Discussion in 'Tango Argentino' started by Gssh, Mar 25, 2013.
Pugliese is not Golden Age
No, no! HE distributed the accents and pauses wherever he felt like, whereas YOU have to hit 'em!
Now you're just being silly.
When UKDancer disagrees with you, you know that you're right. It's like a compass that would point to South, it's just as efficient, once you know.
god i love the tango community
ohh and big bang theory too
Pugliese/Chanel, I said. These started recording in 1945, and that's _most definitely_ Golden Age. Yes, it's the harbinger of a newer age, but that doesn't change the age it was recorded in.
If that isn't Golden Age, then neither is 1951 D'Arienzo. You're free to use your own definitions of course, but you're definitely venturing in 'Captain Rum' territory° in which you're going to be unintelligible except to yourself.
But thanks for making my point: that even in 1937-1954, a lot of different styles were contemporaneous.
E: "I was under the impression that it was common maritime practice for a ship to have a _crew_.
R: Opinion is divided on the subject.
E: ...Is it?
R: Yes. All the other captains say it _is_..._I_ say it _isn't_.
insanity IS a majority of one
Actually, some of Pugliese's music is considered by many (if not most) to be part of the Golden Era, while other songs are not, (depending on who you ask).
Seriously? For example i really like maderna (who is not played at milongas enough), and i would look for quite different people for 1940's maderna than for 1940's di sarli or for 1940's piazzolla (also not played enough).
I personally think that trying to delineate tango music by years and even orchestras does not work very well - all orchestras changed over time, and some were ahead/behind whatever idealized version of the "changes of tango music over time" curve one believes in.
One is tango de salón the other is club style. We discussed about the differences on occasion of Cacho Dante´s interview on YT. Can´t find it any more, but Cacho said analogously: ... we went to ... (don´t remember at the moment the location Pugliese played at that time) because we looked at oneself as dancers, not as milongueros any more... Then he contunuied about the decline of the prevailing dance style due to the tango craze. By the way, how old is Cacho anyway?
You mean that in the Golden age they had more than one style and it wasn't all the same? A shocking thought.
Not only in the golden age: even today several styles exist. hope nobody will fall from his believes and isn't planning anything foulish.
DF thread is here.
YouTube Practimilonguero video is here.
Thanks a lot Steve!
Here some keywords on style (but the rest also is so interesting)
Thanks for the transcription.
It's such a great interview.
And my favorite quote.
"I started going to watch and asked Eduardo, "And what tango is this?"
"Shhhh, this is business."
Just a quick comment about the beginners hell chart. It was originally developed by one of the better known salsa teachers in the U.S. and as a long time salsa dancer I can confirm that it's largely accurate in regards to salsa (the exception being the steepness of the leaders learning when exiting beginners hell). As a beginner AT student (including taking a couple of class series where everybody danced both roles) it's been my experience that the learning curves for leads and follows in AT are much closer to each other than what's depicted in the chart.
I don't know about the hunting ground of the cougar..., but I can certainly relate to the journey as I am new to AT. I do not, now, feel so alone. Stanley~
Well, many orchestras were influenced by innovations in different orchestras. For example, it was Troilo who brought the singer much more to the fore in the beginning of the fourties, and I believe this made, for example, D'Arienzo adapt to a more lyrical and less rhytmical style, as one can clearly recognize in D'Arienzo-Maure. Whenever I study the history of different orchestras, I pay attention to individual leaders and musicians and how they forced various types of evolution in the wider genre. This also why I come to the conclusion that delineating time periods is very useful in classifying different styles.
By the way: I love Maderna too.
You know (remember my speach on tango gangs) my approach is totally different: I pay attention to the invariances within each orchestra succession. But I prefer to speak of tango gangs because there isn´t always a clear succession, rather a musical mindset. And finally, I also do love Maderna, and though he physically never played with Fresedo himself, he´s one of his most talented products. I find Fresedo´s own productions quite mediocre, but his influential power is immense. Fresedo himself was a coward (simply hear his collaboration with Gillesbie), but his transamerican ideas fulfilled within an influencial sphere, and of course Maderna belonged to it.
On the other hand, my system fails when it comes to Troilo. He´s the tango chamelion. He does not belong to any clique. He was at home in any style but, like a magnification glass he picked up trends temporarily and then he moved on. Troilo could have invented tango nuevo, but he didn´t. The people still love him for that great vagueness (or indetermination? or indecisioness?). Ok, Yogur, your system of delineating time periods does actually work with Troilo!
I would like to share. Tonight was a great time for me. I went to the every Saturday night milonga hosted by my dance studio. It was sparsely attended, probably due to The Memorial Day Holiday. No other beginner students were there. There is normally a beginner/new student lesson taught by an instructor and an advanced lesson thought by the Maestro himself. I was invited by him to participate and observe the much more advanced class. It was, for lack of a better word a thrill (not a word guys use a lot). He was so calm and collected in his (presentation?)... I was mesmerized by a master of his art. After the lesson during the milonga, I practiced by myself and observed the other dancers. Later in the evening, a beautiful creature entered the milonga and danced a tanda with every male in the studio. She was magnificent. I was able to introduce myself during one of the lulls between tandas ( I know there is a name for it but I've forgotten it.) Later in the evening, She asked, "Don't you tango?" I replied, "I am a rank beginner, but I love the movement." She invited me to dance... I accepted. I was nervous, and I know I was awful. She was kind and patient. I will never forget my first milonga with a non-fellow student or dance instructor. I will never forget Christina.
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