Lunfardo

Lunfardo (; from the Italian "lombardo" or inhabitant of Lombardy in the local dialect) is an argot originated and developed in the late 19th and early 20th centuries in the lower classes in Buenos Aires and from there spread to other cities nearby, such as the surrounding area Greater Buenos Aires, Rosario and Montevideo.
Originally, Lunfardo was a slang used by criminals and soon by other people of the lower and lower-middle classes. Later, many of its words and phrases were introduced in the vernacular and disseminated in the Spanish of Argentina, and Uruguay. Nevertheless, since the early 20th century, Lunfardo has spread among all social strata and classes by habitual use or because it was common in the lyrics of tango.
Today, the meaning of the term "lunfardo" has been extended to designate any slang or jargon used in Buenos Aires.
Origin.
Lunfardo (or "lunfa" for short) began as prison slang in the late 19th century so guards would not understand prisoners. According to Oscar Conde, the word came from "lumbardo" (the inhabitants of the region Lombardia in Italy, the origin of most of the Italians in Argentina in the early 20th century). However, the vernacular Spanish of mid-19th century Buenos Aires as preserved in the dialogue of Esteban Echeverría's short story The Slaughter Yard ("El matadero") is already a prototype of Lunfardo.
Etymology.
Most sources believe that Lunfardo originated among criminals, and later became more commonly used by other classes. Circa 1870, the word "lunfardo" itself (originally a deformation of "lombardo" in several Italian dialects) was often used to mean "outlaw".
Lunfardo today.
Today, many Lunfardo terms have entered the language spoken all over Argentina and Uruguay, although a great number of Lunfardo words have fallen into disuse or have been modified in the era of suburbanization. Furthermore, the term "Lunfardo" has become synonymous with "speech of Buenos Aires" or "Porteño", mainly of the inhabitants of the City of Buenos Aires, as well as its surrounding areas, Greater Buenos Aires. The Montevideo speech has almost as much "Lunfardo slang" as the Buenos Aires speech. Conde says that Lunfardo (much like Cocoliche) can be considered a kind of Italian dialect mixed with Spanish words, specifically the one spoken in Montevideo. In other words, Lunfardo is an "interlanguage variety" of the Italian dialects spoken by immigrants in the areas of Buenos Aires and Montevideo.
In Argentina, any neologism that reached a minimum level of acceptance is considered, by default, a Lunfardo term. The original slang has been immortalized in numerous tango lyrics.
Conde takes the view that the Lunfardo is not so much a dialect but a kind of local language of the Italian immigrants, mixed with Spanish and some French words. He believes that Lunfardo is not a criminal slang, since most Lunfardo words are not related to crime.
According to Conde, Lunfardo
Characteristics.
Lunfardo words are inserted in the normal flow of Rioplatense Spanish sentences, but grammar and pronunciation do not change. Thus, an average Spanish-speaking person reading tango lyrics will need, at most, the translation of a discrete set of words.
Tango lyrics use Lunfardo sparsely, but some songs (such as "El Ciruja" –Lunfardo for "The Hobo" or "The Bum"– or most lyrics by Celedonio Flores) employ Lunfardo heavily. "Milonga Lunfarda" by Edmundo Rivero is an instructive and entertaining primer on Lunfardo usage.
A characteristic of Lunfardo is its use of word play, notably "vesre" (from "[al] revés"), reversing the syllables, similar to English back slang, French verlan or Greek podaná. Thus, "tango" becomes "gotán" and "café" (coffee) becomes "feca".
Lunfardo employs metaphors such as "bobo" ("dumb") for the heart, who "works all day long without being paid" or "bufoso" ("snorter") for pistol.
Finally, there are words that are derived from others in Spanish, such as the verb "abarajar", which means to stop a situation or a person (such as "to stop your opponent's blows with the blade of your knife") and is related to the verb "barajar", which means to cut or shuffle a deck of cards.
Modern slang.
Since the 1970s, it is a matter of debate whether newer additions to the slang of Buenos Aires qualify as lunfardo. Traditionalists argue that lunfardo "must" have a link to the argot of the old underworld, to tango lyrics, or to racetrack slang. Others maintain that something that belongs to the colloquial language of Buenos Aires is lunfardo by definition.
Some examples of modern talk:
Many new terms had spread from specific areas of the dynamic Buenos Aires cultural scene: invented by screenwriters, used around the arts-and-crafts fair in Plaza Francia, culled from the vocabulary of psychoanalysis.
Influence from Cocoliche.
Lunfardo was influenced by Cocoliche, a dialect of Italian immigrants. Many Cocoliche words were transferred to Lunfardo in the first half of the 20th century. For example:
Some Italian linguists, because of the Cocoliche influences, argue that the Lunfardo can be considered a "pidgin" of the Italian language.
Suffixes.
A rarer feature of Porteño speech that can make it completely unintelligible is the random addition of suffixes with no particular meaning, usually making common words sound reminiscent of Italian surnames, for no particular reason, but playful language. These endings include -"etti", -"elli" "eli", -"oni", -"eni", -"anga", -"ango", -"enga", -"engue", -"engo", -"ingui", -"ongo", -"usi", -"ula", -"usa", -"eta", among others. Examples: "milanesa" (meat dish) formula_1 "milanga, cuaderno" ("notebook") formula_1 "cuadernelli", etc.