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.
Ladrillo is a Tango written by Juan Andrés Caruso and composed by Juan de Dios Filiberto.
“Ladrillo” tells the poignant tale of a man inaccurately condemned to prison. Known affectionately in his neighborhood as Ladrillo, the protagonist faces punishment for a murder described as an act of self-defense or justified by the lyrics “aunque mató en buena ley” meaning “though he killed rightfully.” His nickname, Ladrillo, which translates to “Brick” in English, might symbolize the solid, reliable nature often associated with this material, reflecting his character in the community. The character’s engagement in a fatal duel to defend his loved one reinforces his portrayed loyalty and adherence to moral codes, despite the tragic outcome.
The metaphor of bricks, connoting sturdiness and reliability, is contrasted sharply with themes of injustice and loss. Key phrases in the lyrics such as “trabajador como un buey” (worked like an ox) underscore Ladrillo’s hard-working character. The emotional impact is deepened by the recurring motif of “una viejita” (a little old lady), presumably his mother, who regularly visits him. This imbues the narrative with a poignant reminder of the personal connections and everyday humanity behind prison walls. The societal gap—the children missing their “amigo querido” (beloved friend) and the cessation of his “dulces serenatas” (sweet serenades)—illustrate the gap left by his absence, marking a cultural portrayal of communal interdependence and shared loss.
Created in 1963 Argentina, a period marked by political volatility and social unrest, “Ladrillo” may reflect larger themes of injustice and societal impartiality prevalent in Juan Andrés Caruso’s times. Tango often served as a voice for the voiceless, detailing the struggles of the lower classes and marginalized individuals. Within this context, Ladrillo’s story encapsulates not just a personal tragedy but a broader societal critique. Moreover, the Tango’s choice of settings, such as “los jueves y domingos” (Thursdays and Sundays), typical visiting days in many prisons, anchors the song in everyday realities, adding layers of realism and relatability.
Juan Andrés Caruso was a renowned lyricist in the early 20th century Argentine tango scene, known for his poignant and evocative storytelling.