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.
Se acabaron los guapos is a Tango written by Alfredo Tropiani and composed by Rafael Tuegols.
Se acabaron los guapos, translating to “No More Tough Guys,” captures a thematic shift in the perception of bravado and machismo within the Argentine society of the early 1950s. The lyrics portray a protagonist who boasts about his allure and toughness, claiming to be a heartthrob for women and a prominent figure in suburban scraps. However, the narrative undercuts these claims by illustrating how both peers and admirers see through the facade, recognizing that the toughness is merely a pretense.
The song makes use of vivid symbolism to criticize false machismo. For instance, key phrases like “No copás ni una parada por el miedo de cobrar” suggest the protagonist’s inability to stand firm in challenging situations, highlighting his cowardice contrary to his self-proclaimed valor. The critical phrase “Te las das de mozo guapo” mocks the subject’s pretense of being a brave young man when in reality, his bravery dissolves at the slightest sign of real danger. Additionally, the reference to being “Figurín de escaparate” symbolizes his status as merely a showpiece, lacking substance beyond superficial appearances.
Recorded in 1952, a period of significant social and political change in Argentina with the rise of Peronism, “Se acabaron los guapos” reflects the evolving societal norms where traditional perceptions of masculinity were being questioned and mocked. This era saw a shift from the glorification of tough, fearless men to a more nuanced understanding of strength, including emotional and moral integrity. The song, therefore, serves as a cultural critique of outdated ideals of machismo that were losing ground in modern Argentine society.
Alfredo Tropiani was an Argentine lyricist known for his contributions to the Tango genre, often infusing his works with poignant social commentary.