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.
En lo de Laura is a Tango written by Enrique Cadícamo and composed by Antonio Polito.
“En lo de Laura” is a poignant reflection on the fleeting nature of youth, nostalgia, and the passage of time, showcased through the lens of a milonga—a type of music and dance that is a precursor to tango. Enrique Cadícamo uses the milonga as a metaphor to evoke a past era, specifically through memories of dancing at Laura’s place, a venue symbolizing joy and camaraderie. The reference to dancing with “la parda Flora” adds a personal touch, hinting at intimate moments cherished by the narrator. This tango captures the essence of reminiscing about the good old days, filled with friends, dance, and music, now long gone and irrevocably changed.
The milonga and its location, “En lo de Laura,” symbolize a bygone era, evoking deep nostalgia and a sense of loss. Specifically, “milonga” represents more than a dance; it is a cultural artifact, connecting individuals to their heritage and shared memories. References to specific items like “saco negro, trensillao, y bien afrancesao el pantalón a cuadritos” (black coat, braided, and French-style checkered pants) symbolize the fashion and style of a past time, emphasizing the cultural sophistication and personal identity of the era. The use of phrases like “¡Eso ya no vuelve más!” (That will never return!) further underlines the irreversible passage of time and the melancholic acceptance of this fact.
The historical context of this tango, recorded in 1943 Argentina, is crucial. This period in Argentina was marked by significant political and social changes, with the rise of Juan Domingo Perón and the increasing influence of nationalism and populism. Nostalgia for a simpler past, as depicted in the milonga, might reflect societal longing for stability and continuity amid change. The locations and names, such as “los Balmaceda” and “Pepita Avellaneda,” provide specific connections to Buenos Aires neighborhoods and personas, anchoring the song in identifiable realities and imbuing it with a sense of authenticity and relatability.
Enrique Cadícamo was a prolific Argentine lyricist and poet, renowned for his extensive contributions to the tango genre.
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