Talk:Carlos Montoya

message: This article is highly biased, and moreover the bias appears in the "biography' section, as if it were a fact of Montoya's life.  
It is true that Montoya's style was not appreciated by some "serious" flamenco students, but he certainly wasn't denigrated by all flamenco students (or professionals, for that matter).  It is also not true that he was "unpopular among afficianados".  For example, I am an afficianado, and I revere Carlos Montoya for his own unique contribution to the flamenco artform.
Some snobbish, anally-retentive afficianados disdained Montoya in much the same way as certain afficianados of Indian Raga disdained Ravi Shankar for his work with western musicians.  But the fact is that, just as Shankar did more to expose western ears to raga than any 50 sitarists before him, so did Montoya do more -- single-handedly -- to expose the world outside of Spain to flamenco, than the whole of the generation of flamenco players of which he was a part.
Also, the article is incorrect in stating that "the compás which has evolved within flamenco over hundreds of years".  While one could maybe make such an historical argument for the development of the compas, that ancient heritage was not "within flamenco," because flamenco itself is not "hundreds of years" old.  What we know today as "flamenco" is largely a product of the late 19th and early 20th century, and is a little over a century old.  Calling flamenco hundreds of years old is a little like calling rock-and-roll ballads "hundreds of years old", just because the ballad form can be traced back to the middle ages.
This article needs some serious re-writing.  — Preceding unsigned comment added by 74.92.174.105 (talk) 18:43, 11 March 2013 (UTC)
thread_title:  Extreme Negative Bias 

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thread_title:  External links modified 

message: Where did he die? Contradiction in headline/text.  — Preceding unsigned comment added by 2i467 (talk • contribs) 16:14, 7 October 2018 (UTC)
thread_title:  Place of death? 

message: Maybe Carlos went out of compas now and then, but I didn't hear it. He spent many years accompanying dancers, where going out of compas would have quickly ended his career. My main criticism of him would be that his technique was highly incomplete. There were many things that he simply didn't do on the guitar, but that could be seen as a virtue, i.e., "Do what you do well, and leave the rest for others!" What he did well was rasgueados. That may seem trivial, but it is not. The first time I saw him was while I was in undergraduate school at the University of Maryland. He was playing in a gigantic hall, where his rasgueados seemed like thundebolts cast across the vast empty space. To many guitarists outside of Spain, he was the introduction to flamenco guitar that inspired them to take up the form. God bless him, and may he rest in peace. 2603:8001:7401:BCD4:5F0:CBC5:57A7:B1F1 (talk) 23:58, 28 March 2024 (UTC)
thread_title:  Influence on guitarists