{"id":76206,"date":"2022-03-31T10:52:00","date_gmt":"2022-03-31T13:52:00","guid":{"rendered":"https:\/\/argentinaxp.com\/?post_type=blog&p=76206"},"modified":"2022-03-31T10:52:00","modified_gmt":"2022-03-31T13:52:00","slug":"lo-de-hansen-un-mitico-bar-de-palermo-donde-se-prohibio-un-tango","status":"publish","type":"blog","link":"https:\/\/blog.argxp.com\/en_gb\/blog\/lo-de-hansen-un-mitico-bar-de-palermo-donde-se-prohibio-un-tango\/","title":{"rendered":"Lo de Hansen, a mythical Palermo bar where a tango was banned"},"content":{"rendered":"

Hansen's restaurant<\/strong>was the most famous nightlife venue in Buenos Aires from the last decade of the 19th century until 1903. It was a point of reference for the performance of a whole generation of musicians and the best tango dancers of the time used to go there. It was located in the heart of the Tres de Febrero Park, in the neighbourhood of Palermo, with its entrance on Sarmiento Avenue between the railway tracks and Vieytes Avenue.<\/p>\n\n\n\n

Those were public lands and there, in 1869, the Municipality of Buenos Aires had built a beautiful gazebo that housed a restaurant on the lands that had belonged to Juan Manuel de Rosas, with the idea of renting it out to private individuals. It was called \"Restor\u00e1n Palermo\" and its design reproduced that of the large open-air restaurants that were fashionable in Europe at that time.
This restaurant was operated with varying degrees of success by different concessionaires, until 1875, when a German born in Hamburg called Johan Hansen appeared on the scene, who, as the new consignee, gave a new stamp to the restaurant, so that from then on nobody spoke of the Palermo Restaurant, but referred to it as \"Palermo Restaurant\".About Hansen<\/strong>\"
The reality is that \"about Hansen<\/strong>\"It was not only a restaurant: showing a luxury never seen before in a restaurant, it was a mixture of \"sumptuous brothel and Tango Mecca\", as well as a restaurant. A not very saintly antecedent of the \"cabarets\" that followed to illuminate the nights of Buenos Aires.<\/p>\n\n\n\n

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It was a meeting place for \"bacanes\" and \"malandras\", for \"patoteros\" and \"malandras\", for \"patoteros\" and \"gente de aver\u00eda\". Of dancers and \"cafishios\", who mixed shamelessly with representatives of the snobbish aristocracy, who were delirious to live those exciting nights offered in \"Lo de Hansen\". Because there they could see tango dancing well, there they could listen to the best \"typical\" orchestras of the time, enjoy the very pleasant company of beautiful \"coperas\" who made them feel that they were what they could never be and forget, even if it was only for one night, a sad and boring life.<\/p>\n\n\n\n


But the bottom line was that there was action. Because fist fights or knife fights were commonplace and frequent. The challenges, the dirty looks, the \"squeezing\" of a clueless man who dared to ask the \"mina\" of the pardo Baz\u00e1n to dance, or the fight between women who wanted the same man, were the spice of those exciting nights, which attracted a heterogeneous audience that used to fill the venue's capacity, knowing that it was possible to stay away from that world and that while dancing some nice tangos, one could enjoy excellent drinks and a first class gastronomic service.<\/p>\n\n\n\n

\"Lo de Hansen\" became fashionable and the most glittering figures of the show business, the arts, music and politics went there. The most famous tango orchestras in the history of our popular music played there, as well as the best singers and songwriters. There danced \"el Cachafaz\" and even some Argentinean President dared to \"cortes\" on its dance floor. During those years, there was no illustrious visitor who was not tempted to get to know what was being talked about in the most worldly salons of Europe. One night the great Italian soprano Adelina Patti visited him, who did not want to leave the country without spending a few hours in that authentic atmosphere where one of the first milongas was born.<\/p>\n\n\n\n

After Hansen's death, in 1892, it had several owners, the first one being Enrique Lamarque, until, at the end of 1903, the concession of the place was granted to another immigrant: this time it was the Lombard Anselmo R. Tarana. From that moment on, \"Lo de Hansen\" changed its name to \"Restaurante Recreo Palermo. Antiguo Hansen\" or also \"El caf\u00e9 Tarana\".
Tarana had five cars in which customers were taken to and from their homes free of charge (if you drink, don't drive).
The issue of whether or not the tango was danced in \"Lo de Hansen\" is quite controversial.<\/p>\n\n\n\n

