The above are just a few of the comments made regarding the Tango, --no, not Tango, -Argentine Tango.

The Tango time sequence begins in the Barrios (poor, working class neighborhoods), and then moves to the Bordellos, to the elite ballrooms of Europe, and to New York in the 1920s. Tango has been steadily growing into the 21st Century, - more popular than ever. While no one has yet been able to specifically trace the origin of the Tango, one thing is certain, the Tango was made by immigrants to Argentina and to Uruguay. Even the 'Bandoneon' (a button accordion) is an immigrant, having been invented in Germany (Heinrich Band -ergo 'Bandoneon') and sent to Argentina. Three major types of music fall under the general family of Argentine Tango: Tango, Milonga and Vals, -with many subsets.

Etymology.
We do not know the exact origin of the word "Tango". In the 1890s, the word "Tango" first appeared connoting a specific dance. It is now generally believed to have been used in the old "Candombes", or religious festivals, held by the descendents of Black slaves. During these festivals (Candombes), there was much dancing to the rhythm of the 'Tang" drums, and curiously, participants used the word 'Tang' for everything, -the dance itself, the drums used, and even the places where these religious rituals were carried out. It is quite probable that the "Tang" became todays "Tango". (Needless to say, the 'Whites' thought the dancing to be immoral.)

Music
The music is derived from the fusion of music from Europe, the South American Milonga, and African rhythms. It was a mixing of Andulusian Habaneras, Italian Mezzogiornos, Creole "milongas" (an early form of dance and music) of the Argentine Pampas, and the 'Candombe' drum rhythms of former African slaves, then living in both Uruguay and Argentina. The principal instruments used during these dances were the 'Tamboriles' (drums with a single skin nailed to the drumhead and played with one drumstick and one hand, or with both hands alone), 'Marimbas', 'Chocalos', and 'Zambombas'. In 1898, Ernesto Poncio had taken the first part of a rather obscene song and used it to compose his beautiful Tango Don Juan. In 1899, Juan "Pacho" Maglio made his debut with a trio of violin, guitar and Bandoneon.

At the turn of the century, a very large emigration from Europe to the New World began. In 1901, most of the 126,000 immigrants who arrived in Buenos Aires remained in Buenos Aires. (Between 1911 and 1913, the population of Buenos Aires increased from 2 million to 8 million people.) The ratio of men to women was 10 to 1. The sad lyrics of early tangos reflect the fact that, during these 'teen' years, life was Hell in many ways for these immigrants.) About 40% were Italian, and the language and the culture of Argentina was influenced by them. Jewish immigrants, though far fewer in numbers, were contributing to the music of Argentina. In 1903, Angel Villoldo premiered "El Choclo". In 1904, Domingo Santa Cruz composed his Tango "Union Civica", and in 1905, Villoldo and Saborido compose the Tango La Morocha", and here's the Sheet Music. In 1906, Augusto Berto premiered "La Payanca" and in 1909, Eduardo Arolas played "Una Noche de Garufa".

Dance beginnings, - In Argentina and Uruguay.
In the 1870s and '80s, Brothels ('enramadas' and 'quilombos') were an integral part of life in Buenos Aires and in Montevideo, - for both men and women. They were meeting places for young unmarried men. It was here that the Tango was born. Initially, the dance might best be described as the rubbing together of the male and female genitalia areas while moving to the rhythm of some dance music. From these crude beginnings, it soon developed into something slightly more acceptable to society, and soon became popular first in the "barrios" (slum areas) and then throughout society. The dance was soon found on the street corners (with couples dancing to the music of 'Hurdy Gurdys"), in bars, dance halls, and even in upper class venues. (In 1902, the Teatro Opera, began to organize Gala balls that, among other dances, included Tangos.) In both Montevideo and Buenos Aires, the Tango was danced at sordid "pedringundines" (very poor local venues near the dock areas). Here's what the inside of a Pedringundine might look like. (Photo source unknown.). Listen now to a tango recorded in 1912 "La Chirimoya Argentina", sung by Arturo A. Mathon (1887-1933) some 5 years before Gardel sang "Mi noche triste").

