Motivation to make ridiculous amounts of money

At the end of February, I went to an Art museum in Chicago. I liked many of the things I saw there, and it made think that I really want to become ridiculously wealthy. Why? Many people want money to buy overpriced sport cars, yachts, homes, or travel around the world. Those are all nice, but they're all ephemeral luxuries. I want to have enough money to have full bodied durable stone sculptures of me made with accuracy. And I somehow become a billionaire, I want my own pyramid, goddammit (or Pharaoh-dammit)! A sanctuary of all things me. This might seem a little narcissistic, but it really is not (OK, maybe just a little bit). It's just that I want to immortalize my figure, so that many centuries from now, when all of humanity has probably killed each other, a sculpture of me as humanity's heritage alongside the works of artists from ancient civilizations to contemporary artists going through Renaissance and all that. Then if some aliens find this planet and decide to colonize it, they can look at my sculpture and think "Damn! that's a good looking motherfucker!"

Melodía para Melody

Cómo añoro tu sonrisa
que me regalabas al yo cantar
junto al muelle mi verso mejor
un día junto al mar, y hacía brisa

El roce de tu piel lisa
me incita a brindarte esta melodía
para celebrar la juventud y el amor
aunque la canción se la lleve la brisa

En el rosal

Vals D'Arienzo

Tembló el rosal al escuchar aquel adiós
Hasta las rosas se quedaron sin color
si por mis celos yo perdí tu querer ay de mí
Me dice el corazón, me miente el corazón que nunca volverás
A dónde ir sin tu querer que fue canción?
A quién pedir que me devuelva aquel amor?
Los besos que me diste ayer nunca más los tendré
Nunca más volverán bajo aquel rosal

Desde tu ausencia ya no canta ni el zorzal
Quedó sin flores el jardín de aquel rosal
Pero no importa, sé que un día volverás
Buscando mi querer debajo del rosal y allí me encontrarás

Volvió a crecer en el rosal la roja flor
y al pretender cortar la flor llegaste tú
Sollozando dijiste
"no, no mi amor, déjala... yo te daré la flor que vuela al corazón para soñar los dos"
Ha vuelto aquí bajo el rosal a florecer
con tu querer aquel romance de los dos
Promete que no volverás a dudar nunca más
y alejar del rosal y mi amor jamás

Desde tu ausencia ya no canta ni el zorzal
Quedó sin flores el jardín de aquel rosal
Pero no importa, sé que un día volverás
Buscando mi querer debajo del rosal y allí me encontrarás

Doble ve, té, efe

Recordé al amanecer
la razón de este terrible dolor.
Aguanté hasta el atardecer
y quedé vacío;
al caer la oscuridad del anochecer
se borró todo en el olvido
al yo quedarme dormido

Estos secos labios

Amenazante sombra
que parece desafiar
el mulesto murmullo del motor
sobre la cual baila una hormiga
y en un río a lo lejos
sonríe un feo manatí
mientras un cocodrilo
contrae la gripe canina
en una jungla ártica
en el polo norte
y la silla de cuero
razguña una nalga
sobre la cual nació un desierto
que fijamente mira el alacrán
y un moreno que sigue despierto

Melón

¿Sabés que lo que comiste recién era carne de perro? - preguntó el padre, a lo que la niña replicó - Entonces mañana comamos gato

things to work on

• Balance. Being a tall guy has benefits in dancing tango, such as being able to have a clear lead without being too forceful or too subtle, but balance isn't one of them due to our comparatively high center of gravity. This is especially an issue for giros and with shorter women while in close embrace. I keep saying to myself I will take up some martial arts class to work on this aspect, but so far it's been all talk.
• Boleos and ganchos. Ever since my mentor Mariko told me pretty much that my boleos sucked, I've been completely psyched about them. When I hear the music and I know there's a segment in which boleos will fit nicely (think Di Sarli instrumentals), I get the pressured mindset that I must perform it sharply, but either the boleos are followed badly (if at all) or they are executed but feels like the follower just did it because she knows it's what I'm trying to lead but didn't feel the lead. Same applies to ganchos.
  
• Transition between open and close embrace. Whenever I transition between the two embraces, it feels like I lose connection with the follower, or at best the transition isn't as smooth as I'd like it to be. So lately I tend to stay in close embrace unless a follower for some reason pushes me to open embrace (dammit, I should have showered this week!). A few weeks ago I danced to an electro-tango song with my good friend Grace at a práctica, and afterwards she told me she didn't know I could dance 'Nuevo'... I guess always dancing close embrace has earned me the reputation of being a traditionalist. So the questions remain: Should I occasionally transition to open embrace a la Villa Urquiza style at all? If so, how to smoothly do it without losing connection?
• The role of the left arm. What to do with it? I've noticed a lot of leaders tend to move the left arm a lot, and it often looks very ugly, especially if the left arm is being used to lead. For performances, some dancers use the left arm movement as embellishment. Everybody does something different with their left arm, but I think it should mostly be static and merely serve as a point of connection where the follower can rest her hand comfortably. Which leads me to the next point (and also relates to being a lanky dude): in the past I've danced with shorter women with pretty much impeccable technique, but the embrace is not comfortable because I tend to put my left arm too high up and it looks like the follower is fighting against me at this point of connection, as Mariko once pointed out.
• Musicality - though I think I have above average musicality, there is always room for improvement, especially with something so complex and rich as musicality. In particular, I felt there is a lot of unexplored territories in musicality in my dancing at Ney Melo's class tonight (awesome, awesome class).
• The walk - again, this is like life. There is always room for improvement. One may claim to be good at the walk or at life, but you can always do better.
  

That is all for now, no whiny poems today