The woman bent immediately to the dance in the pieces cuarteleras, the brothels, the piringundines and the academies. But not serious until around 1904 when the ladies of the popular neighborhoods dared to dance it.
Among the first ones, in spite of enjoying great fame in the Buenos Aires suburb, the oral tradition and some lost chronicle they have hardly left names or nicknames: Brown Refucilo, Pepa the Snub one, Lola Petiza, the Tripe, María the Basque, China Venicia, María Tero, Carmen Gómez, Brown Flora and blond famous Mireya that it acted in local of Buenos Aires many neighborhoods. Mireya, also well-known as the Oriental because he/she was born in Uruguay, it inspired two tangos: "Tiempos Viejos", of Manuel Romero and Francisco Canaro, and "La Rubia Mireya", of Augusto Gentile.
But the tango like dance was not limited to the scums or its near atmospheres. He will expand to the proletarian and serious neighborhoods the happiness of weddings, birthday and parties of all type.
In this respect Benarós he makes a guessed right comment that is the reflection of times in those that the dance traffics from the first floor toward the popular acceptance. "The shame of the women, the decires presumably released; the tango like street show; the flattery of the compadrito, when being observed and eulogized. The tango still has flaw of infamy, presumption of brothel dance, for scandal of the families. To dance it is, somehow, to be contaminated of that origin.
Then the bathroom lustral will come, the tidied up choreography will happen, it will be accepted in the best families. And somehow, he/she will stop to be, a little, the Tango prepotente, challenging and make happy of the origins, to be tinted of certain ablandadora sentimentalidad, escaping more and more of the dancer's feet to lodge almost definitively in the hearings..."