Dragos wanted to be a milonguero. And he was.
He upheld the códigos—aloof at the bar, standing with his Toronto milonguero friends while women watched, waited, and tried to catch his eye. I was one of them. But he was a milonguero in the way that mattered most: in his dance.
His embrace was transcendent. His musicality was off the charts. There was something mysterious about it—because it wasn’t academic. You don’t learn this in workshops. You can’t. It simply was, because he was—shaped by what he loved, what he suffered, what intrigued his formidable intellect, and what moved his soul.
I remember Elina Roldán in Toronto—one of the great porteña milongueras—standing there, clearly wanting to dance with him, while Dragos looked in the other direction, convinced she couldn’t possibly mean him. Until she fixed him with a look and said, “Get off your butt and dance, dammit!”
I remember him buying too many musical instruments for no apparent reason, naming his electric guitar “Marilyn,” and disappearing into the washroom whenever anyone threatened him with a birthday dance.
He lent me impossibly dense David Foster Wallace—on tennis, on cruises—and expected a book report. He told strange, half-believable stories about studying architecture in something like a commune in Chile, and sneaking off to dance tango instead.
He claimed he had once been a young blond hockey player—something almost impossible to reconcile with the immaculate milonguero in a suit, silver-haired and self-contained.
And there was the story—true or not, but true to him—of the Argentinian girl he loved. She taught him to dance. Her father, a general, disapproved. He didn’t get the girl. But he got the tango.
I will miss you terribly, Dragos.
I hope you are still dancing—somewhere—in that great milonga in the sky.