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The revival of the Tango occurred during the late 1930's when the working classes regained a certain political
freedom. On huge dance floors, the masses celebrated their social rise, in a ceremony of physical solidarity. The Tango Became part of daily life. New media's such as cinema, radio and
records help popularize it. Thus, new paths were opened for the great band leaders, which included: Fresedo, De Caro, D' Arienzo, Di Sarli, Pugliese – among others. With them a new
generation of musicians followed, Anibal Troilo being the most innovative.
Important social changes were also occurring form which new themes
developed, taking the Tango out of its original milieu – the slums. The new lyricist were from a different background. They were intellectuals with university degrees like Catulo Castillo, or teachers like Homero Exposito and Homero Manzi.
During the 1940's the Tango signer evoked the past with emotion. Now the Tango was purely nostalgic.
At this time, a new
wave of musicians evolved calling their brand of music "vanguardism." Which was expressed in two orientations: salgan and Piazzola. Salgan used everything to color the Tango, including Ravel and jazz, Samba and Brazilian Milonga. It was during this period that Piazzolla was playing in Anibal Troilo's orchestra.
In 1946, Eva Peron rose to power favoring the popular culture and
specifically the Tango, which reached its creative peak during this decade. In 1952, Peron died and the Tango fell from the spotlight back into the world of the underground.
Once again alien (mainly
American) culture was invading Argentina. Rock was the new rage and danced mainly at arms length, unlike the entwined bodies of the Tango. The Tango barely survived in the tiny lounges where very
few came to enjoy it.
At the beginning of the 1960's the younger generations rediscovered the traditional forms of music, resurrecting Porteña music (akin to the Tango) and attracting a small
following to the Avant-Grade experimentation of the Piazzola and Rovira among others.
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