F\u00e9lix Lima, en un art\u00edculo de la revista \u00abCaras y Caretas\u00bb escribe: \u00abCon frecuencia volaban los sifones, las copas, las botellas y las sillas. A veces tiros y pu\u00f1aladas. M\u00e1s de un taita pas\u00f3 al otro mundo desde el escenario del Hansen en viaje directo, ‘senza tocare’ el hospital.\u00bb \u2026 \u00abEstaba prohibido el bailongo, pero a retaguardias del caser\u00f3n de Hansen, en la zona de las glorietas, tangue\u00e1base lindo, tangos dormilones, de contrabando. \u2026 \u00bb ‘La Morocha’, el tango de Saborido, toc\u00e1base vuelta a vuelta, se encontraba en el apogeo de su popularidad. La orquesta nocturna era de l\u00ednea. ‘Pas’ de bandone\u00f3n. El fuelle todav\u00eda no hab\u00edase hecho presente en p\u00fablico. Los tangos de Bassi y Villoldo – El Incendio y El Choclo – abr\u00edanse cancha. ‘Uni\u00f3n C\u00edvica’, el mejor tango del compositor Santa Cruz, tambi\u00e9n estaba de moda\u2026\u00bb. Nos referimos a la \u00e9poca dorada del Hansen, desde 1903 a 1908.<\/p>\n\n\n\n

Alfredo Taullard en su libro \u00abNuestro Antiguo Buenos Aires\u00bb (Peuser, 1927) lo describe: \u00abEl Hansen ten\u00eda aspecto de merendero andaluz y cervecer\u00eda alemana. Desde varias cuadras, a media noche, descubr\u00edase su ubicaci\u00f3n por las l\u00edneas de luces de los faroles de los carruajes y los farolitos de colores que alumbraban las glorietas. En esas glorietas cen\u00e1base, entre risas y far\u00e1ndulas, y en el gran patio los parroquianos beb\u00edan baja un techo frondoso de glicinas y madreselvas olorosas. La orquesta tocaba milongas, polcas y valses\u00bb.<\/p>\n\n\n\n

En cambio, el \u00abcajetilla\u00bb Adolfo Bioy (padre) en \u00abAntes del 900 (Relatos)\u00bb expresa \u00ab\u2026 All\u00ed se bailaba el tango, antes que esta danza hubiese alcanzado a estar de moda en los salones de la ciudad, all\u00ed \u00edbamos de cuando en cuando a ejecutar nuestras cualidades de calaveras, a riesgo de incidentes con los malevos que en ese antro pululaban\u00bb.<\/p>\n\n\n\n

Leonardo Benar\u00f3s tells us that Roberto Firpo used to say: \"I played at Hansen's in 1908. Some people say that people danced. That's a lie. It was played to be heard, although maybe, one or the other one, perhaps, did some turns in a hidden gazebo\", but he also says that on 16 December 1961 he interviewed Felipe Amadeo Lastra, an old breeder of criollo horses, already an octogenarian, who insisted vehemently that \"at Hansen's they didn't dance. Where did they go to dance, among the trees?<\/p>\n\n\n\n

Miguel \u00c1ngel Scenna, relata que Lastra, dec\u00eda que \u201clo de Hansen, durante el d\u00eda y hasta las once de la noche, era un pac\u00edfico restaurante, pero que, a partir de esa hora, empezaban a llegar los paseantes nocturnos. Si llov\u00eda, no hab\u00eda Hansen. En ese patio hab\u00eda un sinn\u00famero de mesas de m\u00e1rmol de forma rectangular y basamento de hierro, por lo tanto eran bastante pesadas y dif\u00edciles de mover. Circund\u00e1ndolo, hab\u00eda glorietas con enrejado pintado de verde. A la hora mencionada, empezaban a llegar en carruajes, los parroquianos que, desde que descend\u00edan de ellos, lo hac\u00edan entre polic\u00edas uniformados y pesquisas en gran cantidad, ya que, de no ser as\u00ed, todas las noches, aquello hubiera resultado un campo de Agramante. La concurrencia estaba integrada por \u00abcompadritos\u00bb y \u201cgaviones\u201d. Tambi\u00e9n concurr\u00edan \u201cni\u00f1os bien\u201d y escasos comerciantes con veleidades de juerguistas, lo mismo que ganaderos que se tomaban vacacioncitas. A Jorge Newbery nunca lo vimos all\u00ed; \u00e9l era deportista. En ese local no se bailaba. Estaba prohibido, como en todos los sitios p\u00fablicos\u201d.<\/p>\n\n\n\n

