Other key elements in tango lyrics were settings such as the “whorehouse”, la “Timba” (gambling games that usually ended in bloody fights), etc. The daily life and routines of common people were reflected through these lyrics. Tango took a leading role in popular culture, being distributed on radio and in numerous films, both locally and internationally. In the 1930s, profound social changes occurred in Argentina, when large numbers of people migrated from rural to urban areas.
This brought about an economic depression and unemployment. The tango was not exempt from this crisis; the mass popularization mentioned above led to the introduction of foreign rhythms to increase sales and respond to international demands. Enrique Santos Discepolo emerged as a sardonic, desperate and grotesque poetic figure and his lyrics reflected the social situation at the time in songs like Yira Yira, Cambalache, Confession, etc.
The generation of the 40s decade is generally regarded as tango’s golden age. After the death of Carlos Gardel, tango music was massively being distributed both nationwide as well as globally, and had already achieved status as its very own musical genre, being widely accepted and recognized by all social classes. Tango reached its maximum height of success with brilliant and dedicated artists like Carlos Gardel, Pugliese, Rivero, Gobbi, Troilo, Canaro, Contursi, Manzi, Expósito, amongst others.
During this decade, people in Argentina danced tango more than ever and many schools of tango were opened and established. Also, tango and poetry experts say that the 40s was the decade when the greatest lyricists and urban poets that tango had ever witnessed published their work. Some of these lyrics explored themes like love, philosophy and societal conflicts, etc. Julio De Caro, a renowned composer and orchestra conductor is said to have started a new era in the composition of tango music.