598  what I want from the milongas

Date: Fri, 7 Jun 2002 21:56:50 -0400
From: Manuel Patino <manuel@TANGO-RIO.COM>
Subject: what I want from the milongas

It is a funny thing how one's preferences develop and mature in one's
endeavors. My first memories of tango were listening to the radio
in Quito my city of birth, and hearing such songs as Caminito, A
media luz, Uno, Fumando espero, Azabache, La cumparsita and other
big hits of the day back in the early '50s. Yes, tango was popular
music back then and got air time along with Spanish music (flamenco)
and Mexican music, Colombian, Cuban, etc. Yes, even as Rock'n Roll
was first becoming the rage with Bill Haley and his Comets. Fast
forward 50 or so years, I "rediscovered" Argentine tango (with the
help of a friend who discovered it at a dance workshop) this time
the music *and* the dance. I fell totally in love with the tango
as a dance and all my old memories of the music came back with a
new and more poignant feeling.

When I first began to dance tango, I too was more interested in the
"newer" recordings. I thought that the "Tango X 2" CD as well as
the Hugo Diaz trio releases and others such as Cabarute by the New
York Tango trio were much better than those "old and scratchy" CDs
of the golden era of tango. Of course, that made sense because first,
the new recordings are acoustically better and the music is very
"theatrical" or "dramatic". That fit better with the various steps
and figures that I was taught back then. All the early travelling
(and local) tango teachers taught a form of tango that was easier
to dance with the slower, less demanding beat of those new recordings.
Frankly, the biggest reason I did not like the old recordings was
because I could not dance to the compelling rhythm in a way that
I liked.

Over the years, I've learned to dance "like the do in the milongas
in Bs As" I've also learned that the milonga is the best place (IMHO)
to spend my "tango time". I really love dancing to the classics of
Darienzo, Tanturi, Troilo, Calo, Di Sarli, Rodriguez and others.
I've also found that I no longer enjoy dancing to the music of those
new recordings that I loved so much in the begining. I'm not sure
why, but I actually find the newer recordings (and a good number
of old tangos as well) to be difficult to dance to. They seem to
take away the energy of the dance. Outside of the fabulous Pugliese
and some exceptional recordings of the modern Piazzolla interpretations,
I only enjoy dancing to the classical tango dance music from the
golden era. Of course, it is good to know that not all the music
from those years is good for dancing. there is plenty of abominably
un-danceable music from those days. It's important to know the difference,
particularly for the DJ.

For me, the milonga is much more enjoyable if only the best music
is played. I don't care if I've heard it before. I like it, I don't
want to hear but a few select versions of the tangos I love. The
milonga is a very special place and a very special time. One does
not have to dance every dance, it is a place and time to enjoy the
tango and to socialize. That is how it is in Bs As and also in other
places where the traditions are kept. That was one of the neat things
at the last Miami Tango Fantasy. Milongas every night, going on until
the last person left. Even the character of the milongas in Bs As
was taking hold, complete with tables full of folks playing "truco"
and talking. From time to time they get up to dance and them sit
back down with friends to enjoy the ambience. That is also why it
is so important that the music stay true to the milonga. Even those
who just go to listen and be with friends want to hear the golden
era tango music. Much as I enjoy sometimes playing around to some
Piazzolla, Pugliese or some of the more dramatic tangos, they simply
have no place during the heart of the milonga.

Give me "el compas" and I'm happy. Don't overdo the playing of milongas
or even valses (as much as I like them). For me, play the tango and
keep it real. I want to feel the compas and dance close and to the
music. No big figures and certainly no stopping for show steps. I
find myself more and more wanting to go to the milonga at midnight
or so. That's the prime time and that's when the real tango music
should be played. Yes, give me a salsa break or 2, play a chacarera,
that's fun, but first of all keep the tango music going and make
sure it's the right stuff.

