A social Tango from the 50's, with simple vocabulary but not limited.

Also well known as Milonguero Style, Tango Club, Confiterias (pastry shops), Apilado (piled up), sometimes Argentinean Fox-Trot, etc.  It was the last creation of the people of Argentina.

Sometimes, a perfume of disuse clings to the Tango and all that surrounds it.  It is not false.  Too many factors link it to the past.  Even if the immigrant succeeds in becoming integrated, he never ceases looking to other nations, toward Europe above al.  If the constants of the Tango are joined together in complaints and nostalgia, it is because the porteños, the men at the port, carry with themselves images of other ports and those of their ancestors, and that, by searching for them beyond the plain, the limitless pampas, they cry.  Salty tears, in which other faces, other lost or abandoned landscapes are reflected.  The wailing of the Tango speaks of more than frustrated love; it speaks of fatality, of destinies engulfed in pain and of the lost paradise, a mythical Europe.Thus, the Tango is no longer only the music of Buenos Aires, it is itself the synthesis of the city.  It interferes in the language, the rhythm of its elocution, leaves traces in its grammar, shares the breathing of its daily life, influences its cadences with its exaggerations, its significant pauses, its languishing finales.  In Buenos Aires and on the two banks of its great river, at the frontier of Uruguay, everything is in rapport with the Tango.Tango reached its heights during the 1950s.  Then, other music invaded the dance halls, and Tango was relegated to obscurity.From the concentration on the dance, we pass on to the concentration of listening, to the subtleties of the musical expression.  Once again losing social position (déclassé), the Tango is enjoyed in the smoky communion of cabarets, as if it were necessary to sum up the total of almost a century of existence.  As if for an initiation to a very serious cult, one finds one elbow to elbow around little tables, and religiously, silently, one listen.  From a direct view to a close-up: the mute ceremony takes on the contour of a pagan mass.  More than ever, the Tango captivates the restrained emotionality of the Argentine people and its sadness is inscribed in a philosophy of desperation.  Like the Nô of Japan, the Tango is nourished by the nuances brought to it interpretation.Next came black days to Argentina, a terrible period that had a disastrous effect upon the flayed emotions of these Europeans in exile who, more than ever, were without an identity.  But nothing could destroy the Tango.  More than a distraction, more than an antidote to sadness, Tango is music of self-discovery.  In communication a people's anguish; it acts as a practical treatise on the popular philosophy, and the poets infuse its language with vertiginous pathos, introduce the them of death, and make it one with the soul of Argentina.

"Tango does not belong to one country.  Tango belongs to the WORLD." (Juan-Jose Mosalini)