QUE SE VAYAN

Let Them Go (1929)

LYRICS by: Enrique Dizeo

MUSIC by: Francisco Canosa

TRANSLATION by: Alberto Paz

Last updated on: 1/8/13

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Sing along with ANGEL VARGAS

CASTELLANO

ENGLISH

Que se vaya con él cuando quiera, con ese amigazo fayuto y sin fe; que se vayan, que Dios los ayude, que tarde o temprano los encontraré. Que se lleve los besos que, un día, juró que eran míos, con todo su amor; que esta mala jugada que me hace le va a costar caro, tendrá su dolor. Si los dos tienen la culpa de todo lo que me pasa, ella porque nunca, nunca, tan mala la imaginé. Y el otro por sinvergüenza, porque lo tuve en mi casa y abusó de la confianza que siempre le dispensé.Pero no es nada, compadre, a ver, mozo, más escabio, que esta noche es Nochebuena y mañana es Navidad. Déjeme, tomo de rabia, déjeme mojar los labios para festejar la fiesta, la fiesta y mi soledad. Si la vida no vale ni medio, no sirve pa’ nada; repita, patrón. Hago mal en decirlo, que un día robé pa’ vestirla, llegué a ser ladrón. Todo el tiempo que estuvo a mi lado, ni un beso, ni un mango le supe negar; y si no, que lo diga ella misma, si no soy derecho, si me se portar. Si los dos tienen la culpa de todo lo que me pasa, ella porque nunca, nunca, tan mala la imaginé. Y el otro por sinvergüenza, porque lo tuve en mi casa y abusó de la confianza que siempre le dispensé. Pero no es nada, compadre, a ver, mozo, más escabio, que esta noche es Nochebuena y mañana es Navidad. Déjeme, tomo de rabia, déjeme mojar los labios para festejar la fiesta, la fiesta y mi soledad.

Let her go with him, anytime… With that “great friend”, two-faced without faith. Let them go! May God help them Sooner or later I’ll run into them. Let her take the kisses, she once swore there were mine, with all her love; this bad deed she’s doing to me is going to cost her dearly, she’ll have her pain.If both of them are to blame From everything that’s happening to me Because I never, ever imagined her to be so bad. And the other ,for rascal Because I had it in my house, He abused the trust That I always bestowed on him. But it’s nothing buddy … Hey there waiter, more booze That tonight is Christmas Eve And tomorrow is Christmas Day… Let me be… I drink because of anger… Let me wet my lips To celebrate the occasion The holiday and my loneliness. If life is not worth even half It’s no good for nothing …Repeat boss! Am I wrong saying that one day I stole to dress her… I became a thief! The whole time she was by my side Not a kiss or a buck I ever denied her And if not, let her say so If I’m straight, if I know to behave. If both of them are to blame From everything that’s happening to me Because I never, ever imagined her to be so bad. And the other ,for rascal Because I had it in my house, He abused the trust That I always bestowed on him. But it’s nothing buddy … Hey there waiter, more booze That tonight is Christmas Eve And tomorrow is Christmas Day… Let me be … I drink because of anger… Let me wet my lips To celebrate the occasion The holiday and my loneliness.

Copyright (c) Planet Tango 1998-2013 All Rights Reserved

NOCHE DE REYES

Twelfth Night (1926)

LYRICS by: Jorge Curi

MUSIC by: Pedro Maffia

TRANSLATION by: Alberto Paz

Last updated on: 1/6/13

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Sing along with CARLOS GARDEL

CASTELLANO

ENGLISH

La quise como nadie, tal vez, la había querido Y la adoraba tanto que hasta celos sentí, Por ella me hice bueno, honrado y buen marido Y en hombre de trabajo, mi vida convertí. Al cabo de algún tiempo, de unir nuestro destino, Nacía un varoncito, orgullo del hogar, Y era mi dicha tanta, ver claro mi camino, Ser hombre de trabajo, honrado y trabajador. Pero una noche de Reyes Cuando a mi hogar regresaba, Comprobé que me engañaba Con el amigo más fiel, Ofendido en mi amor propio Quise vengar el ultraje, Lleno de ira y coraje Sin compasión los maté. ¡Qué cuadro, compañero!… No quiero ni acordarme, Me llena de vergüenza, de odio y de rencor, De qué valió ser bueno, si aparte de engañarme, Clavaron en mi pecho la flecha del dolor. Por eso, compañero, como hoy es día de Reyes, Los zapatitos, el nene, afuera los dejó, Espera un regalito, y no sabe que a la madre ¡Por falsa y por canalla, su padre la mató!…

