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Padrino pelao

Padrino pelao is a Tango written by Enrique Delfino and recorded by Armando Pontier in 1955. The Tango Padrino pelao is written by Enrique Delfino, Armando Pontier has recorded Padrino pelao with the singer Julio Sosa.
“Padrino Pelao,” translated to English as “Bald Godfather,” evokes a vivid image of wisdom and authority marked by age. The title suggests a figure who, despite the journey of time, retains an aura of dignity and influence. His baldness, symbolic of life’s trials and wisdom gained, adds depth to his role as a mentor and protector in life’s dance.

Tango

Style

Armando Pontier

Orchestra

Julio Sosa

Singer

Julio Cantuarias

Author

Enrique Delfino

Composer

1955/10/27

Date

Julio Sosa
Julio Sosa
Armando Pontier
Armando Pontier

Discover Other Orchestras

Francini-Pontier – El retoque – 1952/12/12
Francini-Pontier – Tu piel de jazmín – 1950/3/22
Francini-Pontier – Para lucirse – 1950/3/22
Francini-Pontier – Lluvia sobre el mar – 1953/5/6
Francini-Pontier – Oyeme mamá – 1952/9/17
Alfredo Gobbi – Como las margaritas – 1952/4/3
Alfredo Gobbi – Que nadie sepa mi sufrir – 1955/6/30
Alfredo Gobbi – El inquilino – 1956/7/16
Alfredo Gobbi – Camandulaje – 1956/6/13
Alfredo Gobbi – Barcarola triste – 1947/11/4
Domingo Federico – Tiburón – 1950/3/23
Domingo Federico – Candombe – 1953/4/16
Domingo Federico – Me gusta un tango asi – 1947/10/22
Domingo Federico – El adiós de Gabino Ezeiza – 1947/11/14
Domingo Federico – La culpa la tuve yo – 1944/4/10
Cuarteto Típico Roberto Firpo – Vieja milonga – 1939/4/5
Cuarteto Típico Roberto Firpo – El esquinazo – 1939/3/3
Cuarteto Típico Roberto Firpo – El apronte – 1937/3/27
Cuarteto Típico Roberto Firpo – De pura cepa (2) – 1948/1/21
Cuarteto Típico Roberto Firpo – Germaine – 1940/4/25

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.

1955/10/27 – A tus pies bailarin – Armando Pontier
1955/11/1 – Valsecito criollo – Hector Varela
1955/11/2 – Juana Milonga senores – Alfredo De Angelis
1955/10/21 – Royal Pigall (Que has hecho de mi carino) – Hector Varela
1955/11/3 – La trilla – Enrique Francini

Lyrics Translation of the Tango Padrino pelao

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

Letra del Tango Padrino pelao

¡Saraca, muchachos, dequera un casorio!

¡Uy Dio, qué de minas, ‘ta todo alfombrao!

Y aquellos pebetes, gorriones de barrio,

acuden gritando: ¡Padrino pelao!



El barrio alborotan con su algarabía;

allí, en la vereda, se ve entre el montón,

el rostro marchito de alguna pebeta

que ya para siempre perdió su ilusión.



Y así, por lo bajo,

las viejas del barrio

comentan la cosa

con admiración:



‘¿Ha visto, señora,

qué poca vergüenza?

¡Vestirse de blanco

después que pecó!’



Y un tano cabrero

rezonga en la puerta

porque a un cajetiya

manyó el estofao:



‘Aquí, en esta casa,

osté no me entra.

Me son dado coenta

que osté es un colao.’



¡Saraca, muchachos, gritemos más fuerte!

¡Uy Dio, qué amarrete! Ni un cobre ha tirao…

¡Qué bronca, muchachos! Se hizo el otario.

¡Gritemos, Pulguita! ¡Padrino pelao!



Y aquella pebeta que está en la vereda

contempla con pena a la novia al pasar.

Se llena de angustia su alma marchita

pensando que nunca tendrá el blanco ajuar.

English lyrics of the Tango "Padrino pelao"

Come on, guys, a real wedding happening!

Wow God, what a crowd, it’s all carpeted around!

And those kids, neighborhood sparrows,

rushing in, shouting: Bald godfather!

They stir up the neighborhood with their clamor;

there on the sidewalk, amongst the crowd,

the withered face of some young girl

who has forever lost her illusions.

And quietly,

the old women of the neighborhood

discuss it

with awe:

‘Have you seen, ma’am,

such shamelessness?

Dressing in white

after she sinned!’

And an angry Italian

grumbles at the door

because he noticed someone

stole the stew:

‘Here, in this house,

you don’t enter.

I’ve realized

that you’re a gatecrasher.’

Come on, boys, let’s shout louder!

Wow God, what a miser! Not a penny thrown…

What a rage, guys! He played the fool.

Let’s shout, Little Flea! Bald godfather!

And that young girl on the sidewalk

watches the bride pass by with sorrow.

Her worn soul fills with anguish,

pondering she’ll never have the white bridal wear.

Padrino pelao by Julio Cantuarias

Padrino pelao is a Tango written by Julio Cantuarias and composed by Enrique Delfino.



Story behind the Tango Padrino pelao

“Padrino pelao,” which can be translated as “Bald Godfather,” carries a narrative filled with local color and societal commentary, capturing the buzz and emotions surrounding a neighborhood wedding in Argentina. The lyrics reveal a community’s reaction to a wedding perceived as controversial, and discuss the judgment and exclusion faced by those involved. This Tango delves into themes of gossip, social stigma, and the loss of innocence and dreams, particularly focusing on a woman who has lost her chance for an idealized marriage.



Symbolism of Padrino pelao

Several phrases and symbols within the lyrics add layers to the song’s meaning. “¡Vestirse de blanco después que pecó!” suggests the disdain for a bride who is not fitting the traditional image of purity, symbolized by the white dress. This line shows societal expectations and judgment. “El rostro marchito de alguna pebeta” symbolizes lost youth and shattered dreams, reflecting on the broader themes of disappointment and societal pressure. The bald godfather himself may symbolize the overlooked or marginalized figures in society, emphasizing the mixture of respect and irony in community relationships.



Padrino pelao in historic Context

Written in 1955, “Padrino pelao” emerged during a culturally rich period in Argentina when Tango was a prominent expression of the national identity and social commentary. Post-World War II, Argentine society faced various social transformations, and Tango often captured the essence of these changes, expressing the common people’s voice. The setting and timing might hint at the conservative societal norms regarding marriage and honor, exploring how community bonds and conflicts shaped personal destinies.



Julio Cantuarias

Julio Cantuarias was a significant figure in the golden age of Argentine Tango, contributing poignant and reflective lyrics that often mirrored societal issues.