Circa 1900, in Argentina, and Uruguay, the Tango was a mixed picture. In addition to the White European immigrants, there were also many Blacks of African-Argentine ancestry. Musicians such as El Mulato Sinforoso, El Negro Casimiro, 'El Pardo' (né: Sebastian Ramos Mejia), were some of the early musicians devoted to the Tango. ('El Pardo' was also one of the early exponents of the bandoneon, - the "button box" that has become the soul of the Tango.) In 1912, Armenonville -the first cabaret in Buenos Aires, opens. (photo: source unknown). It was soon followed by another named Hansen's

The first European Tango craze took place in Paris during the very early 1900s, and shortly thereafter in London, Berlin, and other capitals. By 1913, it had arrived in New York city. However, by ca. 1922, the Tango crazed wained somewhat due to the newer craze for the American Toddle, Foxtrot, Charleston, and other "Red Hot Jazz Age" dances arriving in Europe from America.

1929 was the start of the great worldwide economic depression. In 1930, the overthrow of the Hipólito Yrigoyen government in Argentina contributed to the Tango's decline. Then in 1946, Tango again became widely fashionable in Argentina, and a matter of national pride under the government of Juan Perón. Perón's wife, Evita, particularly enjoyed dancing the Tango. In the 1950s, factors such as the economic depression in Argentina, the start of the Rock and Roll era, and the military dictatorships banning all public gatherings, all caused the Tango's popularity to decline, -and living on in the hearts of true "Tangueros" only in the smaller dance venues. In the 1980s, the opening in Paris of the show Tango Argentino, and the Broadway musical Forever Tango re-kindled worldwide interest.

The Dance - Tango Styles
Argentine Tango
Characteristically, the dancers are in an offset, relatively close embrace, - usually with head to head contact (forehead to forehead, - or similar). IMPORTANT NOTE: The Argentine Tango is the only dance in which BOTH partners are looking in the same direction. They may be head to head, but the Lead's head is looking to his left, while the Follow's head is looking to her right. Often the bodies are tilted too, like an "A", with the chests somewhat closer together, and feet further out. This is the 'de rigeur' position for the Argentine Tango, - head to head, both looking in the same direction, and (often) body lean in an "A" shape. One of the "Argentine Tango's" most important elements is "The Walk", or "Salida", and dancers almost always keep their feet in relatively close contact with the floors (except for the various embellishments and decorative moves). It is interesting to note that for experienced Argentine Tango dancers, it is permissable to use the "Cross" walk. That is, when the Lead steps with his left foot, the Follow may also step with her left foot (if her improvisation calls for it). In Ballroom Tango, this is considered improper (unless Leader and Follower are facing the same direction). An interesting note is that Tango dancers often spend the entire night dancing only Argentine Tango. This is made possible by the great variety of Tango music. For all these reasons, the Tango is a constantly evolving dance, -always relevant to contemporary culture.

Tango Canyengue First danced in the 1920s and '30s, it is mostly danced to a 2/4 tempo, with short steps originally dictated by the long, tight fashion in women's dresses at the time. The partners are slightly offset in a closed embrace (bodies touching - usually head-to-head).

Tango Liso The dance, originated in small and crowded dance halls with very little space, and involves just the simpler steps-- decorative moves such as boleos, ganchos, and sentadas are absent from the style.

Salon Tango (also called 'Villa Urquiza' style, after a northern 'barrio' of Buenos Aires) Developed in the 'up-scale' dance venues with larger dance spaces allowing space for those decorative boleos, ganchos, and sentadas to be performed. It is generally danced in an open embrace (bodies not touching).

Tango Orillero Dancers make full use of Tango's various embellishments, including rapid foot moves, kicks, and such. The style originated in the outskirts and suburbs where large dance spaces afforded dancers full freedom of moves.

Tango Milonguero (Tango Apilado) In this easily recognized style, the partners dance in closed embrace, apparently leaning slightly towards each other - chest-to chest, - allowing space for the feet to move. This style developed in the 1940s and '50s in Argentina's closely packed dance halls and "confiterias". (The expression "Milonguero Style" was first used in the mid-1990s, although this close-embrace style of dancing had existed for decades. Many older exponents of this style prefer not to use the label. (Still, --- it's just a label.)

