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.
El tango no tiene contra is a Tango written by Andrés Chinarro and composed by Carlos Demaría.
“El tango no tiene contra” glorifies the tango as not just a dance, but as an integral part of Buenos Aires culture, embodying its spirit and resilience. The lyrics depict tango as a living, breathing entity that interacts with various characters and scenarios in Buenos Aires. It’s portrayed as learning “to live among the brave” and standing firm in adversity.
The lyrics are rich in symbolism, particularly using the imagery of tango as a card “that has no counterpart,” symbolizing its unmatched nature. Additionally, the tango is personified throughout the song – it grieves, it learns, and it conquers emotional trials. This personification elevates the dance to a cultural emblem that embodies the joys, sorrows, and essence of the Argentine people.
Key phrases such as “El tango es un naipe que no tiene contra” and “final de Palermo, a taco y a lonja,” directly translate to “Tango is a card that has no match” and highlight popular areas in Buenos Aires, indicating the omnipresence and significance of tango in everyday situations and places significant to local heritage.
Recorded in 1958, a period when tango was seeing a revival, “El tango no tiene contra” reflects a nostalgic yet vibrant Buenos Aires. The year 1958 marks an era characterized by political shifts and a return to democracy in Argentina, reinforcing the notion of tango as a timeless, steadfast symbol amidst changes. The lyrics’ reference to specific locales like Palermo and urban icons such as Pompeya and the famous Lecherito underscore tango’s deep connection with the city’s history and geography.
Andrés Chinarro was an Argentine lyricist known for capturing the spirit of Buenos Aires through his tango compositions.