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.
Igual que Judas is a Tango written by José Rótulo and composed by Carlos Eugenio Auzón.
The lyrics of “Igual que Judas” portray a narrative of betrayal and heartache, set against the backdrop of Argentine bars and streets where the persona seeks refuge in alcohol to forget the pains delivered by a lover’s deceit. He grapples with the profound betrayal akin to that of Judas, which magnifies the torment experienced by his passionate and loving heart. As the poignant story unfolds, elements of anger and bitterness reveal the depth of his unyielded pain, struggling between forgiveness and resentment.
Through the title “Igual que Judas,” José Rótulo invokes a powerful biblical analogy to Judas Iscariot, symbolizing the ultimate betrayal. This sets the stage for a dramatic exposition of personal betrayal where the lover’s kiss, something inherently intimate and trustful, turns into a symbol of deceit. Phrases such as “mi mano como aprieta los rencores” (my hand tightly grips resentments) and “enloquecida de cariño” (crazed with affection) explore the tumultuous interplay of love and hatred, accentuating the agonizing confusion of feelings stemming from betrayal.
Recorded in 1958 in Argentina, a time and place rich with the cultural tapestry of tango, “Igual que Judas” mirrors the traditional tango themes of deep emotion, tragedy, and passion. The historical context suggests a society grappling with its own complexities and perhaps the personal or societal betrayals felt during times of political turbulence in Argentina. Thus, the lyrics could also be perceived as a reflection of the broader societal betrayals that were experienced by individuals during this period.
José Rótulo was recognized for his impactful contributions to the genre of Tango, capturing complex emotions through his evocative lyricism.