In New York Tango dancing was taught by Argentines like Roberto Medrano and Carlos Cruz, and by locals like Don Leno and Fred Lequorne. Medrano was himself a performer and had been to the Vaudeville circuit in 1921 with the revue “In Argentina". Leno, in business since at least 1910, claimed to have taught Valentino to dance Tango. Cruz worked with Lequorne, and in 1925 commissioned Juan Carlos Cobian to record two tracks that showed “the correct tempo of Argentine tango” to aid in his classes.
Huge forces were transforming the entertainment industry. Since the early 1900s theaters were splitting time between live performances and movies, and the tradition of the wandering Vaudevillians was already starting to wane.
From July 21 through July 26, 1924, Anton Scibilia premiered his new revue, Land of Joy, at the Orpheum in Allentown, PA. The revue consisted mostly of Spanish song and dance numbers, which were accented by Bill Adams, a comedian that joked about his difficulties trying to communicate with the many beautiful “señoritas”.
Scibilia’s revue was not really new. From Land of Tango Scibilia brought Matilde Carpos and Heriberta Martínez. From Dreamy Spain he drew Fidel Irazábal and Mlle Emilia Delirio, who danced the Apache and the Tango, and Señorita Albertini, a Spanish soprano. Even the plot and the comedian were inherited from Land of Tango.
Manuel was instrumental in connecting Enrico Caruso Jr., the son of the legendary tenor, with ex-President Adolfo de la Huerta, who was also a tenor and taught Enrico Jr. to sing. Manuel then co-wrote the movie El cantante de Nápoles for Caruso Jr. Manuel went on to direct his own movies in Mexico, and worked with Luis Buñuel.
3. Rafael Mandressi wrote "Dancing with 'le sexe'. Eroticism and exoticism in the Parisian reception of tango (1907-1914)" about the early days of Tango in Paris.