And, a whole series of "fake" Tangos:
Milonga One often sees this term used, but it is not a true Tango. It is a related dance with a faster tempo. (Also, today, the term "Milonga" is widely used to denote a dancing get together, or a venue. A gentleman might ask his lady friend if she wishes to go with hin to the 'milonga' tonight.)

Vals The tango version of a three quarter time Waltz. (Once again, not truly a "Tango".)

Show Tango (AKA: Fantasia; Argentinians call it "Tango for Export") Also not a "true" Tango (in the strictest sense of the name). It is a Tango danced on stages, and in public exhibitions, characterized by many embellishments, acrobatics, and solo moves. (Far removed from the Tango found in relatively small dance venues.)

Ballroom Tango In is important to note that all "Ballroom Tangos" are radically different from Argentine Tangos, and are typically danced in various International Ballroom Dance competitions. Perhaps its leading characteristic is the "head snap", and the movements are more staccato in nature. (Head snaps are totally foreign to Argentine Tango.) The International Olympic Committee recognizes competitive ballroom dance as a "DanceSport".

English Style Ballroom Tango First codified in October 1922, when it was proposed that English Tango should only be danced to modern tunes, ideally at 30 beats per minute. Subsequently the English Tango evolved mainly for use in dance competitions.

American Style Ballroom Tango Due primarily to the influence of dance teams such as 'Maurice Mouvet and Florence Waltron', and 'Vernon and Irene Castle', American Tango evolved as an unjudged social dance with an emphasis on leading and following skills.

The Lyrics
In 1917, Carlos Gardel sang "Mi Noche Triste" for the first time on stage at the Teatro Esmeralda (today: Maipo). The music of "Mi Noche Triste" belongs to a Tango named "Lita" composed in 1915 by Samuel Castriota. That same year, Pascual Contursi wrote the lyric (before he met Castriota - then a common occurence).

Listen now to "Mi Noche Triste" in comparitive performance, with Carlos Gardel singing on both versions The first, as he originally recorded "Mi Noche Triste", the 1917 version mentioned above. And, then for comparison, Gardel singing the same "Mi Noche Triste", in 1930. -13 years later.

This song marked a very significant moment in the history of the Tango. Theretofore, the Tango had been the happy, gay and playful music of the Arrabales, -expressing the joys and aspirations of the Compadritos, the working class (not to mention the men and women in the local brothels where love was sold in hourly increments). But the new Argentinos -los Immigrantes, longing for sentimental songs connecting them with a faraway past, found the Tango of the outskirts, -of the compadritos, no longer completely satisfying. "Mi Noche Triste" struck a sensitive nerve. It marked the birth of the Sentimental Tango. The music and the lyrics became nostalgic, melodramatic, and sad, - a reflection of a city and its people. People did not stop dancing, but, they began to listen more. The lyric had become very important. Also in 1917, Roberto Firpo premiered his arrangement of "La Cumparsita". The tune had been composed by a fellow Uruguayan, - college student Gerardo Matos Rodriguez, who had composed the tune the previous year. With the birth of the "Sentimental Tango Lyric", some forecasted the death of the Tango dance. But the announcement of it's demise has proven premature.

The Recordings
Circa 1904, recording companies sprang up in Argentina, but their product was not aimed at buyers who spent their money on sex, narcotics and pistols. Early Tango recordings are rather pathetic. Still, as early as 1907, the first Tango recordings crossed the Atlantic to Paris France and to Berlin, Germany, and were immediately seized upon by the young generation. Visiting young Argentineans further helped to spread the Tango in Europe. Circa 1910, Camille de Rhynal, a Parisian dance instructor, 'modified' the overt sexuality of the dance. In London, the English dance team of Grossmith and Dare, displayed this newly bowdlerised Tango in the 1916 hit musical The Sunshine Girl. Overnight, all Europe was dancing the Tango.

