Fabrice Knecht Tango DJ

Boedo

Boedo is a Tango written by Julio De Caro and recorded by Julio De Caro in 1928. Julio De Caro has recorded Boedo as an instrumental Tango.
“Boedo,” meaning “Wayfarer” in English, is more than just a name; it captures the spirit of wanderers and dreamers. This piece of music echoes through the streets of a bustling barrio, weaving stories of journeys both taken and imagined. With every note, it paints a vivid tapestry of life’s winding paths and the restless souls that tread upon them.

Tango

Style

Julio De Caro

Orchestra

Instrumental

Singer

Dante A. Linyera

Author

Julio De Caro

Composer

1928/11/16

Date

Instrumental
Instrumental
Julio De Caro
Julio De Caro

Discover Other Orchestras

Enrique Rodríguez – Clavelito en flor – 1937/11/18
Enrique Rodríguez – Contando las estrellas – 1942/7/30
Enrique Rodríguez – Pa’ qué te voy a contar – 1947/7/11
Enrique Rodríguez – Mimosa – 1967/10/4
Enrique Rodríguez – Soledad la de Barracas – 1945/5/30
Rodolfo Biagi – El Incendio – 1938/8/19
Rodolfo Biagi – Amor y vals – 1942/5/22
Rodolfo Biagi – La marca de fuego – 1940/12/17
Rodolfo Biagi – Lejos de ti – 1938/12/2
Rodolfo Biagi – Campo afuera – 1939/4/27
Ricardo Tanturi – Que Dios me castigue (Que me castigue Dios) – 1957/9/30
Ricardo Tanturi – Recuerdo (2) – 1941/1/8
Ricardo Tanturi – Este es tu tango – 1945/12/5
Ricardo Tanturi – Muchachos comienza la ronda – 1943/8/6
Ricardo Tanturi – Calla bandoneón – 1944/5/18
Osvaldo Fresedo – No seas tonta – 1926/12/21
Osvaldo Fresedo – Enamorado estoy – 1961/5/26
Osvaldo Fresedo – Cafetín de Buenos Aires – 1948/7/20
Osvaldo Fresedo – Cota – 1928/5/22
Osvaldo Fresedo – Sobre el pucho (Un callejón en Pompeya) – 1968/1/1

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

Boedo recorded by other Orchestras

Boedo recorded by other Orchestras

1928/11/12 – Chlo-e (Cancion del pantano) – Orquesta Tipica Victor
1928/11/12 – Hembra – Orquesta Tipica Victor
1928/11/21 – No miento – Orquesta Tipica Victor
1928/11/21 – Vecinita gentil – Orquesta Tipica Victor
1928/11/8 – Don Victorio – Roberto Firpo
Boedo – 1948/7/14 – Osvaldo Pugliese – Instrumental
Boedo – 1957/1/1 – Astor Piazzolla – Instrumental
Boedo – 1947/9/24 – Francini-Pontier – Instrumental
Boedo – 1963/1/1 – Horacio Salgan – Instrumental
Boedo – 1952/6/23 – Horacio Salgan – Instrumental
Boedo – 1928/11/16 – Julio De Caro – Instrumental
Boedo – 1939/7/7 – Julio De Caro – Hector Farrel
Boedo – 1950/10/9 – Julio De Caro – Instrumental
Boedo – 1952/9/17 – Julio De Caro – Instrumental

Letra del Tango Boedo

Sos barrio del gotán y la pebeta,
el corazón del arrabal porteño,
cuna del malandrín y del poeta,
rincón cordial,
la capital
del arrabal.

Yo me hice allí de corazón malevo
porque enterré mi juventud inquieta
junto al umbral en el que la pebeta
ya no me espera
pa’ chamuyar.

Boedo, vos sos como yo:
malevo como es el gotán,
abierto como un corazón
que ya se cansó de penar.
Lo mismo que vos soy así:
por fuera cordial y cantor,
a todos les bato que sí
y a mi corazón le bato que no.

Sos como yo de milongón… Un cacho
del arrabal, en su emoción del lengue,
ande el gotán, provocador y macho
hoy es el Dios
Nuestro Señor
del Berretín.

¿Qué quiere hacer esa fifí Florida?
¡Si vos ponés tu corazón canyengue,
como una flor en el ojal prendida,
en los balcones
de cada bulín!

English lyrics of the Tango "Boedo"

You are the neighborhood of tango and the young girl,
the heart of the Buenos Aires slum,
birthplace of the rascal and the poet,
a friendly corner,
the capital
of the slum.

There, I became truly streetwise,
because I buried my restless youth
by the doorstep where the girl
no longer waits for me
to chat.

Boedo, you are like me:
streetwise like tango,
open like a heart
that’s tired of suffering.
Just like you, I am:
on the outside friendly and singing,
to everyone I say yes,
to my heart, I say no.

You are like me in the dance halls… a piece
of the slum, in its emotions and slang,
where the tango, provocative and tough,
now is the God
Our Lord
of Obsession.

What does that posh lady from Florida want?
If you put your rhythmic heart,
like a flower pinned in a lapel,
on the balconies
of each little apartment!

Boedo by Dante A. Linyera

Boedo is a Tango written by Dante A. Linyera and composed by Julio De Caro.



Story behind the Tango Boedo

Boedo portrays a vivid slice of life from Buenos Aires’ barrios (neighborhoods), particularly the Boedo neighborhood. The lyrics reflect the persona’s deep connection with Boedo, depicting it as a birthplace of both thugs and poets, a place vibrant with life and steeped in the culture of the tango (“gotán”). The narrative voice expresses a nostalgic affection for a lost love, symbolized by “the doorstep where the girl, ‘pebeta’, no longer waits” to engage in ‘chamuyar’ (casual chat). This speaks to universal themes of lost youth, love, and the irrevocable passing of time.



Symbolism of Boedo

The song imbues Boedo with human qualities, describing the neighborhood as open-hearted and weary of suffering. The use of “gotán” (slang for tango) and “pebeta” (a young woman) are significant symbols that evoke the quintessential cultural essence of Buenos Aires during the 1920s. Phrases like “abierto como un corazón” and “ya se cansó de penar” (open like a heart / that got tired of suffering) employ emotional symbolism to depict the resilience and openness of the people living through hardships. The lyrics also juxtapose various emotions, showing a shell of friendliness and song that masks internal denial and sadness.



Boedo in historic Context

In the landmark year of 1928, when Boedo was recorded, Buenos Aires was undergoing significant changes, both culturally and socially. The Boedo neighborhood itself, often associated with the working class and a burgeoning intellectual scene, reflected the tensions and aspirations of its inhabitants. By personalizing the neighborhood, the song captures the complexities of urban life amid evolving societal norms. This context adds a layer of understanding to why Boedo is presented both as a cultural hub and as a place of personal significance, resonating as a character itself within the Tango’s narrative.



Dante A. Linyera

Dante A. Linyera was a celebrated Argentine lyricist known for his evocative texts in the genre of Tango.