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Boedo

Boedo is a Tango written by Julio De Caro and recorded by Julio De Caro in 1952. Julio De Caro has recorded Boedo as an instrumental Tango.
“Boedo,” which translates to “Boedo” in English, is not just a name but a melody woven with the spirit of an Argentine barrio. It captures the essence of cobblestone streets where stories of romance and nostalgia echo through the night. In each note, the soul of Boedo dances, recalling a time and place where every corner whispers the poetry of life.

Tango

Style

Julio De Caro

Orchestra

Instrumental

Singer

Dante A. Linyera

Author

Julio De Caro

Composer

1952/9/17

Date

Instrumental
Instrumental
Julio De Caro
Julio De Caro

Discover Other Orchestras

Pedro Laurenz – Mas solo que nunca – 1944/4/26
Pedro Laurenz – Patria mia – 1943/7/15
Pedro Laurenz – Mala junta – 1947/1/16
Pedro Laurenz – Nunca es tarde (Todavía estás a tiempo) – 1953/9/22
Pedro Laurenz – Sonsa – 1925/7/3
Cuarteto Típico Roberto Firpo – Ojos negros – 1942/8/5
Cuarteto Típico Roberto Firpo – Un lamento – 1942/1/2
Cuarteto Típico Roberto Firpo – El porteñito – 1951/11/7
Cuarteto Típico Roberto Firpo – El apronte – 1937/3/27
Cuarteto Típico Roberto Firpo – Matasano – 1937/7/4
José Garcia – Calla bandoneon – 1944/4/7
José Garcia – El once (A divertirse) – 1943/1/13
José Garcia – Para negros solamente – 1943/2/20
José Garcia – No creas – 1943/6/22
José Garcia – El distinguido ciudadano – 1942/4/17
Lucio Demare – La racha – 1938/6/13
Lucio Demare – Mañana zarpa un barco – 1942/7/20
Lucio Demare – Me quedé mirándola – 1945/3/21
Lucio Demare – Palomita mia – 1943/9/3
Lucio Demare – Milonguero viejo – 1956/1/1

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

1952/9/17 – El entrerriano – Francini-Pontier
1952/9/17 – Oyeme mama – Francini-Pontier
1952/9/17 – Churro – Julio De Caro
1952/9/18 – La casita de mis viejos – Osvaldo Fresedo
1952/9/18 – Sollozos – Osvaldo Fresedo
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’re the neighborhood of tango and the lass,
the heart of the suburban port district,
the birthplace of both thug and poet,
a friendly corner,
the capital
of the suburb.

There, I turned into a rogue at heart
because I buried my restless youth
by the threshold where the lass
no longer waits
to chat.

Boedo, you are like me:
rogue as is the tango,
open like a heart
that has tired of suffering.
Just like you, that’s how I am:
on the outside, friendly and a singer,
to everyone I say yes
but to my heart, I say no.

You’re like me, from the dance hall… A piece
of the suburb, in its linguistic thrill,
where the tango, provocative and manly
today is the God
Our Lord
of Obsession.

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

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” lyrically immortalizes a neighborhood of Buenos Aires, painting a vivid picture of its streets, spirit, and inhabitants. The lyrics narrate the transformation of the narrator within this setting, moving from youthful restlessness to a more nuanced, perhaps hardened disposition. The song’s persona intertwines their identity with Boedo’s, suggesting a deep, intrinsic connection to the place. This neighborhood, characterized by both its tough (“malevo”) and open-hearted (“abierto como un corazón”) nature, becomes a reflection of the narrator’s own evolution.



Symbolism of Boedo

Boedo, as described in the tango, encompasses profound symbolism representing both the physical and emotional landscapes of its community. The repeated references to “gotán” (tango rearranged) and “pebeta” (young girl), signify the traditional dance and youthful energy that define the area. The phrase “malevo como es el gotán” hints at the inherent roughness and resilience within both the dance and the people. The juxtaposition of outward cordiality with a concealed, weary heart reveals a collective weariness beneath the neighborhood’s lively exterior. This encapsulates a community’s public pride and private struggles.



Boedo in historic Context

The year 1952 places “Boedo” within a significant historical and economic context in Argentina. Post-World War II era was marked by political upheaval and economic shifts, which influenced the cultural expressions of the time. Boedo, historically a hub for artists and intellectuals, reflects these changes through its transformative narrative in the song. The lyrics, while celebrating the neighborhood’s vibrant culture, also subtly hint at the socio-economic challenges faced by its residents, mirrored in the tango’s evocative and melancholic tone.



Dante A. Linyera

Dante A. Linyera, an influential figure in the tango world, was known for his poignant lyrics that often captured the essence of Buenos Aires’ urban landscape and its people.