South America was untouched by World War 1, and by 1919 Europeans were again looking for entertainment. The Tango had matured into the classic sound that we now know. Due largely to the efforts of a German-Jewish immigrant in Buenos Aires, Max Gluksmann, Europeans were able to get recordings of that new Tango.

It is very safe to say that the history of the Argentine Tango and Max Gluksmann are intertwined. In point of fact, it is probably equally safe to say that the worldwide popularity of the Tango is more than partially due to the efforts of Max Gluksmann. (aka: Max Gluecksman; Max Glücksmann).    Max (né: Mordecai David Glucksmann) emigrated from his home in Chernowitz, then a part of the 'Austro-Hungarian Empire'. The boat carrying him - he was just 15 years old at the time - arrived at the mouth of the Rio Plata on July 26, 1890. The captain of the vessel decided not to venture further because, at that moment, some fighting was taking place in Buenos Aires between those loyal to the newly formed "Civic Union", and those loyal to President Juarez Celman. Nevertherless, Max decided to disembark on the following day, and he arrived at Buenos Aires virtually in the midst of a hail of bullets. This 15 year old boy was destined to become an exceptional industralist who would develop two great industries so necessary for the development of Argentine culture: cinematography and audio recording. He was the very first man to establish a recording company in Argentina, and was largely responsible for forming the Argentine Film industry. Interesting, he was also responsible for establishing copyright protection for Authors and Composers.

He first found work as a stoker in a metal smelting factory, and a little latter became a photographer's apprentice where he first learned the secrets of the photographic technique. Here's a rare photograph of Max, with an early camera at his waist. (Photo from the book El Tango, Una historia con judos" by Jos. Judkovski, Buenos Aires: Fundacion IWO,1998). In December 1891, he began working in Enrique Lepage's ' Casa Lepage y Cía. (then located at 375 Bolívar Street). There, Max Glucksmann would become very expert in the photographic art. So much so that it was he who installed the first photographic laboratory in the Argentine Army's General Staff offices. He also organized, and installed, the photographic technical services that aided official commissions to establish the correct borders between Argentina and the republics of Chile and Bolivia on a truly scientific basis.

In 1897, one of his friends was a young photographer, Eugene Py. Py would go on to become the 'dean' of Argentine Cinema. Together, Gluksmann and Py initiated the Argentine national cinema, when they filmed La Argentina Flag (considered the first Argentine film). Their film El Argentine Tango was the very first film with the Tango as the main subject. "Negro Agapito", a recognized dancer of the time was the featured dancer. This filming took place circa 1900. It is said that the Tango film was exhibited in the royal courts of the Kings Alfonso XIII, and Victor Emmanuel, and even in the Vatican, where the Pope watched the Tango dancers.

Between years 1907 and 1911, they produced a series of 32 Short-Subject films (some say there were 40) that constituted the very first Argentine experiments in 'Talking Pictures". The technique they used was to record the Actor's voice while he was reciting or singing into a large metal Horn. Then, when actually shooting the film, the disk was played and the actor would try to synchronize his actions with that of the recorded disk while performing before the camera. Still later, in the movie theatre, the projectionist would try to 'sync' the playback of the disk with the playing of the film. Of course, sometimes the 'sound' and the 'action' were asymmetric.

The time duration of these Shorts was sufficient to stage a very small musical. Among the Tango performers seen in these very early Short Subjects were Jose Petray, Angel Gregorio Villoldo, Bozàn Rose, the Gobbi spouses, and members of the Podesta family, among others. Some of these old disk/film recordings are still extant, and are interesting because the Tango was still a dance of "low" persons; not yet entering into "decent" homes.

In 1907, Gluksmann had become an agent for the German-owned Odeon label. Around 1914, he had persuaded Odeon to finance a processing and pressing plant in Buenos Aires (previously the 'masters' had to be shipped to Berlin for pressing). Gluksmann was utterly convinced that he could sell vast quantities of 'national' records -meaning Tangos. Berlin agreed and built Gluksmann a processing plant in the Belgrano area of Buenos Aires, and also installed a Berlin-trained engineer, Herr Kruger, as resident recorder. By 1916, he was already signing local talent; paying advances not only for performances, but also for exclusivity of new songs. Here's an rare early photograph of the Roberto Firpo Orquesta, which seems to have been taken in Max Gluksmann's Odeon Recording Studio.

