shows that this way of dancing was practised by “compadritos” at academies. These were just cafés, where women waited on men and music was played, generally on an organ pipe. It was a place where men could drink and dance with the waitress between drink and drink. These academies were also called cafés, waitress’s cafés and, later on, “peringundines”. All of them were places were prostitution was encouraged. if they were not real brothels.

  salons were not only concurred to by low-class people, but also by “aristocrats” who were more skilful and elegant when dancing tango. Some well-known names of people who worked in Government, even congressmen and military officers, are still remembered to be usual goers to these academies, and show the same pride shown by any good dancer. They didn’t care about the critics they could get, and they didn’t hesitate to begin a fight with anyone.

on, “peringundines” were the places for dancing tango in places far away from downtown. They were very popular, especially the one with the corridors of the old Lorea square, where Carmen Gómez was very famous for being a skilful “milonga” dancer.

 

time later, private parties were organised. In them, a pianist was hired to play tango. The most famous houses were “The house of Laura”, “The house of María the Basque”, “The Foreigner Adela”, “Adelina” and many others, that were rented to rich people to have their parties there, including wine, tango and women. When a composer dedicated his new song to some guest, this had to give the artist some money, as a retribution. At humble neighbourhood, the party was held at the backyard. The people who went to the party had to pay a ticket, and that money was used to pay the musicians and other things. By the end of the 10s, tango fever moved to cabarets. “The Abdullah”, “The Royal Pigall”, “Montmartre”, “Tabaris” and “Chantecler” were the most popular.