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There is a storytelling element in there. The tango form is a little like the blues in that you have a kind of structure. It’s not as rigid as twelve bar, but it's very much a storytelling medium -- and there’s an element of call-and-response, and a particular arc in the musical form, that suggest a story. It's about being in the moment, with the music; and responding to your partner, and the particular feeling and momentum in her body in any one moment. It’s a very concentrated thing; you can’t think about anything else while you are doing it. If you try to hold a conversation, it just kind of falls apart. The music was what really drew me into tango. Everyone knows a few of the more popular tango classics, but once you get into it, there’s such a rich field. It’s astonishing, this kind of miraculous musical form that developed in a very small locality: two cities on either side of the River Plate, in Argentina and Urugauy. It started in the 1880s or '90s, and there are all kinds of mysteries, myths and stories, about how tango started and developed. It was first of all considered really low-life, almost reptilian. Something to be avoided and not talked about. And then it became this word wide phenomena. . .and I could go on talking about tango forever. . . . but its also to do with movement. I try to get that into my pictures: a sense of movement, something flowing through. A while ago, I realised how much I'd been drawing dancing figures in the corners of my sketchbooks for years before I discovered tango! ↗
Why is it that with women, some kink, some vulnerability of the sex, is always presumed to lie at the heart of things- as if they have no other life, no relevance as important as that which they have for us men? ↗
There was a time in my life when I did a fair bit of work for the tempestuous Lucretia Stewart, then editor of the American Express travel magazine, Departures. Together, we evolved a harmless satire of the slightly driveling style employed by the journalists of tourism. 'Land of Contrasts' was our shorthand for it. ('Jerusalem: an enthralling blend of old and new.' 'South Africa: a harmony in black and white.' 'Belfast, where ancient meets modern.') It was as you can see, no difficult task. I began to notice a few weeks ago that my enemies in the 'peace' movement had decided to borrow from this tattered style book. The mantra, especially in the letters to this newspaper, was: 'Afghanistan, where the world's richest country rains bombs on the world's poorest country.' Poor fools. They should never have tried to beat me at this game. What about, 'Afghanistan, where the world's most open society confronts the world's most closed one'? 'Where American women pilots kill the men who enslave women.' 'Where the world's most indiscriminate bombers are bombed by the world's most accurate ones.' 'Where the largest number of poor people applaud the bombing of their own regime.' I could go on. (I think number four may need a little work.) But there are some suggested contrasts for the 'doves' to paste into their scrapbook. Incidentally, when they look at their scrapbooks they will be able to re-read themselves saying things like, 'The bombing of Kosovo is driving the Serbs into the arms of Milosevic. ↗
My spirits were excited, and with pleasure and ease I talked to him during supper, and for a long time after. There was no harassing restraint, no repressing of glee and vivacity with him; for with him I was at perfect ease, because I knew I suited him; all I said or did seemed either to console or revive him. Delightful consciousness! It brought to life and light my whole nature: in his presence I thoroughly lived; and he lived in mine. ↗
People think blood red, but blood don't got no colour. Not when blood wash the floor she lying on as she scream for that son of a bitch to come, the lone baby of 1785. Not when the baby wash in crimson and squealing like it just depart heaven to come to hell, another place of red. Not when the midwife know that the mother shed too much blood, and she who don't reach fourteen birthday yet speak curse 'pon the chile and the papa, and then she drop down dead like old horse. Not when blood spurt from the skin, on spring from the axe, the cat-o'-nine, the whip, the cane and the blackjack and every day in slave life is a day that colour red. It soon come to pass when red no different from white or blue or black or nothing. Two black legs spread wide and mother mouth screaming. A black baby wiggling in blood on the floor with skin darker than midnight but the greenest eyes anybody ever done seen. I goin' call her Lilith. You an call her what they call her. ↗
Philosophy as science, as serious, rigorous, indeed apodictically rigorous science -- the dream is over. ↗
The girl was grateful to the young man for every bit of flattery; she wanted to linger for a moment in its warmth and so she said, 'You're very good at lying.' 'Do I look like a liar?' 'You look like you enjoy lying to women,' said the girl, and into her words there crept unawares a touch of the old anxiety, because she really did believe that her young man enjoyed lying to women. ↗
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