Virtually every single Argentine Tango artist was recorded by Max Gluksmann's studio. One interesting example is from the June 22, 1954 issue of the Argentine magazine "Ahora" (No. 2192), which carried an interview with famed composer Anselmo Aieta. At one point, the reporter asked Aieta how he was acquainted with Carlos Gardel, and he replied "I was playing at the Casino Pigall, when a gentleman whom I didn't know, sent me a message from his table. I had recently played the Tango "El Huérfano", which I had composed, and when I approached him he invited me to share his table and introduced himself by saying : "I am Carlos Gardel, my friend, and I would be interested in singing your tango which I have enjoyed very much. If you come tomorrow to Glücksmann's I will record it immediately". As you can surmise, besides the enormous happiness of that moment, I was amazed to realize that an artist as famous as Carlos Gardel could ask for one of my compositions with such simplicity. That was my first encounter with the great interpreter." (In 1925, Gluksmann and the Odeon label recorded one of Anselmo Aieta's Tangos "Tus Besos Fueron Míos". Listen now to a 1929 American recording by Los Floridians, with vocal by José Santos (Vocalion A 8117) of "Tus Besos Fueron Míos" ("Your Kisses Were Mine.")

With the advent of WW1, Odeon's Berlin office was unable to accomodate Gluksmann's activities. Since Gluksmann already had his own engineer and pressing facilities, he simply continued to operate. The Odeon label disappeared and and was replaced by the Disco Nacional label. Gluksman thus became Latin America's first independent producer and distributor, and arguably the first in the world to successfully concentrate specifically on the Tango. It was his label that recorded the last of the "old guard" as well as the first of the "new guard".

It is very accurate to say that such Argentine stars as Carlos Gardel, Francisco Canaro, Roberto Firpo, and José Razzano owe their fame as much to Max Gluksmann, as to their own wonderful talent.

Interestingly, prior to WW1, Gluksmann was releasing Odeon label recordings in Latin America. With the end of WW1, it was Odeon who was releasing Gluksmann's recordings in Europe. Europeans were beguiled by this 'new' tighter, more aggressive Tango. The music reflected a sophisticated, world-weary, and implicitly sexual attitude. It perfectly caught the mood of a society traumatised by war. All through the 1920s, Europe was at least as much in love with the Argentine Tango, as it was with music of the American 'Jazz Age'.

Many "Tango" bands were either in residence or touring Europe's capitals, some genuine Argentinian groups, others completly bogus, still others with Argentinian soloists supported by local musicians. The Filipotto, and the Ariotto bands, based during the early 1920s in London, were of the later type. Tango was all the rage in Paris, and some of the bands appearing and recording in Paris include Eduardo Bianco et son Fameux Orchestre Argentin, Orlando et son Orchestre du Bagdad, Rafael Canaro et son Orchestre de Tango, Salvador Pizarro y su Orquesta Tipica Argentina, Orquesta Tipica Brodman, Orchestre Argentin Bianco-Bachicha, and there were many more. During the 1930s, Pedro Maffia, a genuine Buenos Airean and one of the great bandoneon players, broadcast every day over the Paris, France radio. All over Europe, in Athens, Berlin, Madrid and Lisbon, local artists were recording the Tango in their own language for local consumption.

