Posts Tagged ‘Alfredo de Angelis’


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.





1. LA BRISA, Carlos Dante with Alfredo de Angelis
2. MISA DE ONCE, Julio Martel with lfredo de Angelis
3. SOÑAR Y NADA MAS, Carlos Dante and Julio Martel with Alfredo de Angelis


On April 1, 1946, radio station LR1 Radio El Mundo, AM1070 began a daily program featuring the orchestra of Alfredo De Angelis and singers Carlos Dante and Julio Martel. The program was broadcast in front of a live audience at the station studios located on Maipu 555. It was a 15 minutes program that aired at 8 pm Monday through Friday. The program went on to become a major success for twenty two years.

According to José Pedro Aresi writing in website Todo Tango, “On the Monday, April 1, 1946 edition of newspaper El Mundo, there was an announcement about the debut of Alfredo De Angelis and his singers Carlos Dante and Julio Martel in a new radio program: “The Glostora Tango Club”, dedicated “to the winning youth”, a span of 15 minutes in which “the hair product of the great world, was brought to within reach of everybody.”

Aresi’s account continues, “At the top of the hour 8 pm an imaginary curtain was raised and the voices of Rafael Diaz Gallardo and Lucia Marco announced “the Glostora Tango Club, the encounter of choice of the triumphant youth”, with the participation of the orchestra of Alfredo De Angelis and his singers Carlos Dante and Julio Martel.

Now, expert tango collector, Jorge Finkielman, an Argentine native currently living in Natick, MA has posted in his Facebook page a video clip with the original broadcast of the Glostora Tango Club, which he laboriously and painfully restored to a very decent listening quality.

This is a major historical feat, and a testimony to a period when the youth of Buenos Aires made the tango their music of choice.