Unbelievable but real<\/p>\n\n\n\n

El famoso compositor \u00c1ngel Villoldo, creador de \u00e9xitos como \u00abLa morocha\u00bb o la m\u00fasica de \u00abEl choclo\u00bb, estren\u00f3 \u00abEl Esquinazo\u00bb en el Hansen. Cada noche, cuando se tocaba esta pieza, los asistentes marcaban el ritmo aplaudiendo. El entusiasmo iba creciendo y a los aplausos se sumaba un leve golpeteo sobre las mesas. Luego taconeaban sobre el suelo. El p\u00fablico aumentaba la temperatura con esta milonga y ped\u00edan bises: llegaron a tocarse siete veces en una misma noche. El golpeteo r\u00edtmico que acompa\u00f1aba al \u201cendiablado tango\u201d, como lo defini\u00f3 Pint\u00edn Castellanos, pianista y compositor uruguayo, creci\u00f3 hasta convertirse en golpes de vasos, copas y hasta sillas que volaban por el local, Tarana, cansado ya de tantos destrozos hizo poner un cartel que dec\u00eda: \u201cTerminantemente prohibida la ejecuci\u00f3n del tango El esquinazo. Se ruega prudencia en tal sentido\u201d.<\/p>\n\n\n\n

In 1908 the business was transferred to the Payot and Giardino company, who managed it until 1912, the same year as Joaqu\u00edn S de Anchorena's mayoralty, when the caf\u00e9 was closed and demolished. And so ended \"Hansen's\" and with it, an era and a way of life that will never return.<\/p>\n\n\n\n

En 1937 el compositor de tango y director de cine Manuel Romero present\u00f3 la pel\u00edcula \u00abLos muchachos de antes no usaban gomina\u00bb, con el inolvidable actor Florencio Parravicini (como Ponce), donde las escenas transcurren en gran parte en \u00abLo de Hansen\u00bb. Adem\u00e1s, compuso el tango \u00abTiempos Viejos\u00bb, con m\u00fasica de Francisco Canaro (1926), y que dice:<\/p>\n\n\n\n

Do you remember, brother, the blonde Mireya
that I removed the handsome Rivera at Hansen's?
I almost killed myself one night for her,
and today she is a poor ragged beggar...!
Do you remember, brother, how beautiful she was?
A wheel was formed to see her dance!
When I see her so old in the street,
I turn my face away and start to cry...<\/p>\n\n\n\n

It is not clear whether the blonde Mireya existed, but there is no doubt that she embodied the women who went to the Hansen's to meet men, all dressed up and wearing expensive jewellery.
The \"chupping-house\" of Palermo, as the journalist F\u00e9lix Lima defined it, accompanied the initial growth of the Tres de Febrero park as a place of recreation for the porte\u00f1os, becoming a landmark in the history of Buenos Aires.<\/p>\n\n\n\n

Compilation of texts and images: El arc\u00f3n de la historia; La Naci\u00f3n; ultimatanda.it; Historia del tango; cafecontado.com; acciontv.com.ar<\/p>","protected":false},"featured_media":76207,"template":"","blog-categoria":[43],"class_list":["post-76206","blog","type-blog","status-publish","has-post-thumbnail","hentry","blog-categoria-historia-e-historias"],"yoast_head":"\nLo de Hansen - M\u00edtico bar de Palermo<\/title>\n<meta name=\"description\" content=\"Lo de Hansen. El m\u00e1s famoso de los lugares de diversi\u00f3n nocturna de Buenos Aires desde la \u00faltima d\u00e9cada del siglo XIX hasta 1903\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lo de Hansen - M\u00edtico bar de Palermo\" \/>\n<meta property=\"og:description\" content=\"Lo de Hansen. 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