The Singers
In the very earliest of times, "payadores" (itinerant singers) such as Gabino Ezeiza, Negro Gazcón, Villoldo, and Gerardo López would spread Tango songs. However, unmistakably, it was Carlos Gardel who was greatly responsible for spreading the Tango in Europe, - and elsewhere too. But many other singers enjoyed careers as Tango vocalists. Among these are such men as Charlo (né: Carlos José Péez), ( Listen now to Charlo singing "No Hay Tierra Como La Mia", (553 kb). A Milonga by Charlo (con Orquesta)., composer: Charlo, and E. Cadicamo.   Ff Roberto Goyeneche, Ignacio Corsini, Alberto Castillo, Francisco Fiorentini, and Alberto Irusta, to name just a few. Many European singers adapted the form in various ways. In 1927, German vocalist Adalbert Luter combined it with another contemporary Euro-fantasy, Hawaiian music, and produced "Dort In Hawaii" a Tango about the pleasures of Waikiki Beach, complete with Hawaiian ukulele accompaniment. In Lisbon, singers such as Maria Silva and Maria Alice, classic Fadistas usually associated with saudade-drenched songs of the Alfama, were recording "Fado-Tangos", -a mix of the Tango's rhythm and meter with the emotional approach and instrumentation of a classic Fado.

Circa 1900, there were only a limited number of women singers among which were Pepita Avellanda, Linda Thelma, and Flora Rodriguez de Gobbi. Women singers before the mid-1920s, were few and far between. In 1916, a woman, Manolita Poli, interpreted for the first time the sad Tango "Mi Noche Triste" of Pascual Contursi and Samuel Castriota. Most of the ladies appeared in solo performance with their own guitar accompaniment. However, the lady vocalists blossomed in the 1920s. A whole generation of women singers quickly reached star dom through the gramophone, the radio and the cinema including Azucena Maizani, Rosita Quiroga, perhaps the best known of these early ladies. ( Listen now to his song "Apologia Tanguera", (521 kb). a Milonga sung by Rosita Quiroga con El Trio Ciriaco Ortiz - 2:49 ) Libertad Lamarque    Mercedes Simone, here posed in the style of a solo performer, with her guitar, and here's a later photo of Mercedes Simone, Tania,   Tita Merello , Sofia Bozan, and Ada Falcone. (Listen now to the Tango "Te Quiero", (551 kb) with Ada Falcon (vocal) con La Orquesta Francisco Canaro (3:02). composer: Francisco Canaro. These women also toured other South American countries such as Chile (the Chileans loved Lamarque), Uruguay, and Brazil. Then in the 1940s, the list of lady vocalists continued with the appearance of Nelly Omar, Sabina Olmos, and much later Valeria Lynch.

The Bandoneonists
The Bandoneon -a "button box" - absolutely defines the Argentine Tango. Some call it the 'heart and soul' of Tango. It too was an immigrant to Argentina. Two German companies, - Chemnitz and Heinrich Band - were sending their instruments to German musicians who had emigrated to South America. The Chemnitz box was widely known as the "Chemnitzer". And so, to distinguish his own brand, Heinrich Band adopted the name of "Bandoneon" for his product. (Possibly a contraction of the words 'Band' and 'Accordion'.) In any event, the Bandoneon brand became very popular in Argentina.

In Argentina, the first printed "how-to" for playing the Bandoneon was published by Luis Bernstein, a Jewish musician often called "The German" because of his parentage.

Among the great Bandoneonistas of the time is Juan "Pacho" Maglio (1880-1934), one of the earliest, he first played his father's 13 button concertina. In 1899, he made his professional debut at the cafe "El Vasco" (in the Barracas neighborhood of Buenos Aires) playing a 35 button accordion. He would go on to live through the development of the Bandoneon from 44 buttons, to 52, to 65, and finally completing with the full 75 buttons. He may in fact be the inventor of the 142 tone layout. It was Maglio who also made the first solo bandoneon recordings in 1913.

Other Bandoneonists (most also led their own orchestras) include Anibal Troilo, "Pichuco", (1914-1975) is considered by many as the best bandoneonist of all the times. He was called 'The Great Teacher'. Ciriaco Ortiz was one of the bandoneon's great innovators during the 'Guardia Vieja' period. ( Listen now to his song "Apologia Tanguera", (521 kb). a Milonga sung by Rosita Quiroga con El Trio Ciriaco Ortiz - 2:49 ) He was probably the one who most influenced Anibal Troilo. Osvaldo Fresedo was one of the very finest players (and leaders). Another is Arturo Hernan Bernstein (b: 1882, Petropolis (Brazil) -d: 1935). Called "the German from Brazil", he was a fine bandoneonista, as well as a conductor and a composer, and also played piano, violin, and guitar. After first working in classical music, he made his 'Tango' debut in 1903 , when he appeared at the "Cafe Royale" in Buenos Aires. . In 1920 he formed a quartet with himself, Ciriaco Ortiz on bandoneón, "Tito" Rocatagliata on violin and Juan Carlos Cobián on piano. In 1912, he formed his own orchestra. In 1935, he made his last public performance as a member of the Enrique Saborido orchestra, before his demise in Sept. 20, 1935. Among the Tangos that he composed are "Rama Caida", "La Carambola", "Mala Suerte", "La Gaita", "No Hay Partido sin Revancha", "Celos", the beautiful waltz "Amor Ideal", and the paso doble "Plus Ultra", and others.

