1.SHUSHETA, Angel Vargas with Angel D’Agostino
2. NINO BIEN, Tita Merello with Francisco Canaro
3. COMPADRON, Carlos Dante with Alfredo De Angelis
4. AMARROTO, Alberto Echague with Juan D’Arienzo
5. CHORRA, Hugo del Carril
The tango lyrics draw images of characters of the Buenos Aires fauna who have been typified as the years have given the tango a narrative character and have accepted it as a faithful reflection of the city and the people that gave it origin.
There is the phony type who feels the need to try to be what he is not, mainly because he believes that that will overcome his innate complex of inferiority and social disorientation. The niño bien represents that caricature. Other characters are notorious for their propensity to boast. The compadron, for example is the caricature of a false gutsy man, and often confused it with the compadre. The compadrito, is essentially an imitator, a half size hero, a fetus that didn’t reach its term, a suburban premature baby, a braggart, indecent, somebody similar to the dandy from Madrid. He is recognized by his gratuitous provocation, the boastfulness of a false anger, and taking credit for other people’s feats.
For a society that inherited from Spain an allergy to work, all type of tasks that generally involve manual activity or a relation of dependency, was reserved for riffraff, rabble, the tanos, the gallegos. In contrast, there is a character who makes an obsession of work, thus becoming the target of ridicule by the wise guys because he does not to share the same tastes in matters of leisure and relaxation. The obsession is more about being stingy, being an amarroto. The amarroto eventually falls in love with a mature matron that spends his money as if there is no tomorrow. That is the deserved punishment he gets for not being capable of enjoying a hard fought horse race at the racetrack.
The ambitious and egoistic woman also has her place in our history. Product perhaps of a society where being born in the wrong cradle is akin to a life sentence of poverty and suffering, the tango draws images of women without purity, with no heart and no feelings. A common scheme of the social life of the population is to seek a wealthy future for a maiden daughter, speculating with candidates with money and if it is possible without a brain. Too late, the man discovers that he married a chorra, a thief, not only of his fortune but also of his love. For this man there will never be a good woman that will restore his faith and his confidence in love.