«We will be inseparable even if we don’t want to», says Horacio Ferrer in the Jorge Luis Borges Room of the Buenos Aires Book Fair almost a decade ago. He was referring to a truth that they both knew in detail. At that moment. And now, although one still walks the streets of Parque de los Patricios and the other is commenting on the beauties he wrote while walking around that area of the South of the City, between cobblestones, along his beloved Pepirí street. And always. Because tango, which sometimes seems from another time, is nothing more than music that awaits us somewhere in life., even to so many rockers who filled the Ducó Palace. With their voices or with their feet pressed with other feet, on the grass or in the stands. In Huracán they know it better than in any other club in the world, say those who know a lot about the issue at the headquarters on Avenida Caseros.
Guillermo Stábile, in tango «Get rid of that Mujica» -of Juan Faustino Sarcione, sung by Carlos Gardel- is considered, in some way, the best of his time. According to the site Gardel.es the musical piece was performed «in homage to the Huracán team that became the soccer champion of the Argentine Amateurs Association, thus crowning its brightest decade with four league titles (1921, 1922, 1925 and 1928) and with a squad that for years it was said by heart: Negro or Ceresetto; Nóbile, Pratto; Bartolucci, Federici, Souza; Loizo, Spósito, Stábile, Chiesa and Onzari. In the text almost all of them are named, and others more, creating a kind of collage surrealism of sport and lunfardo«. His handwriting turns out a beautiful football hieroglyph of the times in black and white. And there it was present, hovering over — in a way, like that moon that rolls through Callao in the words of Horacio Ferrer — The Newbery Globe.
The tango: What Onzari than Battilana, if you have Serrato la Mancini than if you Recanattini maybe Stábile better. / Marassi that I Bidoglio that walks with a Peniche. / And although I know Fleitas Solich, who is Gondar going to do it for. / Qu’el qu’es Nóbile, che, Negro, never Settis Gainzarain, if he leaves that Bidegain so as not to return to Beccar. / Pull Cherro that Ferreira that if Sanguinetti runs they will leave Coletti in Celta from a penalty. / It is useless for Lamarque or maybe Martínez, if it will not be worth Jiménez or Sandoval. / Save with the Canaveri, Miranda, that in Canaro, if you beat a Purcaro, it is Cafferata of action. / Forget the Carricaberry, go for the Bartolucci … / what better is Bucci to do than give it to him from Mathón!
Gonzalo Minici, historian of Huracán, tells Clarion on this link: «It seems very relevant to me to highlight the figures of Manzi, Ferrer, Centeya, Barbieri (Guillermo) and Riverol; the great link that Gardel always had with the Globo, participating in entire songs (such as»Get rid of that mujica«), going to see games at the Platea Alcorta and the popular local on Calle Luna and even singing in the locker room I visited the players, who gave him gifts. It is not by chance, by no means that there are so many dedicated to Huracán footballers: Stábile, Masantonio, Tucho Méndez, just to mention the most referential«.
In a few days, Hurricane will modify the names of the stands in a process of various reforms that has been carried out in the Ducó Palace. La Alcorta will continue to bear the name of Oscar Natalio Bonavena, from the immense Ringo, Quemero emblem; the popular visitor will be called Guillermo Stábile, scorer in the 1930 World Cup and a decisive figure in the twenties, the most successful of the club. The Miravé will have the name of a world champion and a superhero: René Houseman. And Alcorta will have the echoes of the goals of Herminio Masantonio, the club’s top scorer, third in the history of Argentine football and top scorer in the classic against Brazil. The Ensenada Mortar, as they called him, he also had a dedicated tango with that title:
The tango: As for his eleven «balloons» on the field, Brave and audacious Displaza Huracán. / It is seen in the nacelle Of the forwards, A strong «mortar» That aims tenaciously. / Trembling, the Contrary archer, shrinks, The tiger’s nerves Of lynx when he looks, And the bar of Parque Patricios shouts, He shoots Masantonio, Herminio, he shoots. / And if Masantonio shoots, You don’t have to do it. There is already the … Goal …! Lyrics: Francisco García Jiménez. Music: Miguel Padula. Recorded by the Orquesta Típica Víctor with the voice of Alberto Gómez.
Jorge Newbery, who puts his name and surname on the official box of the stadium and the Campo de Deportes de la Quemita, had sympathy for tango beyond its origin from bon vivant of Moldes street and the great trips around the world. In 1902, a tango recounted it: at the age of 27 he already had a name and a life of his own beyond the aristocratic surname. He went to the Jockey Club but also to the Hansen bowling alley, to share tangos, of course. They said it was a notorious place. Alfredo Palacios’ friend did not care. Not only that, He also liked to hang around the southern neighborhoods, there where tango had its cradle.
The following was written in the Ñ Magazine, in the last month of 2014. The note does not bear a signature but it does bear the imprint of those places and of another central protagonist of the link between Huracán and tango, Horacio Ferrer, founder of the National Academy of Tango.