Among the other wonderful Bandoneonists of the time are Vicente Greco, (1888-1924) , and Genaro Esposito (Feb. 22, 1886 - Feb. 17,1944 in Paris France.) We can't forget the 'two Pedros', - Pedro Maffia, and Pedro Laurenz, who worked together in the Orquesta Julio De Caro (they were popularly known as 'Pedro y Pedro'). Even though he did not belong to the 'guardia vieja', (the period up to 1920), one must also mention Astor Piazzola when speaking of Bandoneonists,.

Two others must also be mentioned. One is Angel Villoldo. Although a fine bandoneonist, Villoldo is remembered today as a composer, performer and singer. It was Villoldo, who while visiting Paris, made the very first Tango recording. And, we can't forget Paquita Bernardo. This little lady is unique on several counts. It was usual for 'proper' young ladies of the time to study the Piano. Paquita did that, but then stopped when she found the Bandoneon more to her liking. Paquita Bernardo, played with the Osvaldo Pugliese orchestra and in the Elviro Vardaro orchestra at the Cafe Dominguez and she had as a pupil Pedro Maffia (one of the 'two Pedros' - see above.).

The Dancers
One of the strange facets of Tango lore is that the famous dancers are rarely mentioned.

However, in the beginning, it was the best dancers of the "Orillia" (outskirts of Bs. As.) who were the true inventors of the Tango. Going back to the first quarter of the 20th century, we find first very well regarded Tango dancers such as Pepa la Chata, El Flaco Saul, La Mondonguito, La Parda Refucilo, and Pepita. We only know these 'nicknames' because their proper names have become lost in the corridors of antiquity. Among their successors were such men as Elias Alippi, the slender Alfredo J.C. Herrera and others who have already faded from memory.

Perhaps the earliest stage of Tango dancing places were bars, cafes, gambling places, and the quilombos (whorehouses). The second stage places were the "Casas de Baile" (Dancing Houses). The most famous of these were "La Casa de Laura","La Casa de Maria la Vasca", "La Gringa Adela", and "La Parda Adelina", These were rented by people with sufficient money to hold these dances, -which included the Tango, the women, and the alcohol. Sometime a composer would dedicate a song to some guest, and the guest also paid for this favor. Humbler people would just hold their dance on a patio with the guests paying for the alcohol, food, and any expenses for the musicians. By the end of the 'teens, the new era of the Tango happened in the Night clubs, - the best known of which were "the Abdullah", "Royal Pigall", "Tabaris", "Montmartre", and the "Chantecler", among others.

Two very prestigious early 'houses' were "En lo de Laura" (At Laura's) and "En lo de Maria la Vasca" (At Maria la Vasca's), - Maria's being the more modest one, Even today, they still carry an aura of legend. The male patrons could dance with women provided by the house for perhaps 3 or 4 pesos per hour. ( the average monthly salary for an unskilled worker ranged from 100-150 pesos). Maria La Vasca was married to a husky English immigrant who also acted as the house 'bouncer' (guard). Maria La Vasca's house was a beautiful old mansion. Doors with iron arabesques permitted guests to view the garden. The 'great' room was reserved for the big events, while smaller rooms were assigned according to the number of guests expected. Here's a cartoon of Maria's "Academy". A reservation was required in advance so that the correct number of lady dancers would be available. It was customary for the evening's dance to start with a polka, and to conclude when the number of reserved hours came to an end. The musicians averaged 5 pesos per evening. In the early days, only a piano played, but later groups included a violin or two, and a flute. Eventually, bandoneones were added..

