Fabrice Knecht Tango DJ
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.
Compadrito is a Tango written by Carlos Álvarez Pinto, Sergio Sosa and composed by Pedro Leandro Ipuche Riva.
“Compadrito” reflects the socio-cultural landscape of early 20th century urban Argentina, particularly Buenos Aires. The lyrics depict a character commonly known as a “compadrito,” roughly translated to “little godfather” in English. It’s a term used affectionately but also critically to describe a city-dwelling man who adopts an exaggeratedly tough and pompous demeanor, often viewed as a slick, low-level hustler or streetwise guy.
In the lyrics, the speaker chastises the compadrito, pointing out his failures and lack of genuineness in matters of love, essentially acting tough and important (“con tu pinta de bacán”) without substance.
The word “compadrito” itself is saturated with symbolism within Argentine culture, encapsulating a whole social archetype and commenting on the aspirations and disappointments of lower-class urban men. Phrases like “No sabes ni hacer chiqué,” accusing him of lacking even basic skills in feints or tricks, and “Sólo vento vos querés,” suggesting his only desire is for money (wind as metaphor for emptiness or futility), deepen the criticism toward superficiality and pretense.
The 1930s in Argentina were a time of significant social and economic change, marked by the Infamous Decade, which began with a coup d’état in 1930. This period was characterized by political corruption and a dramatic gap between the wealthy and the poor. In these turbulent times, the compadrito embodied both a critique and a satirical embodiment of lower-class males trying to assert their agency in a rapidly modernizing society.
The fierce critique provided by the lyrics of “Compadrito” shows this disillusionment with the faux bravado adopted by those who perhaps felt marginalized or were grappling with their identity in a changing societal framework.
Carlos Álvarez Pinto and Sergio Sosa were Argentine lyricists who contributed significantly to the Tango genre, capturing the essence and spirit of their times through music and poetry.