Milongas to all,

Manuel

Date: Fri, 7 Jun 2002 22:12:21 -0400
From: Manuel Patino <manuel@TANGO-RIO.COM>
Subject: Re: what I want from the milongas

I just wrote in part:

>Much as I enjoy sometimes playing around to some
>Piazzolla, Pugliese or some of the more dramatic tangos, they simply
>have no place during the heart of the milonga.
>

I must clarify what I said, I never meat to say that Pugliese was
not for the milonga. My mistake, I absolutely adore dancing to Pugliese
and it certainly belongs in the milonga!

Mea culpa.....


Manuel

Date: Sat, 8 Jun 2002 07:34:03 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: what I want from the milongas

Manuel wrote:

>For me, the milonga is much more enjoyable if only the best music
>is played. I don't care if I've heard it before. I like it, I don't
>want to hear but a few select versions of the tangos I love.

At the risk of running an old, tired horse into the ground, I want to
clarify that I too prefer dancing to the classics.

The lists that I and others provided of Outside The Box (OTB) tangos is
exactly what some people wanted to read about. DJs playing OTB tangos at
milongas should recognize that they are taking quite a risk as being seen
as inexperienced or insensitive to the needs of the dancers.

>When I first began to dance tango, I too was more interested in the
>"newer" recordings. ... Of course, that made sense because first,
>the new recordings are acoustically better and the music is very
>"theatrical" or "dramatic". That fit better with the various steps
>and figures that I was taught back then ...
>Frankly, the biggest reason I did not like the old recordings was
>because I could not dance to the compelling rhythm in a way that
>I liked.

An interesting story: As I was sitting around before a workshop class a
few weeks ago, one of the newer tango dancers in my community told me, he
didn't like the singer I played at the milonga the previous night. Having
played Calo with Beron, Troilo with Fiorentino, D'Agostino y Vargas,
Tanturi with Campos, Tanturi with Castillo, Biagi with Amor, Di Sarli with
Rufino along with the instrumentals, I asked him which one. He replied
that he didn't realize that I had played different singers; they had all
sounded alike to him; he preferred instrumentals... The singers created
rhythms that he found too difficult for dancing... Fortunately for him, I
had also played instrumental music with relatively simple rhythms...

I could dismiss him as inexperienced, and not too much in the know, but
when I DJ, it is my job to provide music for the dancing pleasure of all
who are attending whether or not I like their style of dancing, level of
experience, etc.

With best regards to all,
Steve

Stephen Brown
Tango Argentino de Tejas
https://www.tejastango.com/

Date: Sat, 8 Jun 2002 15:46:18 -0400
From: Manuel Patino <manuel@TANGO-RIO.COM>
Subject: Re: what I want from the milongas

At Saturday, 8 June 2002, Stephen Brown <Stephen.P.Brown@DAL.FRB.
ORG> wrote:

At Saturday, 8 June 2002, Stephen Brown <Stephen.P.Brown@DAL.FRB.
ORG> wrote:

>when I DJ, it is my job to provide music for the dancing pleasure

of all

>who are attending whether or not I like their style of dancing,

level of

>experience, etc.

That is a wonderful attitude. I only wish more DJs would feel the
same way. That is exactly what I would like. DJs who play for the
pleasure of the dancers. In a milonga where 200 or 300 people are
dancing tango, it's very nice a appropriate to play the music that
the vast majority of dancers prefer.

As far as dismissing beginners' opinions or suggestions as coming
from ignorance and inexperience, I think it is wrong. I prefer to
educate them with the right music *and* teaching them how to dance
to the music. I find that in general, beginners make up a fairly
small number in the big milongas such as the Miami Tango Congress.
This actually seems to be the case in most "public" milongas too.
I guess this has never been a problem for me that I could not easily
handle without offending anyone. Of course, there is no way I'll
act on a request to play innapropriate music when I have 200 people
grooving to Darienzo's El Flete, Rintintin, etc.

Manuel