Laura's place was elegant, expensive, and had a very selective clientele. Decorations included French furniture, the walls covered with mirrors, and expensive paintings. A major attraction was pianist Rosendo Mendizabal, who released his famous tango "El Entrerriano" while working in this house. The house had rooms reserved for the younger dancers as well as for the elderly dancers. Other musicians who appeared here included such men as Vicente Greco and the singing duo of Carlos Gardel-Razzano.

The earliest nightclub in Buenos Aires was named "Armenonville" where patrons whiled away the night dancing the Tango. Another early nightclub was "Hansen's "; Johan Hansen opened his restaurant (with dance floor) in 1875, -just after Armenonville opened.

And of course, besides the dance academies where professional dancers were remunerated for their instruction, there were also other "academies" -more or less high class enramadas (brothels), down to the humble quilombos (whorehouses) of the suburbs (don't you love the fine distinction?).

One other Tanguero who must be mentioned was "El Cachafaz" (né: Ovidio José Bianquet - Nickname: Benito) He was born February 14, 1885, and died February 7, 1942. 'Cachafaz' is lunfardo (slang) for rascal, shameless, insolent, rogue, idler. "El Cachafazs" story is part of the Tango mythology, -a legend. Here's an early photo of "Cachafaz", and here's a later photo of "El Cachafaz", dancing with Carmencita Calderon.

In 1915, "El Cacha" and the famous Lecherito Ain (who later performed a tango for Pope Pius X.) had a dance duel at the "Parisien" (a Tango Bar in Buenos Aires). El Cachafaz won that competition. By 1918 ( the height of his career), Cachafaz was already a tango legend in Argentina very much like the singer Carlos Gardel. Cachafaz could never achieve 'Carlitos' fame because Gardels voice could be heard by millions on radio, while a dancer had no such opportunity. Still Cachafaz's style, -his steps, like the "firulette" and his upright upper body position revolutionized the Tango. Some years earlier, another dancer named Santillion had been on his way to becoming the 'King of Tango dancing but El Cachafaz did 'beat' "El Pardo Santillion" on the dance floor competition. That's how the Tango was back then: dancers had to present the dance and assert themselves in competition.

In 1930, "El Cacha" also competed against another dancer, "El Gallego Mendez", at the "Lido". Cachafaz won but came very close to losing to Mendez, the "King of Canyengue". (Eng. Pronounciation: CanYENNgay. Means Rhythmical Walk originally in 4/8 time but evolved to present Tango. 2/4(4/4) time. It may be the purest essence of the Tango; it's origins go back to circa 1900.) The experience made Cachafaz realize that dancers do have a peak time that one day will be over, and retirement eventual, - that nobody is immortal.

Here is still another interesting photo of "El Cachafaz", from the cover of his biography written by Massimo di Marco. The lady is the same Carmencita Calderon as in the earlier photo. On Feb. 7, 1942, he had finished one Tango with her at an exhibition, and died before the next dance. 'El Cacha' had a reputation as a milionaire, nevertheless when he died (single at age 57), his friends had to take up a collection for his funeral.
The tango; - is it passion, art, poetry, -what counts, is it the money?
Cachafaz's friend and colleague, 'Petroleo' (Carlos A. Estévez), has described the life of this early Tanguero who died young, because he could not stop dancing. He was a creative inventor and an autodidact dancer who had an inner call to dance the Tango with all his energy. He was born to dance, - he lived and he died for it.

Over the years, the Tango has changed becoming an elegant and stylish dance evoking a picture of high society, with women in sleek glittering evening gowns and men in tuxedos and tails. Even today, at local Tango Bars or Dance clubs, the man will often wear a sport jacket with a felt fedora pulled down over one eye, and a white silk scarf around his neck, evoking a symbolic image of the Compadrones of old Buenos Aires. Today, more than 100 years later, all over the world, the passion and joy of Tango continues to capture people's imagination.