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Margot

Margot is a Tango written by Carlos Gardel and recorded by Rodolfo Biagi in 1947. The Tango Margot is written by Carlos Gardel, Rodolfo Biagi has recorded Margot with the singer Carlos Saavedra.
“Margot,” or “Daisy” in English, unfolds like a delicate flower in the world of tango. This name, evoking both beauty and resilience, dances through memories, reflecting the bittersweet essence of love and longing. Like the petals of a daisy swaying in the breeze, the melody carries whispers of stories untold, resonating in the depths of the listener’s heart.

Tango

Style

Rodolfo Biagi

Orchestra

Carlos Saavedra

Singer

Celedonio Flores

Author

Carlos Gardel

Composer

1947/9/23

Date

Carlos Saavedra
Carlos Saavedra
Rodolfo Biagi
Rodolfo Biagi

Discover Other Orchestras

Aníbal Troilo – Tres y dos (3 y 2) – 1946/5/14
Aníbal Troilo – Naipe – 1944/6/27
Aníbal Troilo – Pablo – (unknown date)
Aníbal Troilo – C.T.V. – 1942/1/8
Aníbal Troilo – Uno – (unknown date)
José Garcia – Retirao (El retirao) – 1942/3/17
José Garcia – Aguantalo si podés (De corte antiguo) – 1944/4/7
José Garcia – El once (A divertirse) – 1943/1/13
José Garcia – No creas – 1943/6/22
José Garcia – Motivo sentimental – 1944/10/2
Adolfo Carabelli – Por dónde andará – 1932/5/24
Adolfo Carabelli – Romance – 1933/1/1
Adolfo Carabelli – Pa’ que lagrimear – 1933/9/12
Adolfo Carabelli – Clyde – 1932/3/21
Adolfo Carabelli – Yo me quiero divorciar – 1933/3/15
Francisco Canaro – Sobre el pucho (Un callejón en Pompeya) – 1924/1/1
Francisco Canaro – China – 1924/1/1
Francisco Canaro – Il piccolo navio – 1924/1/1
Francisco Canaro – Ki-Ki – 1924/1/1
Francisco Canaro – Ahí va el dulce – 1924/1/1

Recommended

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.

1947/9/23 – Y dicen que no te quiero – Rodolfo Biagi
1947/9/24 – Boedo – Francini-Pontier
1947/9/24 – Nunca tuvo novio – Francini-Pontier
1947/9/26 – Dinero dinero – Carlos di Sarli
1947/9/26 – De vuelta – Carlos di Sarli

Lyrics Translation of the Tango Margot

This is the translation of the Tango “Margot” from Spanish to English. The English lyrics of the Tango “Margot” have been done with AI.

Letra del Tango Margot

Se te embroca desde lejos, pelandruna abacanada,
que has nacido en la miseria de un convento de arrabal…
Porque hay algo que te vende, yo no sé si es la mirada,
la manera de sentarte, de mirar, de estar parada
o ese cuerpo acostumbrado a las pilchas de percal.
Ese cuerpo que hoy te marca los compases tentadores
del canyengue de algún tango en los brazos de algún gil,
mientras triunfa tu silueta y tu traje de colores,
entre el humo de los puros y el champán de Armenonville.

Son macanas, no fue un guapo haragán ni prepotente
ni un cafisho de averías el que al vicio te largó…
Vos rodaste por tu culpa y no fue inocentemente…
¡berretines de bacana que tenías en la mente
desde el día que un magnate cajetilla te afiló!

Yo recuerdo, no tenías casi nada que ponerte,
hoy usas ajuar de seda con rositas rococó,
¡me reviente tu presencia… pagaría por no verte…
si hasta el nombre te han cambiado como has cambiado de suerte:
ya no sos mi Margarita, ahora te llaman Margot!

Ahora vas con los otarios a pasarla de bacana
a un lujoso reservado del Petit o del Julien,
y tu vieja, ¡pobre vieja! lava toda la semana
pa’ poder parar la olla, con pobreza franciscana,
en el triste conventillo alumbrado a kerosén.

English lyrics of the Tango "Margot"

From far away you strut, proud and pretending,
born in the misery of a suburban convent…
Because something gives you away, maybe it’s the look,
the way you sit, look around, or stand,
or that body used to simple cotton clothes.
That body now dictates the tantalizing beats
of a tango’s sway in the arms of a fool,
while your silhouette and colorful dress triumph,
amid the cigar smoke and champagne of Armenonville.

It’s nonsense, it wasn’t some arrogant idler,
or a pimp with problems who led you astray…
You fell by your own faults, and not so innocently…
with dreams of grandeur that filled your mind
from the day a dapper tycoon tempted you!

I remember, you had barely anything to wear,
now you wear silk outfits with rococo roses,
your presence infuriates me… I’d pay to not see you…
even your name’s changed as has your fortune:
you are no longer my Margarita, now they call you Margot!

Now you go with fools to live it up
in a lavish private room at the Petit or Julien,
and your mother, poor mother! toils all week
just to make ends meet, in utter poverty,
in the sad tenement lit by kerosene.

Margot by Celedonio Flores

Margot is a Tango written by Celedonio Flores and composed by Carlos Gardel.

Story behind the Tango Margot

The tango “Margot” captures the transformative yet poignant journey of a woman who rises from the impoverishment of the suburban conventillos (tenements) to a life of superficial glamour. The lyrics outline her transition, marked by socio-economic ascent intertwined with perceived moral decline, seen through the judgmental yet reflective eyes of perhaps a past lover or a close acquaintance. This dramatic rags-to-riches storyline, while focusing on personal change, subtly critiques societal values and the consequences of materialistic aspiration.

Symbolism of Margot

The symbolism in “Margot” provides a rich tableau contrasting the gritty realities of Margot’s past with her present. The “convento de arrabal” symbolizes the echelons of society often ignored and trodden upon. Margot’s transformation is frequently symbolized by her attire—shifting from “pilchas de percal” (cheap cotton clothes) to “ajuar de seda con rositas rococó” (silk garments with rococo roses), which signifies her socio-economic transition but hints at an overlay of artifice. Furthermore, the name change from Margarita to Margot underlines an identity reformulation that solely pivots on superficial aspects, propelled by societal and possibly exploitative manipulations.

Margot in historic Context

The tango, recorded in 1947, mirrors a post-World War II Argentina, an era that saw significant social changes and the rise of urbanization and industrialization. The economic uncertainties and disparities of this period are reflected through Margot’s narrative, with tango serving as a cultural expression of disillusionment and critique. Geographically, the tango references iconic Buenos Aires landmarks like Armenonville, Petit, and Julien, which were popular high-society venues, contrasting sharply against the kerosene-lit tenements, thus highlighting the stark disparities within Argentine society.

Celedonio Flores

Celedonio Flores was a renowned Argentine poet and tango lyricist known for his ability to capture the essence of urban life and the complexities of love and societal issues through his compelling lyrics.