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Siglo veinte

Siglo veinte is a Tango written by César de Pardo and recorded by Ricardo Malerba in 1945. The Tango Siglo veinte is written by César de Pardo, Ricardo Malerba has recorded Siglo veinte with the singer Antonio Maida.
“Siglo Veinte,” translated into English as “Twentieth Century,” echoes the dance of time through a vibrant tapestry of notes. This epoch, rich with innovation and turmoil, paints a portrait of human evolution and cultural metamorphosis. The music captures the essence of an era brimming with both the thrill of progress and reflections on its shadows.

Tango

Style

Ricardo Malerba

Orchestra

Antonio Maida

Singer

José García

Author

César de Pardo

Composer

1945/4/4

Date

Antonio Maida
Antonio Maida
Ricardo Malerba
Ricardo Malerba

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Adolfo Carabelli – Campanita del suburbio – 1933/1/1
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Florindo Sassone – Mi relato – 1952/10/9
Ángel d’Agostino – Carnaval de mi barrio – 1954/2/19
Ángel d’Agostino – Ave de paso – 1945/11/2
Ángel d’Agostino – Un tango argentino – 1943/9/3
Ángel d’Agostino – Manoblanca (Mano blanca) – 1944/3/9
Ángel d’Agostino – Argañaraz (Aquellas farras) – 1952/7/24
José Garcia – El once (A divertirse) – 1943/1/13
José Garcia – Para negros solamente – 1943/2/20
José Garcia – Lloran las campanas – 1944/6/1
José Garcia – Calla bandoneon – 1944/4/7
José Garcia – El distinguido ciudadano – 1942/4/17

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.

1945/4/4 – Pasado florido – Ricardo Malerba
1945/4/5 – Mentira – Angel d-Agostino
1945/4/5 – Shusheta (El aristocrata) – Angel d-Agostino
1945/3/27 – Equipaje – Anibal Troilo
1945/3/27 – La borrachera del tango (La embriaguez del tango) – Anibal Troilo

Lyrics Translation of the Tango Siglo veinte

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

Letra del Tango Siglo veinte

La piqueta del progreso, en su afán demoledor
Va dejando a Buenos Aires, parecida a Nueva York,
Todo cambia, todo muestra lo que va de ayer a hoy
Ya no dicen: ¡Chau, hermano!, ahora dicen: “Shalom boys”
Los muchachos que hoy son “babys”, “papi” llaman al papá
Agradecen con un “thank you”, “mami” llaman a mamá,
Y en la fiebre de la moda de decir todo en inglés
Va muriendo lentamente, el chamuyo de revés.

Siglo veinte, ritmo loco
Vas matando poco a poco, la porteña tradición.
Cosas raras que dan pena
Y que el alma te envenenan, con tanta transformación.
Buenos Aires, quien diría
Que tan pronto cambiaría, tu criolla calidad.
Tiempos nuevos, que deploro
Perdoname si te añoro, ya no sos más mi ciudad.

Hoy en día todo es crema, todo es “sundae” y chantilly
Y en lugar de bodegones, bares lácteos hay de a mil,
Al churrasco y la empanada y al criollazo copetín
Te lo cambian por la soda y te dan banana split.
No encontrás una morocha ni por equivocación
Porque el agua oxigenada te la dan en botellón,
No hay que hacerle, convencete, que el progreso arrollador
Va dejando a Buenos Aires, parecida a Nueva York.

English lyrics of the Tango "Siglo veinte"

The pickaxe of progress, in its demolishing zeal,
Leaves Buenos Aires resembling New York,
Everything changes, showing the shift from yesterday to today.
No more do they say: “Bye, brother!” now they say: “Shalom, boys.”
The kids now called “babies”, call dad “papi”,
They respond with a “thank you,” call mom “mami”,
And in the fashion fever of saying everything in English,
The art of slang is slowly dying.

Twentieth century, crazy rhythm,
You’re slowly killing the traditional Buenos Aires spirit.
Strange things that sadden,
And poison the soul with so much transformation.
Buenos Aires, who would have thought
You would change so quickly, your native charm.
New times, which I lament,
Forgive me if I miss you, you are no longer my city.

Nowadays everything is cream, all is “sundae” and chantilly,
And instead of old taverns, there are dairy bars by the thousand,
The classic steak and empanada and the local aperitif
Are replaced with soda and given as a banana split.
You can’t find a brunette by any mistake
Because hydrogen peroxide is sold in bulk,
There’s no denying, be convinced, that overwhelming progress
Is making Buenos Aires resemble New York.

Siglo veinte by José García

Siglo veinte is a Tango written by José García and composed by César de Pardo.



Story behind the Tango Siglo veinte

Siglo veinte, which translates to “Twentieth Century” in English, is a lament on the rapid modernization and cultural changes occurring in Buenos Aires during the mid-20th century. The lyrics reflect a nostalgia for the traditional ways of life and the unique cultural identity of Buenos Aires, which the lyricist feels are being replaced by foreign influences and a move towards a more globalized and homogenized society. It uses vivid imagery to critique the loss of the city’s historic charm and the displacement of its authentic traditions.



Symbolism of Siglo veinte

The lyrics of Siglo veinte are laden with symbolism contrasting the old and the new. Key phrases like “La piqueta del progreso” (The pickaxe of progress) symbolize the harsh and unrelenting changes brought by modernization. The transformation of local language and customs into Americanized versions such as “Shalom boys” and the replacement of traditional greetings like “¡Chau, hermano!” further illustrate the erosion of local identity. The reference to typical Argentine dishes being replaced by American desserts like “banana split” stands as a metaphor for cultural dilution.



Siglo veinte in historic Context

Recorded in 1945, shortly after the end of World War II, a period marked by enormous global changes, Siglo veinte reflects the pervasive influence of American culture across the world, including Argentina. This was a time when Argentina was experiencing significant urbanization and industrialization, and Buenos Aires, as the capital, was at the heart of these shifts. The lyrics poignantly capture the sense of loss felt by many Argentinians who feared that these changes would strip the city of its unique cultural fabric. The song acts as both a chronicle and a critique of these transformative times.



José García

José García was a prominent figure in the Argentine tango scene, known for his poignant and often nostalgic lyrics, which reflect deep emotional and cultural currents of his time.