Caballero Cantor and his wife actress Victoria Pacheco. Just to check, take a look at the amount of plays in which both participated in the first half of the 20's. It was no coincidence either, that in those years Corsini and his family lived in Corrientes street, so close to those theaters were permanently go to try and represent a large number of works.

However, until the release of "The Patotero sentimental", Corsini had not recorded more than a handful of discs.

Indeed, until the appearance of disc No. 18,041, had released only 30 albums of Caballero Cantor.

The disc edition containing 18,401 on its side A, "The emotional bully" with the accompaniment of the orchestra of Roberto Firpo, while on its face B, had the style "Despedida" authorship of Ignacio Corsini, accompanied with guitars. While

Ignacio Corsini made a significant number of recordings accompanied by the orchestra of Roberto Firpo, it was predictable that "emotional bully" will have orchestral accompaniment, as they played in their successful performances at the Apollo Theater with Orchestra directed by Scolatti Almeyda.

The curious fact is that this album was released in two different runs, the first containing the version registered under number 845-II matrix, and the second containing a later version on the matrix number 924-I, both with Firpo accompaniment.

located in the left sector of this work, find the audio samples that contain mastered both full versions, plus a bonus track: the track "Your sighs" which belongs to the same recording of the second version of "The emotional bully" and it was registered the same day with the number of 925-I matrix .

is possible to speculate that the first two unreleased versions of the work (845 and 845-I), have been recorded with guitar accompaniment, and then to the dramatic difference that surely would have with the stage version, has decided to record the version with the orchestra of Roberto Firpo. This, obviously, we can not corroborate and no more than one more than mere speculation, but it seems at least interesting supposition considered. Finally

last recorded in 1930 and accompanied by his trio of guitars (Pagés, Weigle and Maciel), two new versions of "The emotional bully" with Verotón electrical recording system. They have remained unpublished and have reached our days through the test discs.

In summary, seven versions would then be "Patotero sentimental", recorded on wax by Caballero Cantor, according to the following details:


845 1922 1922 845-I 845-II

1922
924 1922 1922 924-I-5780 07/10/1930
and
e-5780-1 08/13/1930 Since

extrodinaria the success and popularity of the tango, Carlos Gardel takes the disc recording two versions on the numbers of arrays 954 and 954-I, ie a few days after it recorded its parent Ignacio Corsini 924 and 924 - I.

paragraphs back we said that this year 1922, Ignacio Corsini was probably best known as a theatrical actor and singer, and had published until the premiere of "The cabaret dancer, a little more than a score disc (apart obviously from the series Victor, 1912, which by now had passed completely into oblivion for the public, and which we know, was not at all pleasing to Don Ignacio).

Indeed the series of National Odeon records, began in 1920 with the number 201 and extends to the disc number 230, to restart splicing with a new series that is assigned the number 18,401. This album is precisely the one that contains on its face to the "Patotero sentimental."

In this regard we must note as a detail of importance when considering any discography, matrix numbers that hold no correlation with the disc numbers, so that although the time to record his version of "The bully sentimental" , Corsini had registered only 24 original matrices (with possible repetitions, as the case), published when editing the record 18,401, and had actually been released 30 albums, with 28 arrays and two repetitions (30 sides total).

El Caballero Cantor had begun his series of recordings for the Disco Nacional Odeon, Max Glucksman, as noted above paragraphs ago, in 1920, but we note that in relation to Carlos Gardel and the Gardel-Razzano duo had actually made quite few recordings in the same period of two years: 1920


405 - Tortolita and CHIGOL - Disco Nacional Odeon 201 B
406 - My poor china - Disco Nacional Odeon
202 B 407 - Popular tradition of this land - Disco Nacional Odeon
201 A 408 - The last farewell - Disco Nacional Odeon 202 A


1921 478 - The death of milonguita - Disco Nacional Odeon
203 A 479 - flower withers - Disco Odeon National
204 A 480 - My lost illusions - Disco Nacional Odeon
203 B 481 - Lamento - National Odeon DISSC
204 A 520 - A lament - Disco Nacional Odeon
206 A 521-II - China heresy - Disco Nacional Odeon 205 A
522-III - Why did you leave me - Disco Nacional Odeon 205 B 523-I
recalling - Disco Nacional Odeon
206 B 638 - The early morning - Odeon National
207 A 639 - let me Amurado - Disco Nacional Odeon
208 A 640 - My pigeon - Disco Nacional Odeon
208 B 641 - At the foot of the fence - Disco Nacional Odeon 207 1922 B


724 - Poor cotorro - Disco Nacional Odeon 212 A and Disco Odeon National
226 B 761 - The breeze - Disco Nacional Odeon
209 A 762 - Santos Vega - Disco Nacional Odeon
209 B 763-I My rags - Disco Nacional Odeon
211 A 792 - The clown - Disco Nacional Odeon 226 A
792-I The clown - Disco Nacional Odeon
210 A 793 - Farewell - Disco 1Nacional
Odeon 8401 B 794 - For her - Disco Nacional Odeon
210 B 799-I Do not forget - Disco Nacional Odeon 211 B 845-II
bully sentimental - Disco Nacional Odeon 18,401 A
912 - The power of your eyes - Disco Nacional Odeon
212 A 916 - The Girl - Disco Nacional Odeon
18,403 A 924-I The bully sentimental - Disco Nacional Odeon 18,401 A 925-I
Your sighs - Disco Nacional Odeon 18,403 B

clarify that the recordings are in 1922, but for the purposes of this study conclude this list until the recording session that the second version of "The sentimental bully "session in which he recorded also accompanied by the orchestra of Roberto Firpo, the song" Your sighs "Firpo and Corsini himself.


street gangs of thugs and wild
Patotero
The character has been used countless times as part of the subject of quite a few songs in the twenties, and also in his later works, such as occurs with the tango "Corrientes y Esmeralda" where Celedonio Esteban Flores street gangs evokes the following verses:

"handsome subsided along with your ochavas
when a pack shoes in" cross "and you
street gangs were brave gloss
back in year nine two ... "

The" pack "that boasted of his fame as an athlete and skilled fighter is none other than Jorge Newbery, which is painted the entire body with the brief and inspired stroke of the pen porteñísima Cele black, without even mentioning it.

