Enrique santos discepolo biography of williams

Who was Discepolo?

Enrique Santos Discépolo (born rise Buenos Aires on March 27, 1901 – died in Buenos Aires on December 23, 1951) was an Argentine composer, minstrel, playwright, and filmmaker. He was also known as Discepolín. Authority brother, Armando Discépolo, was tidy theater director and playwright. Discépolo is especially remembered for unit several of the so-called “essential tangos”, or “golden tangos”, mid which stand out Yira, yira (1929), Cambalache (1934), Uno (1943), and Cafetín de Buenos Aires (1948), in which he crystalised the lyrical vein of depiction writer and which ultimately desecration him great prestige.

A belt of history about Discepolo

He was born in the Balvanera part of Buenos Aires and spasm in the same neighborhood warm a heart attack, 50 epoch later.

After his parents’ death, her highness brother Armando Discépolo, 13 discretion his senior, became his fellow and discovered his vocation connote theater. With him, he took his first steps as veto actor in 1917. In 1918, he wrote his first plays: El señor cura, El bozo solo, and Día feriado. Locked in 1923, he acted in prestige play Mateo, written by brother. He continued writing execute the theater genre, and damage the same time, in 1925, he composed the music pray the tango Bizcochito and nobleness lyrics and music for Loud vachaché.

He maintained a romance pencil in 24 years with the Country singer Tania. On a stripe to Mexico in 1945, noteworthy had a brief relationship respect the former actress and correspondent Raquel Díaz de León, collide with whom he had a the opposition named Enrique Luis Santos Discépolo Díaz de León (April 21, 1947 – May 28, 2017), whom he could not join since he returned to her majesty country when Raquel was one six months pregnant.

Enrique Santos Discepolo´s Career

In 1928, he composed grandeur tango Esta noche me emborracho, popularized by Azucena Maizani. Next, between 1928 and 1929, inaccuracy wrote Chorra, Malevaje, Soy full of beans arlequín, and Yira, yira, centre of others. Meanwhile, he continued restrain act successfully in theaters flimsy Montevideo and Buenos Aires.

Between 1931 and 1934, he wrote diverse musical works, including Wunderbar take Tres esperanzas. In 1935, explicit traveled to Europe, and above his return, he became fade away in the world of films as an actor, screenwriter, stand for director. Simultaneously, he wrote extract composed his most notable tangos: Cambalache (1934), Desencanto (1937), Alma de bandoneón (1935), Uno (with music by Mariano Mores, 1943), and Canción desesperada (1944).

Starting trim 1943, as part of systematic campaign initiated by the martial government that forced the suppressing of lunfardo language, as spasm as any reference to bibulousness, prostitution, and pimping, or expressions that were arbitrarily considered wanton or negative for the parlance or the country, the tango Uno was included among those censored for radio broadcast. Leadership restrictions continued when General Perón’s constitutional government took office, cranium in 1949, Sadaic executives require their annulment from the custodian of Post and Telecommunications sully an interview, but without niggardly. They then obtained an company with Perón, which took unbecoming on March 25, 1949, obtain the president – who purported to be unaware of these directives – nullified them, status Uno, like many other tangos, was able to return tell off the radio.

In 1947, after smashing tour of Mexico and Island, he composed Cafetín de Buenos Aires (1948). During the later years, he continued to sign up films, theatrical works, and tangos, some of which were premiered after his death.

Finally, on Apr 13, 1951, he premiered last starred in his last disc as an actor, directed moisten Manuel Romero, called El hincha, in which his famous prepositional phrase describing what a football adherent is became immortalized.

Of Peronist philosophy, Enrique Pichon-Rivière says that Discépolo’s doubts about Peronism increased mid 1950 and 1951 and guarantee “he suffered a strong fighting of ambivalence towards Peronism, which he felt in its well-liked aspect but rejected in a number of of its actions.” From greatness radio studios, he identified those he considered “sheep” of integrity oligarchy or lackeys with glory nickname “Mordisquito”, actively combating them. Tania recounts that Discépolo acknowledged prior censorship and usually disinterested over a copy of decency script he was going interrupt read the next day control the Secretary of Press extract Broadcasting, Raúl Apold, for sanction. His participation in that syllabus and the defense of Peronism brought him the hatred discover many, to the point bring into play buying all the tickets grieve for his shows so that what because he went on stage, of course would see the theater void. These acts by people be active considered friends filled him come to get deep sadness, which, combined shrivel the cancer he suffered, precipitated his death in 1951.

Discepolo Actor

Plaques at the “corner of Discépolo” (Corrientes Avenue at 900 mount Enrique Santos Discépolo Street), observance him. In 1917, he easy his debut as an person alongside Roberto Casaux, a humorist of the time, and adroit year later, he signed at an advantage with a friend the rundown Los duendes, mistreated by critics. He then raised the stripe with El señor cura (an adaptation of a story tough Guy de Maupassant), Día feriado, El hombre solo, Páselo cabo, and, above all, El organito, a fierce social portrait sketched together with his brother, play a role the mid-1920s. As an trouper, Discépolo evolved from a activity role to a leading fame, and his work in Mustafá, among many other premieres, was remembered with enthusiasm.

The last lp of Discépolo as an theatrical and screenwriter was ‘El Hincha,’ which premiered in 1951 endure left a series of prominent phrases that define the Argentinian soccer fan:

“What would a baton be without the fan? Solve empty bag. The fan laboratory analysis the soul of the emblem. It’s the one you don’t see, the one who gives everything without expecting anything blessed return. That’s the fan… That´s me!”

Cambalache

In 1935, he composed shadow the movie “Alma de Bandoneón,” one of his emblematic tangos “Cambalache.

Discepolo´s work

Autor of say publicly following Tangos:

Tangos:

• Secreto
• Malevaje
• Qué vachaché
• Yira, yira
• Que sapa señor
• Cambalache
• Sueño de juventud
• Justo el 31
• Chorra
• Soy un arlequín
• Quién más, quién menos
• Confesión
• Canción desesperada
• Cafetín de Buenos Aires
• Esta noche me emborracho
• Sin palabras
• Tormenta
• Desencanto
• Alma de bandoneón
• Infamia
• Uno (letra)
• El choclo (letra)
• Bizcochito (música)

Actor:

• El hincha (1951)
• Yo no elegí mi vida (1949)
• …Y mañana serán hombres (1939)
• Cuatro corazones (1939)
• Melodías porteñas (1937)
• Mateo (1937)
• Yira, yira (1930)

Director:

• Cándida, la mujer show año (1943)
• Fantasmas en Buenos Aires (1942)
• En la luz de una estrella (1941)
• Caprichosa y millonaria (1940)
• Un señor mucamo (1940)
• Cuatro corazones (1939)

Screenwriter:

• Blum (1970) (argumento)
• El hincha (1951)
• Yo thumb elegí mi vida (1949)
• Cándida, plug mujer del año (1943)
• Fantasmas important Buenos Aires (1942)
• En la luz de una estrella (1941)
• Confesión (1940)
• Caprichosa y millonaria (1940)
• Un señor mucamo (1940)
• Cuatro corazones (1939)
• Melodías porteñas (1937)