Most non-argentine people have a notion of tango based on seeing it in what medium? Film. The problem is that the almost all of these films (non-Argentine, of course) convey a ballroom style tango, quite honestly almost an entirely different dance with modified music. Examples of movies having scenes of ballroom tango are Last Tango in Paris, Never Say Never Again, Scent of a Woman, True Lies, Shall We Dance, and Take the Lead. At least there is the Hollywood argentine tango representative Robert Duvall who made the Hollywood film "Assasination Tango" with authentic Argentine Tango for a change.

Is Tango proudly considered the Argentine national dance? Tango has always struggled to earn legitimacy, and more so than ever in Argentina. Seemingly the country touts it as the national dance, but by many only begrudgingly in a compromise to profit from the tourism opportunity the dance affords them. What´s more is that the majority of porteños from Buenos Aires look down with airs of condescension on this music form native to the slums of Buenos Aires that has always lurked in the margins of society. Even 20 years ago the term "tango for export" was coined, a sign that tango had already become a product consumed world-wide and no longer an intimate music loved and respected in its own right.

Where was Tango brought from since it´s not an indigenous art form? Even in the historical context tango seems to be a castaway. Since it was never considered legitimate enough to be a topic of study, it has always lived shrouded in mystery. The question remains regarding the major influences on the music--speculated to have derived from German music, polish mazurkas, austrian waltzes, candombes from the blacks in uruguay, amongst others. The waves of immigrants arriving from Europe harbored a breeding ground for such a cross-fertilization.

Where did tango begin? Despite the origins of tango being clear, no one disputes that there are ties with the brothels which in late XIX century was perhaps only natural since Buenos Aires was the world capital for brothels. The fact that 70% of the largely immigrant population were male encouraged this astounding number of brothels per capita. Furthermore, brothels were frequented regularly by even the most illustrious politicians and business men thereby making them less taboo. Perhaps the white slavery trade was so considerable that Buenos Aires was unwilling to enter into any treaties prohibiting such trade.

What role did tango play in the brothels and how did the brothel environment? Whether the tango began in the brothels as a form of entertainment between two men waiting or a kind of pre-session dance foreplay offered by women in the waiting room, what is certain is the early risque lyrics bear testimony to the origens of the tango. Aficionados of the dance might be shocked to know the translations of many of the titles of tango which offer a good challenge in their obscenity to some of the more controversial rap artists of our day. Tango took its inspiration from the high-life of drink, sex, and cavorting. Many of the earliest titles had very sexual lyrics, whether in a vieled way or explicitly. Following are some of the more discreet references. "To be like a pole" "Turn Over" "The continuous movement" "Push because it´s opening" Some are plays on words with erotic messages embedded. "Va Celina en la Punta" Joining the first 2 words "go" and "Celina" we get "Vaseline" followed by on the tip. Supposedly the lyrics refer to a horse, Celina, taking the lead in a horse race, but the double entend is evident.

If tango was "indecent", how did it reach acceptance by mainstream society with catholic influences? Their was a turning point towards the end of the 1910´s where many songwriters began basing forging a tango more serious, reflexive, and "civilized" using themes such as the home land, God, mothers, family, tradition, and leadership. Uriburu, a militator dictator, decreased much of the prostitution activity bringing more conservative values to the fore. The names and lyrics of these tangos mentioned above were changed at the behest of Uriburu and his conservative approach.With that change we see tango become something associated with tuxedos, poets, voyages to Europe, orchestras, and a more sweeping choreography. We see tango blessed both by the pope and the upper class of the US and Paris that embraced the dance. That´s not to say the tango achieved legitimacy or acceptance by the argentina upper class. The tango is still symbolically the backbone of the humble but decent neighborhoods, home of simple people who pride themselves in their modesty and austere lifestyle. They accept their fate without rejection or struggle and have a humored disdain for the customs of the upper class.

What do they refer to as the "New Guard" of tango? Well it´s not so new because it refers to the musicians and singers with beginnings in the 1920´s including Pascual Contursi, Juan Carlos Cobián, Julio De Caro, Osvaldo Fresedo, Ignacio Corsini, Sofía Bozán, Rosa Quiroga, and Agustín Magaldi. This new tendency defines itself from the "Old Guard" in having more flexible interpretations of the melody and harmony, especially by the piano and bandoneon which previously were more relegated to the role of rhythm. The "New Guard" put tango on the path to experiencing it´s Golden Era in the 1940´s. Tango took on a new flavor as it was being performed in the luxurious night clubs. Under this influence the lyrics often romantically contrasted the cabaret nightlife and excesses to the lost paradise that was their childhood neighborhood.