is poetry expresses a melancholic mood, many times nostalgic, which approaches his memories and his most intimate feelings. Three or four examples are enough to confirm what was said above.

His tangos "Adolescencia" and "Calle Butteler" are pieces of depiction of his young years. With them he recalls his neighborhood, the café, Boedo and his beloved club, San Lorenzo. In "Masajes" he confesses a relationship with a woman with whom he feels love cannot exist, only an affair exchanged for money; it is a tragic episode similar to what happens in "Strip tease".

We find a break from so much existential pain in the candombe "Fruta madura" with lines akin to the genre, relaxed and with a nice beat. In "El Polaco" and "No toca botón" he achieves two beautiful pieces as homage to two stars of our show business milieu, Roberto Goyeneche and Alberto Olmedo.

He is, I think, one of the most interesting poets of our contemporary tango. He was born in the neighborhood of Boedo. For a time he studied Social Communication at the University of Buenos Aires but he quit before graduating.

He admits: «I was nurtured with tango because my mother was a tango singer. She was alumnus of Luis Rubistein. She even had her own radio show back in the 30s. Perhaps because I was brought up with tango I was kind of contrary to my generation.»

At age 13 he wrote his first tango lyrics —and also several ones in his teen years— while most young people of the period rejected our urban music and did not understand it. They preferred to find their way of expression in rock ’n’ roll which broke in to stay in the late 50s.

For several years he stood aloof from the genre due to «those things that use to happen in life» and, even though a couple of his lyrics were published in the 70s, the change of direction took place in 1989 when he won the Primer Certamen Hugo del Carril with the poem —by that time only lyrics were awarded— "Declaración de amor a Buenos Aires". This pushed him to fully devote himself to the profession. It was the trigger for his definitive activity as songwriter, his true vocation.

So, since then, successively, around twenty of his works were awarded. For example: "Borges un fervor de Buenos Aires" which was awarded a second prize at the Premio Certamen SADAIC; "Corazón Quijote", winner of the Premio Fondo Nacional de las Artes; "Quién iba a decir", awarded as Best Lyrics in Song of the Festival of Villa Gesell and second prize as Best Song at the same Festival; "El Polaco", award as Best Unpublished Number at the Festival of Cosquín (for the first time a tango was awarded that prize); "La vida empieza hoy", first prize Certamen Hugo del Carril; "Strip Tease", second prize Certamen Carlos Gardel.

He also staged some shows as script writer, announcer and even as member of the cast: El Tango Cuenta la Historia, Pasión y Ternura de Tango, Tangos, Reciedumbre y Ternura, Strip Tease de Tango, Manzi, Buenos Aires y Otros Tangos, Homenaje a Homero Expósito.

As playwright he wrote —among others— the play Una Vida de Tango which was staged several times.

Furthermore he was the main promoter for the creation of a lyricists association: «At the beginning of this millennium I summoned several colleagues to work together against the problem of the lack of airing, among other issues. So Letrango was born, the first Association of Tango Lyricists of the Argentine Republic. An institution I had presided since its foundation in October 2002 until mid- 2008. I think it was a valuable contribution for the genre and, especially, for the new creators».

Nowadays he works as educator in a seminar about songwriting at the Academia Nacional del Tango.

As story writer he had been awarded mentions at three contests. Editorial Papeles de Boedo published his book/songbook Paisajes del Sur.

When we ask him about the poets he admires he replies: «I love those eight greats, of course, Homero Manzi, Cátulo Castillo, Homero Expósito, Enrique Santos Discépolo, Alfredo Le Pera, Celedonio Flores, Enrique Cadícamo, José María Contursi. But if I had inevitably to single out one, that one would be Manzi. I also admire that “center field” of the 60s: Horacio Ferrer, Eladia Blázquez and Héctor Negro.»

To conclude this short portrayal, here is an example of his fresh poetry and the reality he had to face in one of the stanzas of "Declaración de amor a Buenos Aires":

Dejame que te diga: ¡te quiero, Buenos Aires!
Y necesito entonces fundirme en tu interior,
en tu empedrado viejo, en tu esperanza nueva,
en tu simbiosis loca de tango y rock and roll.

(Let me tell you: I love you, Buenos Aires!
Then I need to blend myself with your inner core.
On your old stone pavement, in your new hope,
In your crazy symbiosis of tango and rock and roll.)