Honoring Homero Manzi

	HE WHO WROTE POETRY FOR THE PEOPLE

PLAYLIST – All lyrics written by Homero Manzi

1. A HOMERO, Anibal Troilo with Roberto Goyeneche
2. MANO BLANCA, Alberto Castillo
3. BARRIO DE TANGO, Anibal Troilo with Roberto Goyeneche
4. TAL VEZ SERA TU VOZ, Anibal Troilo with Alberto Marino
5. FUIMOS, Anibal Troilo with Alberto Marino
6. DESPUES, Anibal Troilo with Alberto Marino
7. MILONGA TRISTE, Julio Sosa
8. ROPA BLANCA, Anibal Troilo with Alberto Marino
9. NINGUNA, Anibal Troilo with Roberto Rufino
10. FRUTA AMARGA, Anibal Troilo with Alberto Marino
11. SUR, Anibal Troilo with Edmundo Rivero
12. EL ULTIMO ORGANITO, Anibal Troilo with Edmundo Rivero

SYNOPSIS

In the beginning the tango was music, happy music that people danced to. The environmental surroundings of the outskirts of the city began adding refrains that later became words. Words that mixed the language of the thieves and crooks, the lunfardo, with the romantic experiences of the pimps and their prostitutes.

Homero Manzi deserves the honor of being the first to convert the words of the tangos in poetry. Poetry describing nostalgic neighborhood postcards, like the low rise houses with ivy clinging to the bare walls and people seeing through he eyes of a child from the windows of the mythical religious boarding school in the neighborhood of Pompeya. In other words, his infancy’s lost paradise in a remote city where the days were definitely better. A watercolor of nights and suburban moons.

Manzi invented simple metaphors , strictly visual, using a common artifice of the epoch, the enumeration or description of elements as an integral part of painting a scenery.

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The Revolutionary Poet

	THE REVOLUTIONARY POET

PLAYLIST

1. A HOMERO, Susana Rinaldi
2. FUIMOS, Osvaldo Pugliese with Roberto Chanel
3. CHE BANDONEON, Hector Artola with Raul Alonso
4. BARRIO DE TANGO, Anibal Troilo with Roberto Goyeneche
5. DISCEPOLIN, Anibal Troilo with Raul Beron
6. SUR, Edmundo Rivero

SYNOPSIS
Homero Manzi was an author of tango lyrics that became true porteño anthems , he was also an activist  speaker who always spoke in favor of the disenfranchised people. Both in the arts and in life Homero Manzi walked the popular sidewalk. On May 3, 1951, consumed by a relentless disease, he stepped into immortality.

Homero Manzi will always be evoked when the definitive history of the creators of the music and poetry of Buenos Aires is written.
Very few have chronicled with such talent and tenderness, the archetypes and the ghosts of a city humid and nostalgic, the voices, the caricatures and the contradictions of a traumatized society .

Before Manzi, the tango was a dense musical expression with blurred poetic expressions. Most poets and authors had created a stereotyped anthology of the complaint. The most distinguished aspect of Homero Manzi was to not contribute to the increasing flow of porteño tears. He used his provincial eyes to paint the neighborhood and its characters, avoiding kitsch to write about kitschy things such as simple domestic lives.

Until the arrival of Manzi, the narrative style which prevailed in tango typified evil and fugitive women in licks and ermine, who abandoned their beaus to end up in their older days in some tubercular hospital.

Homero Manzi’s legacy is his poetry, filled with neighborhoods nostalgia and landscapes of Buenos Aires with his characters lost in deep love relationships.
Homero Manzi represents for many Argentines the epitome of a country that could be and often have been denied. A rural man, a connoisseur of the land that is the root of all things, he was also a neighborhood porteño with an privileged intellect to serve the people.

A renovator poet who dared to take hold of the poetry of books to convert them into the verses of the popular song.

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