Anonymous - you are spot on about the right shoulder thing and tension in the upper body in general. Tango is my weak dance, though it's improving all the time. It's not the footwork or such - this can be learnt with focussed practice and is really no harder than the other dances- it's injecting the element of agression that's needed without putting tension in the wrong places. That's a mental thing and hard to shift. I also think the music is crap. When did you last sit down at home and listen to a tango?

Hi, regarding the music you should try to listen to the Gotham Project tango. They are great.

"Hi, regarding the music you should try to listen to the Gotham Project tango. They are great."

That's GOTAN project.

Hmm... Batman theme as a tango... interesting idea, wonder if it would work?

I like the music - maybe because I have serveral very good ones at home. It's a wonderful dance but very, very hard to dance it correctly. A bit agressive, tension, without disturbing the partner. I danced it wrong for a long time an am only starting to get it right. And suddenly, the dance feels completely different. It's wonderful.

Hmpf- I love tango and I love tango music. Phil, I think you need to actually listen to some good tango music like Gotan Project, Astor Piazolla, etc instead of only hearing bad tango music and saying that it's crap. I'll take beautifully searing violins any day.

I promise i will try to find some tango music that makes me want to sit down and listen to it.

I doubt if a Tango can be learned without professional help.
If the setup between the partners is not correct then nothing will be right. At the begining and all the way through the feet have a certain position, they are off set. For the man the LF is ahead of the RF . The RF is level with the instep. The palm of the hand should be on the ladies spine. Stand facing diagnal to the wall with all of the above . Keep the feet where they are and turn the body anti- clockwise a few degrees. The first walk will have to be in CBMP. With that stance it connot be anywhere else. The second Walk there will be no CBMP. The will be CBMP on the first step of the Link.
Where your very first step is taken predetermines where the second step will land. From there it is lessons all the way
There is a tendency at first after the Link to lean slightly in the direction of the next step. If we hang a plumb bob from the right shoulder it should go straight to the ground. Chin up, look arrogant. Left heel off the floor. This is where teaching is esential with the conection of the knees, for want of a better word. If you do lean. From the other end of the hall, you will look as though you are diving into the floor. Keep that chin up, and get some instructions. Tango music. I like that one from the movie Chigago.
To this I will need to add .This is the International Style. Other Tango's have their own charcteristics

As my name implies-- that is part of who I am-- Scrivener trained ( over fifty yrs ago ) It is the one dance, that really defies the written word to impart the characteristic and the essence of this " oddball " dance.

The interpretations, given by all the past exponents , are, by and large, an extension of Lens concept.

His major argument intodays style would be 2 fold .

1--- The speed of the music
2-- the ever decreasing turn to the left in basic walks .

There are a several more areas which ( just my guess ) that he would address .

The " wine glass " look , is quite often absent. Add to this, the non delay of the 1st step thru prom. position ( doesnt anyone understand q-hold ? ) Could go on-- but I think thats food for thought .

One last thing--right SIDE lead-- not right shldr . I fought and lobbied long, for that term to be changed .

Tangotime. That's interesting. I was taught by Walley Fryer Lens biggest rival. I also saw him and Nellie dance many times in competition and giving demonstrations and lectures. The one thing that has always stayed with me is how he would count the Tango. He had us doing two Walks a Link and a Closed Promenade. As we know is S S Q Q. S Q Q S. He had the same timing but counted differently. He called Stop Stop Quick Stop. Stop Quick Stop Stop . The timing remained as it should be but with a different feel to the steps.
We had a German Professional writing on this site who said that in the Quickstep he calls every step a Slow to stop the pupils snatching the quicks Which is the same princible that Len taught all those years ago in the Tango. If you've kept up to date. In the Tango the first Walk is in strong CBMP as is the first step into the Link. Regards.

Finally -- someone of my era !-- No disagreement on cbmp. Just wish many of todays Profs would understand the concept !-- As far time distribution on closed prom, would again agree, totally different from book. As we know, expression ( in all dances ) is what brings some figures to life .
Wonder if we ever " bumped " into each other ?. I danced at the Hamm. Palais wed aft. and Tues nites regularly late forties early fifties .Also danced at Streatham Locarno and odd times at Peggys in Penge .
Funny you should mention Fryer-- he never seems to get the recognition he and Violet deserve-- he did as much for q/step, as len did for Tango.!