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Argentine Tango School

Tag: philosophy

Dancing with sticks

We need to educate ourselves with a set of good habits, which in turn will allow us to flow through the dance floor in a comfortable manner. The more of our classes you take, the sooner you will feel comfortable and incorporate what you are learning to be able to dance.
When making your decisions, please keep in mind that learning how to dance is comparable to learning how to live: how much of your life are you willing to give to the goal of living better?
I have seen Pocho Pizarro and others dancing with broomsticks, and hear from older milogueros that it was practiced by them to reaffirm what they learned at practicas.
I highly recommend leaders to train this skill.

“Muñeca brava” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo in vocals, 1942.

Luis Visca. Argentine music at Escuela de Tango de Buenos Aires.Luis Visca

Pianist and composer
(June 19, 1903 – June 22, 1968)

“Muñeca brava” sprang up at the Max Glücksmann contest in 1928, and Gardel recorded it on June 28, 1929.
His early professional appearances as a pianist were in late 1924 at the Cine Colón on Entre Ríos Avenue with a group of friend musicians; among them was Elvino Vardaro. And in 1925, he debuted on Radio Cultura with a group put together for the occasion. Continue reading at todotango.com.

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“Tigre viejo” by Elvino Vardaro y su Sexteto, 1933.

Elvino Vardaro y su Sexteto. Argentine music at Escuela de Tango de Buenos Aires.Elvino Vardaro

Violinist, leader and composer
(18 June 1905 – 5 August 1971)

At frequent talks with tango musicians, you’ll always find the same answer when mentioning the name of Elvino Vardaro: “there was no other violin player like him”, “he is unmistakable”.

Someone said: «Of short flight, but round; full, suggestive.» Continue reading at www.todotango.com…

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“Ataniche” by Juan D’Arienzo y su Orquesta Típica, 1936.

"Ataniche". Argentine music at Escuela de Tango de Buenos Aires.Story of the tango “Ataniche”

About the origin of the tango “Ataniche”, somebody said —and many more repeated it— that Ernesto Ponzio had been inspired by a certain lady that used to go to the Tambito on a carriage whose horse was adorned with small silver bells. It was a pure legend. Pibe Ernesto once told a reporter that he had dedicated it to his girlfriend then, and its title was no other thing but the anagram of «Che, Anita». And probably its title comes from Ponzio —we know he signed it in 1900—but the authorship of the melody presents serious doubts… Continue reading at www.todotango.com…

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