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The first Tango will always remain unknown, though; it can be said Tango was born around the 1880's. He's the off spring of the Milonga from whom he inherited the rhythm and the leg crossing style. While growing in the Port of Buenos Aires, Tango traveled to France where he grew and expanded himself. Paris surrounded herself to his lamenting music around 1907 by the performances of the Gobbi's, Angel Villoldo, and Francisco Canaro's and his grand orchestra. Tango's overwhelmed acceptance in Paris won him a triumphant welcoming back by the Argentinean aristocracy, which had rejected him due to his sensuality. Roberto Firpo and Vicente Greco were the founding fathers of this Tango who possessed soul and features but lacked maturity. This is the period known as the Guardia Vieja (1880-1917).
Though Paris ensured Tango a place in society, Hollywood revealed and spread him out to the world with Rodolfo Valentino stereotyping its essence. Paris' embrace, Buenos Aires' acceptance, and Hollywood's exposure was an irresistible invitation artists could not resist. Their involvement in the world of Tango contributed to Tango's refinement, for artists learned his unique style but polished it with their own interpretation. Tango expanded himself in all artistic categories allowing voices such as Gardel, Magaldi, Charlo and others, who had already started their Tango development in the Guardia Vieja, to be heralds of his sentiments during the Transition period (1917-25). Composers such Agustin Bardi, Eduardo Arolas, Juan Carlos Cobián, Osvaldo Fresedo initiated the transformation of Tango into a more concrete musical statute were the fundamental elements of rhythm, melody, and harmony achieved a composition style that overcame the rhythmical monochord of the prior ones.
The year of 1925 was not only the starting point of the Guardia Nueva, but also the time when Julio de Caro changed the rhythm of Tango-Milonga of 2x4, a fast and picaresque one, into a 4x8 tempo, a more slow melodic and sensual rhythm. This rhythm inspired dancers such as José Ovidio Bianquet (El Cachafaz), José Giambuzzi (El Tarila), Casimiro Aín (El Vasco Aín), and Tito Luciardo to create steps such as cortes, quebradas, giros y sentadas that enchanted the audience.
Parallel to the Guardia Nueva the Corriente Tradicional flourished with composers and directors such Juan D'Arienzo, Alfredo de Angelis and Hector Varela among others.
The popularity of Tango had overfilled the dancing floors by the 1940's, which limited the displacement throughout the dance floor a challenge. This lack of a space was the reason for the creation of the Milongero style (dancing in a confined space).
After World War II, Tango's popularity suffered a decadency when people focus more into the rock-and-roll and other Latin American music. During the 1950's and 60's, Tango remained in darkness everywhere including Argentina where the folklore had emerged strongly.
While Astor Piazzolla was the ambassador of the modern Tango throughout the world, Osvaldo Pugliese, Anibal Troilo (Pichuco), Horacio Salgan, Mariano Mores and others kept the Tango alive in Argentina, which was undergoing socio-political troubles. Since then, Pugliese's music has inspired dancers (yumba, yumba beat) and transported them to an ecstatic, seventh heaven, level.
Tango re-emerged in 1985, after almost three decades of obscurity, when 'Tango Argentino' was an unending sensation in Broadway. Juan Carlos Copes, Maria Nieves, Gloria and Eduardo, Elsa Maria and Mayoral, Nelida and Nelson, Virulazo, and others electrified the audience with their refined movements and sensual steps. Sexteto mayor, Tango Argentino's orchestra, mesmerized the audience with their exceptional orchestration and passionate solos performances. From this point on, Broadway style shows like 'Tango x 2' (Miguel Angel Zoto and Milena Pleb) 'Forever Tango' and 'Tango Magic' created a need to take Tango to a new different levels like Opera houses and Philharmonic stages. Furthermore, this Tango's passion continued reaching out to the public through different venues. Some of the most well musicians who are highly praise for their talent and ardor commitment to spread Tango are Daniel Binelli, Nestor Marconi, Color Tango, Sexteto Mayor, etc. Once again, the big screen participated in his dissemination through movies like 'Scent of a Woman', 'The Tango Lesson', 'Tango', etc. However, Tango lovers were not longer satisfied as being audience for they became active participants, and so the emergence of Tango clubs or Milonga, as known in Argentina, spread out quickly throughout the five continents. Moreover, the need/desire to dance Tango enable the strong emergence of the professional dancers/instructors like Pablo Veron, Fabián Salas, Gustavo Naveira, and et. al.
I, use the Milongero style, which is the backbone of the crowded Milongas in Argentina, as a structure to complement the social style and for its usefulness in all the ways. One can easily change from one style to the other one, when needed or desire to create/search another step without falling into the repetitive circle of the basic step.
Tango's history continues developing, structuring, and writing itself. Tango was, is, and will be a music that seeks a state of mind and being and a dance that seeks the feeling and the absolute communion between a man and a woman.

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