Horacio: Yes. Litto Nebbia, for instance. Fito Paez.

Terry: That's right, and maybe you could give me a...

Horacio: Fundamentally, all cultures contain vessels that communicate with each other. And sometimes cultures clash with each other. And in the case of rock music, a true clash took place in 1960 or so, with such extraordinary talents as The Beatles and the Rolling Stones, to be sure, and others. But in Buenos Aires, with so defined a personality, everything porteño, with its tango, its night, its bohemian ways, it was a clash that afterwards took on distinct consequences.

Since the kids who were doing the rock music were living in the same places, the same city, the same night, with the same incitements as the tangueros, they started imitating the tangueros. And they began to find out that that art with which they had had such a run-in was worthy of respect. And they started, given their abilities, because not all of them were good musicians or very good singers, and the tango is musically schooled while rock music is not.

Terry: Quite the contrary.

Horacio: And they started talking, to figure out the harmonies the tango had, the tango's counterpoint, its poly-rhythms, the tango poetic, and the singers - they began to like all that. And since they belonged in the same starry enclave, eh?, in the same night and the same pizza parlors and the same little black holes-in-the-wall and the same bars, they started going around with the tangueros. And I think they're much better off for it, because it's made them more human and made them much more of their own place and, therefore, more universal.

Terry: Here in the United States we're having a similar kind of time. Some of the rock musicians are very interested now in Tony Bennett's music, for instance, or the music of Sinatra.

Horacio: Sure.

Terry: He's a great master.

Horacio: Of course. Marvelous.

Terry: And there's a mix of the two kinds of music. For instance there are clubs in San Francisco, a lot of clubs, that are, well, we call them "lounges." And a "lounge" is a club where they play Frank's music and that of the jazz singers of the forties and fifties. And that's, well, a bit of a problem for me (laughter) because I remember the original epoch, the first time around, when I was...my father was a fan.

Horacio: To be sure. To be sure. Sinatra was a real source.

Terry: Sure, but it seems to me that to be twenty-years-old, like the kids are now, and to sit around in a "lounge" getting wrapped up in such sweet, bland, prehistoric music as that is the opposite of experimentation, where I think they should be. (Pause) But that's another story.

Horacio: Okay. Shall we talk about señor Piazzolla?

Terry: Yes. When he was a young man, he was in the United States, in New York.