In this video I discuss the general mental retardation of the tango/social dancing crowd on and off line.
I try to understand the phenomenon of what I call “Facebook Tango” that has emerged … since Facebook came a long. I ask the “Why?” and try to provide some historical context in terms of the history of aesthetics with reference to Roger Scruton, Bach, Pink Floyd and Hip Hop.
Documentary by Roger Scruton, Why Beauty Matters:
In this introduction to the TangoMilongueroTV I explain why I’m pivoting away from the “Argentine Tango” label and why everyone who wants Tango Milonguero (close embrace, EdO and Codigos Milongueros) should do as well, and why invitation only “Encuentros” are NOT the solution but really just more of the same.
Getting good quality transfers of tango from shellac records to high resolution 24bit files is not easy. Luckily I recently discovered The Great 78 Project by George Blood LP:
The Great 78 Project is a community project for the preservation of 78rpm records. From 1898 up through the 1950s…
Fortunately for the fans of Argentine tango Epoca de Oro music this includes many recordings of tango from the late 20s to the mid-50s. And best of all, they’re all uploaded to the Internet Archive and available for free download.The downside is that while these are amazing transfers they retain the clicks of the shellac records. So I invested in some special software (iZotope RX8) to remove most of the distracting clicks and noise but without losing the amazing sound quality.
I was able to get some amazing transfers of D’Arienzo, Canaro, Troilo, Biagi, Pugliese, Fresedo, De Angelis and more. The process of removing the clicks is fairly simple once you learn how to use the software, and I’ve been able to restore some of the most amazing sounding tango recordings I’ve ever heard. You can hear the musicians and singers almost as if they’re in front of you. I’ve never heard tango like this, so clear and immediate!
TangoTunes transfers come pretty close and I hear that they’re coming up with new releases from Troilo 1943-1945 and also the Biagi and D’Arienzo recordings will all be re-transferred again as they have improved transfer techniques and also better quality shellac records. I’m looking forward to these new releases. In the meantime, it’s exciting that I can restore these recordings myself from the George Blood 78 Project as they come out with more amazing transfers of tangos.
Here is what I would consider the minimum set of rules and recommendations that a traditional milonga should enforce and aim for. The model here would be the “Slow Food” and “Slow City” movement that resists excess consumerism and aims to create local and convivial living, economics and social interaction.
Instructions to participants upon entry
- This is a traditional milonga, please abide by traditional customs.
- Please wear appropriate attire: formal or smart casual; no shorts, sports shoes or jazz/hip hop shoes.
- Only traditional tango dancing. Show tango, nuevo tango, same sex dancing or teaching are not allowed.
- Please aim to follow proper milonga etiquette: use cabeceo to invite partners, dancing the whole tanda and changing partners between tandas.
- If you’re changing shoes please do so away from the dance floor or, if available, in the changing room.
- This is a place to dance, enjoy the music and the atmosphere. Please keep loud chatter and activities like taking selfies to a minimum.
Goals and recommendations
Traditional milongas should aim to
- create an authentic ambience for traditional tango in terms of music and decor.
- promote a focus on dancing and proper etiquette through the organisation of seating, in particular, placing the seating close to the dancing floor and promoting a separation of men and women such that they face each other.
- provide appropriate music in terms of the choice of music and sound reproduction. The person in charge of managing music should have adequate knowledge and understanding of traditional playlists and basic audio equipment in terms of software, DACs, amplifiers and speakers to design an adequate auditory experience for the dancers.
- create intimate, high quality events, with good quality decor and sound equipment and expert choice of music, rather than packing a large space with a lot of participants and playing loud music on budget PA systems. It is better to use a small space like a cafe with more limited dancing space that is easier to control for sound than a large space that is much more difficult to control for acoustics.
Things to avoid
Traditional milongas should refrain from things that take away from the convivial and intimate atmosphere and distract from the activity of dancing and listening including:
- loud marketing of the milonga, avoiding loud promotional posters and images;
- seeking to get as many people to attend whether or not they have dancing experience and minimum understanding or at least interest in traditional tango culture;
- excess promotion of teachers, performers, “DJs” or other “personalities”; people in attendance pay at the door and for the food and drinks;
- excess promotion of the purchasing of overpriced workshops, festivals, shoes and dresses as this takes away from the convivial atmosphere;
- using the milonga as a “practilonga” where students who are still learning practice in practice shoes, socks or informal clothing and don’t know how to follow the traditional codes.