Enrique Cadícamo

Real name: Cadícamo, Domingo Enrique
Nicknames: Rosendo Luna y Yino Luzzi
Poet, lyricist, composer, writer and theatral writer
(15 July 1900 - 3 December 1999)
Place of birth:
General Rodríguez (Buenos Aires) Argentina
By
Orlando del Greco

t is difficult to find so prolific an author within any songbook in the world; he approached any imaginable subject to be sung and in all rhythms.

From his output of almost 1.300 published songs is good to number the most famous titles with the music of the best composers and which were rendered by the major interpreters in tango, waltz and milonga rhythms. Firstly, those sung by Carlos Gardel, whom he met after the recording of “Pompas de jabón”, thanks to José Razzano. “Pompas de Jabón” and “Yo te perdono” (Goyeneche); “Anclao en París”, “El que atrasó el reloj”, “Cruz de palo” and “ La novia ausente” (Barbieri); “Compadrón” and “Muñeca brava” (Visca); “Che Bartolo”, “Vieja recova” and “Dos en uno” (Sciammarella); “La reina del tango” (Iriarte); “Che papusa oí” (Matos Rodríguez); “Al mundo le falta un tornillo” (Aguilar); “Pituca” (Ferreyra); “De todo te olvidas” (Merico); “Aquellas farras” (Firpo); “Callejera” (Frontera); “Madame Ivonne” (Pereyra) and the American songs “Ramona” (Wayne); “La divina dama” (Shilkret) and “Yo nací para ti tú serás para mí” (Brown). He did not remember if Gardel sung “Cuando miran tus ojos”, a waltz he wrote with José M. Aguilar, as some people say.

And those which were recorded by Agustín Magaldi, Ignacio Corsini, Rosita Quiroga, Libertad Lamarque, Alberto Gómez, Alberto Vila, Charlo, all of them: “Se fue la pobre viejita” and “Del pasado” (Magaldi-Noda); “Gran señor”, “Traje de novia”; “Cortando camino”, “Tradición” (Frontera); “Sin hilo en el carretel” and “Nunca tuvo novio” (Bardi); “Yo tan sólo veinte años tenía” and “Luna de arrabal” (Sanders); “Apología tanguera” (R. Quiroga); “Picaflor” (Maciel); “Pa' mí es igual” (Demare-Fugazot); “Tus manos”, “Olvidao” (Barbieri); “Santa milonguita” (Delfino); “Hambre”, “Rubí”, “Piropos”, “A pan y agua”, “La casita de mis viejos”, “Nostalgias”, “Los dopados”, “Shusheta”, “Niebla del Riachuelo” (Cobián); “El cantor de Buenos Aires” (Cobián-Ballerini); “Mi gitana” (Guichandut); “Guitarra que llora” (Alemán); “Plata y nada más” and “Voy pa' viejo” (Caló); “Ensueños” (Brighenti); “ Que te vaya bien” (Pizarro); “Desvelo” (Bonessi); “Son cosas del bandeoneón”, “Tengo mil novias”, “En la buena y en la mala”, “Llorar por una mujer”, “Lagrimitas de mi corazón”, “Que tilín, que tilón”, “Jarangón” ( Rodríguez ); “Tres esquinas” and “El Morocho y el Oriental” (Attadía-D'Agostino ); “Colombina” (De Caro); “A quién le puede importar” and “Copas, Amigos y Besos” (Mores); “Rondando tu esquina”, “Vas muerto con tu disfraz”, “No hay tierra como la mía”, “Ave de paso”, “Y aquel cariño se fue”, “La barranca”, “De cariño nadie sabe nada” (Charlo); “Por la vuelta” (Tinelli); “Melodía oriental” (Zerrillo-Howard); “Trovador mazorquero” (Howard); “Pa' que bailen los muchachos” and “Garúa” (Troilo); “El vals del ayer” (Kramer); “La romanina” (Di Lázzaro); “Rouge” (R. Malerva); “En un pueblito de España” (Wayne); “Berretín” (Laurenz); “Otro trago” (Iriarte); “Cuando tallan los recuerdos” (Rossi); “Noche de estrellas” and “Noches de invierno” (Padula); “El llorón” (Maglio); “Sentimiento Malevo” (Buglione); and also “Milonga, ¿por qué Llorás?”, “Tres Amigos”, “El Cuarteador”, “Pocas Palabras”, “Del Ambiente”, “Boedo y San Juan”, “Pasado Florido”, “El Trompito”, “Sollozos de Bandoneón”, “La Luz de un Fósforo”, “Hojarasca”, “¡Que Pare el Baile!”, “Chanta Cuatro”, “Notas de Bandoneón”, “Mientras Gime el Bandoneón”, “Orgullo Tanguero”, “Dice un Refrán”, “El Campeón”, “Se Llamaba Eduardo Arolas”, “Palais de Glace”, “Y... ¿Qué Más?”, “El Bar de Rosendo”, “Mi vida”, “Barajando Recuerdos”, “Chiquita”, “La Calle Sin Sueño”, “iJa! Ja! iJa!”, “Pico de oro”, “Si la Llegaran a Ver”, “La Biaba de un Beso”, “El Ultimo Guapo”, “Viejas alegrías”, “Bajo los Puentes de París”, “Me la Diste Chanta”, “¡Quién te ve!”, “Mocito rana”, “Invierno”, “Por un Beso de Amor”, “De a Traición”, “Melancólico gotán”, “Naipe”.

He traveled abroad, especially to France where he met with Carlos Gardel. About his first encounter with the singer in Paris, he said so: «Why shouldn’t I remember it! It was in January 1929. The very night I arrived, the first thing I did was to go somewhere to hear him. I didn’t know where he was singing, but it was not difficult to find out. At that time El Garrón was more of an Argentine consulate than a cabaret, so by taking a cab there I went.

«After undergoing the hugs by the Argentines who were there, I asked where Carlitos was singing and in the company of several guys, we went to Florida.

«It was a big emotion to find Gardel, all of a sudden, singing in Paris. When listening to him, it seemed not real to be so far from Buenos Aires.»

He came to know the great Carlitos through José Razzano, when he launched his first tango, “Pompas de jabón”, which the singer decided to record, and he knew of his death while in Brazil, working with Carlos Viván and Juan Carlos Cobián.

He published the books: Canciones tristes in 1925 and this was the first one; La luna del bajo fondo, Viento que lleva y trae, three books of poems: Historia del tango en París, El otro Juan Carlos Cobián, Bajo el signo del Tango.

For theater he contributed works such as Así nos paga la vida in collaboration with Wally Zenner; La baba del diablo with Pelayo; Folie with Sofovich; El romance de dos vagos with Germán Ziclis; El cantor de Buenos Aires with Alberto Ballerini; La epopeya del Tango, and many more.

For cinema he directed and wrote scripts for films called Virgencita de Pompeya, Noches cariocas, Nace un campeón, etc.

He traveled much throughout Europa and America, especially Paris, Barcelona, New York, Rio de Janeiro.

He was undoubtedly a great of Argentine popular song; notable, superb.

Cadícamo was born in General Rodríguez (Province of Buenos Aires) on July 15, 1900.

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