"Equipaje" by Anibal Troilo y su Orquesta Típica with Floreal Ruiz in vocals, 1945.
Héctor Artola
Pianist, bandoneonist, leader, composer, and arranger (April 30, 1903 - July 18, 1982)
He had a prodigious career.
He is the most outstanding figure in the history of Tango in Uruguay.
We cannot omit to mention some of the successful tangos that Artola contributed to our popular music. “Desconsuelo”, “Marcas”, “Tango y copas” and “Equipaje”.
Read more about Héctor María Artola at www.todotango.com
We have lots more music and history
https://escuelatangoba.com/marcelosolis/equipaje-by-anibal-troilo-y-su-orquesta-tipica-with-floreal-ruiz-in-vocals-1945-argentine-tango-music/
Between 1860 and 1915, Buenos Aires experienced exponential growth.
The following year, in 1898, 
Enrique Santos Discépolo's father, José Luis Roncallo (who was presumably the one that first suggested tango music for them), and Ángel Villoldo (who probably wrote 
Ángel Villoldo (1861-1919) is considered by many "El padre del Tango" (The father of Tango) and unanimously considered the most representative artist of the Guardia Vieja. Little is known about his childhood, and the information about his youth is often contradictory. From an interview made with him by the newspaper "La Razón" in 1917, we know that he was "cuarteador" of "La Calle Larga" (The Long Street, today's Montes de Oca) at the time that his interest in music appears, and that he sung and played guitar and harmonica.
His rise to fame came in 1903 when the singer Dorita Miramar sang 
On Christmas day in 1905, Villoldo wakes up at 7 am by Enrique Saborido, who was up all night writing a song and needed a lyric. He knew that Villoldo was fast, that he could improvise verses as a payador. The night before, on Christmas Eve, Saborido was mocked by his friends for paying too much attention to the Uruguayan singer Lola Candles. So they challenged him to write a song for her. He took the challenge and promised to have the song ready to be sung by Lola the next day. At 10 am, they presented to Lola 
In 1907 he was sent by the department store Gath y Chaves, the most successful in Buenos Aires then, to make some of the first tangos and Argentine music recordings to Paris with 
On November 8, 1887, Emile Berliner, a German immigrant working in Washington, D.C., patented a successful sound recording system. Berliner was the first inventor to stop recording on cylinders and start recording on flat disks. The first records were made of glass, zinc, and plastic. A spiral groove with the sound information was etched into the flat record. Next, the record was rotated on the gramophone. The "arm" of the gramophone held a needle that read the grooves in the record by vibration and transmitting the information to the gramophone speaker. Berliner's disks (records) were the first sound recordings that could be mass-produced by creating master recordings from which molds were made.
The first Argentinean Presidents promoted the immigration of the European workforce, defeated the indigenous people who had still claimed part of the Argentine territory, favored an economic model of production and export of agricultural goods following British-led ideas of the international division of work, and invested in the technology and infrastructure that made possible such model. A modern port was constructed in Puerto Madero, and a railroad network transported the whole production of the entire country to this port. Buenos Aires greatly benefitted from these changes and grew exponentially. Between 1871 and 1915, Argentina received 5 million immigrants, mostly Europeans. Almost all of them stayed in Buenos Aires.
All these new arrivals to Buenos Aires had few resources and were very poor. They could only afford housing in the poorest neighborhoods, where the Afro-Argentineans, descendants of the African slaves, had been populating since 1813's abolition of slavery. They were the locals. If any newcomer wanted to know something about Buenos Aires, they had to ask the Afro-Argentineans, who, before this massive immigration, constituted one-third of the population.
Between 1820 and 1850, before the Argentine Constitution was written and immigration was promoted, Argentina was under the administration of Juan Manuel de Rosas. During this time, the Afro-Argentineans enjoyed a period of greater participation and freedom of expression. Rosas was a landowner in the province of Buenos Aires with a perfect resume. When he was only thirteen, he fought heroically against the English invasions. Later on, he proved to be a very efficient administrator of cattle ranches and a successful businessman. Rosas created, financed, and trained his militia of gauchos, which would go on to be integrated into the state as an official regiment. They soon earned a reputation for being highly disciplined, and Rosas was able to establish order at the border with the indigenous populations. In 1819, Rosas put this militia at the province's governor's service to quell an uprising against him. This is how Rosas became known as “El Restaurador de las Leyes” (”The Restorer of Law’).
He became the Governor of the province of Buenos Aires and, between 1835 and 1852, was the prominent leader of the Argentinean Confederation. This period of Argentina's history is called the “Era of Rosas.” He obtained the necessary support for his administration from the poorer sectors of the population of the City of Buenos Aires (integrated for a majority of Afro-Argentineans), and the gauchos of the countryside close to the City (many of whom were also Afro-Argentinean.) During his tenure, Rosas attended the “candombes” (celebrations) of the Afro-Argentineans as an honored guest. Also, during this period, the carnivals began in Buenos Aires.
In the origins of social dances, we observe no physical contact between partners; then they take each other hands, developing the “minuet” during the 1600s, which led to dancing in each other's arms, with the “waltz” in the 1700s. The direction of the evolution of social partner dancing becomes evident: a closing of the distance between the partners that culminates in the embrace of Tango.
This technique soon became the characteristic dance of the poorest inhabitants of Buenos Aires, Montevideo, Rosario, and the villages located south of Buenos Aires in an area known as “Barracas al sur”, Avellaneda, and Sarandí.
The Andalusian-style houses of the Southern side of Buenos Aires, San Telmo, and La Boca were soon creatively transformed into rooms to rent.
In 1871, Buenos Aires suffered a yellow fever epidemic that killed 8% of its population, most living in these houses. The situation was so dire (with more than 13,000 people dying in 4 months) that it was necessary to open a new cemetery in the area of La Chacarita.
The first Andalusian tango to reach mass popularity was composed in Argentina in 1874. The title is 
