Besame Mucho

Soon after I mused about the accordionist, I bumped into another very talented young Latino accordionist on the subway last Friday afternoon. He made a dramatic entry on the R train moments before it began hurtling past Prince Street station: even with half his body still outside the train, he played a loud chord all of a sudden, and seemed to revel in thus shocking commuters out of their reverie. He played a medley beginning with Besame Mucho and going on to a melody I know only from Klaus Wunderlich, and can't recall by title this instant (getting old!), one of those melodies eminently suited for the accordion. He played much little compared to what others do on the subway, no matter how skilled they are, and seemed very aware of his competence, looking around and asking for the appreciation that he was sure he deserved and would be given, not like my humble smiling hexagenarian accordionist who acknowledged even every twinkle of appreciation. I even wondered briefly if I should give him anything, before finally choosing to give because he was very obviously skilful, and easiliy belonged to the top bracket of performers I have come across in New York, and of course he was playing for money. I wonder if he played a little more and showed less awareness of his skill in his demeanour, he would have collected more money in the same compartment. Perhaps that is what New York will teach him.


© Text: DURBA BASU 2007