The Double Life of Garufa: A Tango of Contrasts and Pretensions

Edmundo Rivero's song "Garufa" paints a vivid picture of a character from the Buenos Aires neighborhood, known for his dual life and flamboyant personality. The term "Garufa" itself is a colloquial term in Argentine Spanish, often used to describe someone who is a bit of a rogue or a fun-loving person. The song's protagonist is a man who works hard during the week but transforms into a dapper, nightlife-loving figure on the weekends. This duality is central to the song's narrative, highlighting the contrast between his mundane weekday life and his extravagant weekend persona.

The lyrics describe Garufa as someone with grand pretensions, likening him to a bataclana, a term used for a showgirl or cabaret performer, suggesting that he has aspirations of grandeur and a flair for the dramatic. His transformation is complete with polainas (spats) and a stiff collar, symbols of his attempt to present himself as a sophisticated gentleman. However, this facade is not without its consequences, as his mother considers him a bandit, having heard of his escapades in the Japanese Park, a popular entertainment venue in Buenos Aires at the time.

Garufa's nightlife adventures are further detailed as he frequents milongas (tango dance halls) and becomes the center of attention for the women there. His ability to dance various styles, from the Marseillaise to the March of Garibaldi, showcases his versatility and charm. The night ends with a simple meal of coffee with milk and an ensaimada, a sweet pastry, before he returns home at dawn, proudly declaring himself a phenomenal rogue. This song captures the essence of Buenos Aires' vibrant nightlife and the characters who inhabit it, blending humor, cultural references, and a touch of melancholy in true tango fashion.

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  1. Por Culpa Del Escolazo
  2. Silbando
  3. El Motivo
  4. Mi Vieja Viola
  5. Nieblas del Riachuelo
  6. Margot
  7. Garufa
  8. Apologia Tanguera
  9. Cuando Me Entrés a Fallar
  10. No La Quiero Más
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