Fabrice Knecht Tango DJ
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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.
Colibriyo (2) is a Tango written by Eduardo Trongé, Alberto Pidemunt and composed by Osvaldo Fresedo.
The lyrics of “Colibriyo (2)” narrate the story of a figure who seems to have fallen from grace. Once part of everyday society (perhaps at a job at ‘Correo’ – which translates to ‘Post Office’), he’s now shunned and deemed a ‘reo’ (criminal). The playful tone mixed with the structured rhythm typical of a tango song paints a picture of an individual’s transformation from a normal worker to a societal outcast. Frequent references to avoiding work and resorting to grifting or lower standards of living (“al prójimo mangar,” “sin medio en el bolsillo”) showcase a significant and perhaps involuntary shift in the protagonist’s life. He seems to be drifting through life, engaging in petty crimes with others like him, and settling in impoverished areas (mention of ‘Palermo’ and ‘Puerto Nuevo,’ parts of Buenos Aires).
The term “colibriyo” itself is a highlight, as “colibriyo” does not have a direct translation but in the context could symbolize frivolity or instability, comparing the protagonist to a hummingbird flitting from place to place. Further enriching the emotional landscape, phrases like “sin zapatos” (without shoes) signify extreme poverty, and “morfando y sin cuchillo” (eating without a knife), underline a lack of basic necessities, pointing towards a grim life of hardship. The transition from “conventillo” (diminutive for a communal living place) to “fábrica de sebo” (tallow factory) enhances the bleakness of his life shift, worsening rather than improving.
Recorded in 1933, during a period of political and economic upheaval in Argentina, “Colibriyo (2)” reflects on the societal undercurrents of its time. The era was marked by the aftermath of the Great Depression and a buildup to the Infamous Decade characterized by fraudulence and conservative restoration. The tango’s lyrics hint at the marginalized factions within Buenos Aires, particularly reflecting on how the average and lower-class individuals may have felt disenfranchised both economically and socially. Places like Palermo and Puerto Nuevo are significant; these locations were authentic representatives of the extremes of wealth and poverty co-existing in the city. The text provides a voice to the ‘invisible’ segments of society during such troubled times.
Eduardo Trongé and Alberto Pidemunt were influential figures in the Argentine tango scene, known notably for their ability to capture the essence of Buenos Aires’ societal pivots through their poignant lyrics.