In his shows at dance rooms, before starting with the lyrics of "Así se baila el tango", Castillo recited these lines:

"An elegant corrida,
after a vuelta a sentada
and an ocho good friend.
Thus full of emotion
I was brilliant in a thousand poor milongas,
because there they dance the soul of tango,
the soul and the heart."
(My translation)

And then:
"What do the sissies know, crybabies and rich snobs!
What do they know of the tango, what do they know of the beat!
Here it is the elegance. What a look! What a silhouette!
What bearing! What arrogance! What style of dance!"
(My translation)

These lines were written by Elizardo Martínez Vilas (Marvil), and were sung and performed by Alberto Castillo wittily, adding to them mimicry to emphasize the intention suggested by the lyrics.

Castillo, by doing this, expresses his own physical and sentimental nearness to those to whom it is directed, that is to say, the tango dancers, on the one hand, while mocking those usually called "petiteros" on the other. ("figurines" - boys that frequented the Petit Café of Santa Fe and Callao).

We can surely say that this tango piece was not only the one that launched Alberto Castillo to fame, but also the one which praised and made the dancers of that time become boastful.

The virility extolled in its lines encouraged the young to throw themselves into tango, influencing them to dance according to what is said in the lyrics and so to reaffirm their male condition. For a long time a whole generation of milongueros boasted of having witnessed, at this or that club, the rows that sprang up every time that Castillo began "Así se baila el tango". True or false, most them affirmed they had witnessed them and the most audacious boasted to having taken active part at such skirmishes.

Many years later in an interview for the radio, with an evident nostalgia, Castillo commented on those events using a way of saying half easygoing, half bantering, as he always used to do.

At one point during the interview Antonio Carrizo told him:

"But you gave a special emphasis to the words 'qué saben los pitucos' (what do the hell the fashionable guys know?). It seemed something done on purpose, just like throwing a rocket into a dish of spaghetti".

"No, no", Castillo answered and cunningly added: "You know, it didn't mean an offence, because it is not dedicated to anyone, not even a hint to anyone. This was something that I was defending, like saying: how can they know?".

"But if I was dancing to a 'boogie-woogie' or a 'little conga' with a flirt; wearing a nice suit, a pretty tie, well combed" -continued Carrizo- and added: "It seems to me that you were after some quarrel!"

"No, really, I tell you, never, never", answered Castillo.

"And what did Tanturi and his musicians, all them professionals, say? Why on earth did we bring this guy who's gonna make us all have a good beating?"

"Well, finally it was such a hit that he was happy. He was glad because of the effect it produced, you see?. Then the tangueros easily swayed, enjoying everything and... as I was telling you, those who considered themselves alluded, well..."

"And on what side were the girls?", asked Antonio Carrizo.

"The girls were with me, things were that way".

During the interview, the inflection of his voice and the intentioned pauses, allow us to ponder in Alberto Castillo, sincerity and mischievousness -gifts that he always evidenced in his performances- the same ones that allowed him later to develop a special interpretative feature.