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.
Mamita is a Tango written by and composed by.
The tango “Mamita” portrays a poignant narrative set in a desolate neighborhood, where the serenity of the silent environment is disturbed by the deep sadness echoing from a crumbling tenement. The lyrics unfold a tragic tale of a beautiful young woman, the prettiest blonde seen in the neighborhood, suffering from illness and heartbreak. Her lover, who once promised love, has vanished, leaving her in a state of despair. As her mother sews in agony by her side, comforting her, the young woman’s life slowly fades away, culminating in her death just as her deceitful lover marries another. The pain and betrayal are palpable in each line, depicting the harsh realities of love and loss.
The song’s title “Mamita,” meaning “little mother” in English, is a term of endearment that resonates with the emotional reliance the daughter places on her mother during moments of distress. The recurring cry “Mamita” in the chorus highlights the desperation and the diminishing hope of the bedridden woman, signifying both a call for her mother and a lament for her unreturned love. The tejar ruinoso, or “ruinous roof” symbolizes the fragile state of their lives, susceptible to damage just like the slow drip of the relentless rain, exacerbating the physical and emotional decay within.
Recorded in 1959, a period when Argentina was marked by political and social upheaval, “Mamita” mirrors the broader societal anguish through the personal suffering of its characters. This timeframe in Argentina was one of instability and transitioning governments, reflecting themes of betrayal and unmet promises—mirrored in the lover’s deceit and abandonment in the song. The reflection on personal turmoil against a backdrop of a quiet, desolate neighborhood potentially critiques the disconnect between public facades and private suffering.
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