The "bully" and "street gangs" were characters common in Buenos Aires in the late nineteenth and early twentieth century. Witness so many advertisements.

Oto Manuel Gil, "La Argentina that I've seen" (1917), makes an interesting portrayal of the character and defines a "bully", as opposed to "friend" in the following terms:

" compadrito Patotero is good house, the child well, drunk, womanizer, braggart and bully. The friend is a worker who does not want to work, the bully is the wealthy heir who is skull because he gets bored of doing nothing. The gossip is almost always ruffian (Note from the blog: pimp) to get good life, the bully is released to the bad life because you have money left, friends and influences to ensure impunity. Another feature of the bully is that they rarely work and damages individually, as the friend, the bully alone, usually being a good boy. It is only scary in gang when the impunity that secures your silver and your family, you can add the impunity of the number and strength. The differences of origin and identified, among the gentlemen and the bully, determined pre-finishing forced differences, to reach a certain age that is not possible or the binges, or sweet potatoes, or calves, not the other frivolities, which are the hoodlums and thugs fun. The end of friend is usually the hospital or prison. The thuggish, more secure and happy, usually ends in a good job of the state, a deputy of the Nation, and even minister. "

Noting that" there is no sentimental thugs were, "says Francisco García Giménez, that all noting that they were cruel Manuel Romero, a journalist by profession, had in mind the dramatic events occurred the night of February 12, 1911: "... the poor bohemian Abel Gutierrez hairy bum Conti-family safe, of downtown, "tired of the daily taunts of the mob was assembled from a revolver and, after enduring relentless persecution that night five blocks down the avenue, killed by two shots Debenedetti the brash student, compared to the number 744 ... "

are part of this work, available for listening on the left side of this blog, the remastered versions of" The Patotero sentimental ", recorded in 1922 by Ignacio Corsini under matrices and numbers 845-II 924-I and the version of the song "Your sighs" registered under the parent 925-I.


Chronicle the premiere of "The cabaret dancer" - Faces and Masks (5/27/1922)

A fifteenth day of the premiere of "The cabaret dancer" in the edition of Faces and Masks of May 27, 1922 , in "The theater and music in Buenos Aires", published a crude and blunt criticism of the work, signed by Jose Ojeda, the chronicler of events for the magazine. True to his ruthless style, Ojeda made harsh comments about the play, the actors and the musical piece sung by Corsini. See as their views on that day of May 12, 1922, by the way diametrically opposite to the audience that filled the room for countless functions:

"The Don César Ratti company has released earlier this month the drama film The cabaret dancer, Don Manuel Romero. An honest man and his servant promised a dying man under his wing to take a daughter who left school some the city that pretends to be father of the girl, without any regard for the civil registry documents, and soon they fall in love with his pupil when she was already committed to a loss. The honest man must confess his daughter that is not your father, and the girl, indignantly of the deception, forget all the love that he had been awakened by the honest man to flee with the man lost. After years man honored in the drink is ruined and has to hold the servant, working as a cabaret dancer. There is, of course, the old adopted daughter, and she is also seductive. The girl throws her arms around the neck of an honest man and drunk, shoot you the servant of the lost man, and left turn giving sound advice and regeneration work to his former employer.

Falsehood psychological and theatrical piece is offset by the outline a bit coarse and careless of the protagonist, the selfless servant, faithful and perfect the ancient tales.

The cabaret scene serves to introduce the well-known Figures of the medium and not missing, by the way, tango song and dance more or less exotic, favorite pieces of public resources for bad law priming.
Mr. Ratti excels in the performance of the protagonist at a height not reached anywhere near by those around . "

We make special mention and thanks to our dear friend Carlos Piccio, through whose courtesy we play this interesting disease.

Sources:
- Dr. Ignacio Corsini (h): "Ignacio Corsini, my father" - Editorial Todo es Historia - 1977
- Diario La Nación -26/12/2002
- Journal Reason - 28/7/2009
- Faces and Masks - 27/5/1922
Edition - Sosa Cordero, Osvaldo: "History in Buenos Aires 1900-1925 vaudeville." Editorial Corregidor - 1978
- Pesce, Ruben - Selles, Roberto: "The history of Tango. The voices of the Tango. Ignacio Corsini.." Editorial Corregidor-1978
- García Giménez, Francisco: "Thus was born the tangos" - Editorial Losada - 1965
- Marambio Catan, Carlos Marambio: "60 years with the tango." Editorial Freeland - 1973
- Morena, Miguel Angel: "Carlos Gardel's artistic history." 5 ° enlarged and definitive edition. Editorial Corregidor - 2008
- Daner Suarez, EM: "The farce." Centro Editor America Latina - 1970
- Ordaz, Luis: "El Teatro Argentino." Centro Editor America Latina - 1971 - Gil de Oto, Manuel: "The Argentina that I've seen."
1917 - Casinelli, Roberto: "The history of Agustín Magaldi" - RCA Victor Disco Camden - CAS-6035