«Sometimes, the old bohemian style of long nights produces magical effects. We discovered once, in the 80s, with Juan de Biase, my then boss of the Sports section of Clarín, a restaurant a little away from the central circuit of the street. Corrientes de Callao al Obelisco. His name was Pichuco. We were soon informed that it was owned by Horacio Ferrer in partnership with Antonio Carrizo. It was in Talcahuano, passing Perón (ex Cangallo). It had a Parisian appearance, austere, and a tempting piano waiting for connoisseurs so that they would caress him. We did not believe the informant too much. But we began to frequent him. Until one night Horacio arrived accompanied by Lulú, his companion. And he invited us to his table. A guy capable of writing «Chiquilín, give me a bouquet of you so I go out to sell my shame in bloom» dared to tell us that he admired our trade as sportswriters. And he envied us. We laugh. It seemed like he meant it. And we entered an unforgettable gathering of tangos, soccer, poems, Troilo, Montevideo, Piazzolla, Huracán, with a wise man from the River Plate, literature and life. «
The Doodle with which Google honored Astor Piazzolla, 100 years after his birth, in March. Tango, a porteño heritage on a universal tour, also a close friend of Huracán and his neighborhood.
Anyone who walked through Luna (now officially called Luna Quemera, with so many murals also referring to tango) or through Colonia He heard her arriving hurrying her step towards the field or already inside the Ducó Palace, looking for a place. Waiting for the usual: a victory that allows that cry that is belonging: «Hu-ra-cán / Hu-ra-cán».
And they sing it to the point of dysphonia because they are clear on an irrevocable detail: «It is not about the seduction of some temporary success, nor about an imposition of implacable media paraphernalia. Being a Quemero is a question of belonging. A precious unchangeable inheritance«.
The tango «The kid’s dream», Diego Maradona’s voice was also a tribute of the best of all time to our beloved Emilio Baldonedo (in a later version, closer in time with the lyrics modified to mention his own Ten). It was the first time that Maradona sang on television. It happened in the Antonio Gasalla program. Baldonedo, crack from the thirties and forties, a fan of going to see the kings of the twenties (Huracán, to the rhythm of tango was the most champion of that decade along with Boca), youth trainer when La Quemita still did not exist …
The original tango: «GThey sniffed the door of the humble house, The voice of the postman was heard very clearly, And the kid running with all his eagerness He accidentally stepped on the white dog. / Mommy, Mommy, came over screaming The surprised mother left the pool, And the kid told her laughing and crying The club sent me the summons today. / Mommy dear I’ll earn money, I’ll be a Baldonedo A Martino, a Boyé. / The boys of the Argentine West say that I have more shot than the great Bernabé. / You will see how beautiful When there on the field My goals applaud I will be a winner / I will play in the fifth Later in first I know that the consecration awaits me. / The boy slept and that night he had the most beautiful dream he could have, The full stadium, glorious Sunday, They were finally going to see him in first class. / With one minute left they are zero to zero He took the ball, serene in his action, dribbling everyone, faced the goalkeeper And with a strong shot, he broke the scoreboard. Music: Juan Puey Lyrics: Reinaldo Yiso. It was also recorded by the Osvaldo Pugliese orchestra with the singer Carlos Dante.
Amleto Enrique Vergiati was known by the tango and lunfarda history as Julián Centeya. He was a poet, a sensitive journalist and a law burner. He was born in Parma, Italy, in 1910, but he always felt like he was from Buenos Aires. Author of Musa Milonguera (1964), he recorded Antología Lunfarda (1967) and, in 1968, Aníbal Troilo put music to The Gray Man of Buenos Aires. And he also wrote a poem to Huracán, a beautiful journey through those names and those days that were pride and legend. It is reproduced: The warehouse of Zurdo Salvarredi and Juan Di Nome as a tenant. The street cry of the «auredi» and the shaking of the neighbor’s windows. The street as a field. The Nations, a blue court and the corralón. Those who know a lot about the southern neighborhoods say that this charm has already become a tango.
This tango: «A whole yesterday of clean emotions that picks up the heart again. / And your beautiful ribbed flag when Laguna was what it was and that little field was thrown there in Chiclana, the neighborhood I left. / Unforgettable champion when Chiesa played the «football-scope» Onzari had it short and prey. / Hurricane came out and that was a gallop! Hurricane came out and that was a gallop! / Stábile «the leaker» stung and it was a goal that was sung in the stands. / The ball was already in the «güevera» and the question was to take out one by one. / What a Hurricane, Hurricane: the one from Tucho, from Turco Simes, from Salvini, Unzué. / I have the consolation of lighting the butt of memory, which tells me about that painting that was. / And I intend the names so capable without order and without dates … as I know. / The forty on the deck and they were all aces! / The handsome men of that time always came to the foot. / Whatever luck your colors come out – good and bad are things that happen – in front of the one who carves, no matter how much it poses and worth, you will raise the BALLOON shouting: HURRICANE !!! /
And also there – in that sky of so many tangueros with a chest full of Hurricane – must be the great Homero Manzi. «You have to remember his life and his unforgettable tangos such as Sur, Barrio de tango, Viejo ciego and so many more, but it is also important to deepen a little-traveled subject and spread with pride the fact that he carried the Globe in his heart. Like almost no one else . A magician of the word, such a sensitive and fighter of the just causes could not be from another club«, Néstor Vicente said some time ago, who knows a lot about the subject (he even wrote a book in this regard) and today is the Club’s Director of Culture. Curiosity or not, the most emblematic corner of San Lorenzo, San Juan and Boedo, has the name of Manzi. Things from the Classical of the biggest neighborhood in the world.
Yes, Hurricane. And his tango life. Or a part of that immense affinity that time embraces. And gigantic …
Fuente: Clarin.com