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Enrique Cadícamo. Música en Escuela de Tango de Buenos Aires.

Enrique Cadícamo. Argentine music at Escuela de Tango de Buenos Aires.Enrique Cadícamo

Poet, lyricist, composer, writer and theatral writer
(15 July 1900 – 3 December 1999)

“An everlasting boy —wrote León Benarós—, Cadícamo seems to live counter clockwise. He keeps his hair intact, of a pale blond color, that becomes square at the back of his neck and rather long in a juvenile fashion… He wears light-colored ties —once we saw him with one of a subtle yellow color— and his sports coats add him youth. He wants to forget about time because he knows that time —“that dark enemy that sucks our blood”, according to Baudelaire’s lines—, feeds on our illusions, on our life…” Continue reading.

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Dancing Argentine Tango at milongas

I will give you a direct answer: to be able to go to milongas you need basic social skills.

Dancing Argentine Tango at milongas

When you are invited to a party, a friendly social gathering, you present yourself with a pleasant attitude, clean, well dressed, and you balance your way of addressing other guests at the party, formally or informally, based on your relationship with each person.

If you’ve never been to a milonga before, I recommend procuring an invite from a regular attendee. This will be a bridge to help you integrate with the crowd of participants.

Often, you have opportunities to meet people in class who could serve as your link to milongas: other students that started before you and now go to milongas.

If you only take private lessons, your teacher is your connection to milongas. The main task of an Argentine Tango instructor is to prepare you to go to milongas.

You should not expect to dance at your first milongas. Try to set yourself at ease by removing any anxieties caused by feeling obligated to dance. Going to a milonga does not imply that you “ought” to dance. A milonga is a social gathering that has the main goal of facilitating the dance of Argentine Tango among its participants. Still, this is the end result of a self-calibrated socialization process. This process starts in your classes. You will do well at milongas if you have this in mind from the beginning of your learning path, in your class. We dance because we are free to dance. It is not possible to dance, for real, under the pressure of obligation. Therefore, it is also important to be considerate of others and not make anyone feel obligated to dance with you.

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Anibal Troilo. Argentine music at Escuela de tango de Buenos Aires.Aníbal Troilo

Bandoneon player, leader and composer.
(11 July 1914 – 19 May 1975)

He was spellbound by the bandoneon when he heard its sound at cafés in his neighborhood. He was ten when he persuaded his mother into buying one for him. They got it at 140 pesos of that time, to be paid in 14 stallments, but after the fourth payment, the shopkeeper died and no one ever claimed for the rest. With that instrument he played almost during his whole lifetime. Continue reading.

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Oscar Larroca & Alfredo De Angelis. Argentine music at Escuela de Tango de Buenos Aires.Oscar Larroca

Singer
(5 July 1922 – 26 August 1976)

One of the idols of the time, the vocalist Julio Martel, who with Carlos Dante had teamed-up the most successful duo of the 40s, split with the Alfredo De Angelis Orchestra. The violinist Víctor Braña, attracted by the color of Larroca’s baritone-like voice, his good intonation and his diction, plus his good-looking appearance, introduced him to De Angelis who hired him immediately.

Oscar quickly adapted himself to the style of the orchestra. A good blending with Dante takes place and so a harmonious duo with good intonation is born.

They made their debut on Radio El Mundo at the tango program with the greatest audience, Glostora tango club, on April 1, 1951. Continue reading.

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Osvaldo Pugliese and Roberto Chanel. Argentine music at Escuela de Tango de Buenos Aires.Roberto Chanel & Osvaldo Pugliese

The singer himself tells us: «I always got along very well with Pugliese in spite of his political ideas.»
The researcher Nélida Rouchetto described him this way: «With his nasal sound, his canyengue and his common man’s diction he kept alive the popular roots that gave rise to the city music. It was Chanel who identified himself like an orchestra instrument, in the manner of a viola, as can be verified since his first recording». Continue reading.

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