I loved her like no one, perhaps, had loved her And l adored her so much that I even felt jealousy, For her I became good, honest and good husband And a working man, my life became. After some time, of uniting our destiny, A boy was born, the pride of the home And my happiness was plenty, seeing my way clear, Being a working man, honest and hardworking. But on one Twelfth Night When I was returning to my home, I found that she was cheating With the most faithful friend, My pride being offended I wanted to avenge the outrage, Full of anger and courage I killed them mercilessly. What a sight, buddy! … I don’t even want to remember, It fills me with shame, hatred and rancor, What good was being good, if besides deceiving me They dug into my chest the arrow of pain. That’s why friend, since today is Epiphany, The little boy put out his little shoes. He expects a little present, not knowing that For fake and rogue, his father killed his mother! ….

Copyright (c) Planet Tango 1998-2013 All Rights Reserved

LA MELODIA DEL CORAZON

The melody of the heart (1940)

LYRICS by: Carmelo Santiago

MUSIC by: Fioravante Di Cicco-Héctor María Artola

TRANSLATION by: Alberto Paz

Last updated on: 10/30/12

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Sing along with ROMEO GAVIOLI with EDGARDO DONATO

CASTELLANO

ENGLISH

Mil amores tuve yo y en ninguno yo encontraba la dulzura que soñé. Ya que en cambio sólo hallé la falsía despreciable que mi alma endureció. A la vida retorné cuando tu carita de ángel, en mi vida se cruzó y encauzaste mi existencia, por la senda que jamás ya dejaré. Fue que tu amor, ¡dulzura y fe!, retrajo a mí las ansias de vivir. ¡En paz con Dios!… Paz que tanto ambicionaba, sol de afectos que anhelaba, y que fue canción triunfal de amor, que en su esplendor, toma formas de melodía que, mi corazón canta feliz. Ese amor que floreció trajo a mi alma la fragancia de un romántico vergel. Con su aroma renació mi pasión por la belleza y los encantos del amor. Melodía pasional que cual fuego deslumbrante brotas hoy del corazón, dile a la novia querida que es la dueña de mi vida y mi cantar…

I had a thousand loves And in none of them I found The sweetness I dreamed . Instead I only found The contemptible falsehood That hardened my soul. I become alive When your angel face, Appeared in my life And you guided my existence, On the path that I will never abandon. It was your love, Sweetness and faith!, Brought back to me the will to live. At peace with God! … Peace I coveted so much Sun of affections I yearned And it was triumphant song of love, That in its splendor, Takes the shapes of melody, That my heart happily sings. The love that blossomed Brought to my soul the fragrance Of a romantic garden. With its aroma was reborn My passion for beauty And the charms of love. Melody passionate That like a dazzling fire Appears from the heart today, Tell to the dear bride That she’s the owner of my life And my singing …

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

ESTA NOCHE LUNA

This moonlit night

LYRICS by: Hector Marco

MUSIC by: Graciano Gomez-Jose Garcia

TRANSLATION by: Alberto Paz

Last updated on: 10/30/12

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Sing along with ROBERTO RUFINO with CARLOS DI SARLI

CASTELLANO

ENGLISH

Acércate a mí y oirás mi corazón Contento latir como un brujo reloj, La noche es azul, convida a soñar El cielo ha encendido su faro mejor. Si un beso te doy, pecado no ha de ser Culpable es la noche que incita a querer, Me tienta el amor, acércate ya El credo de un sueño, nos redimirá. Corre, corre, barcarola, por un río de ilusión Que en el canto de las olas, surgirá mi confesión… Soy, una estrella en el mar Que hoy detiene su andar Para hundirse en tus ojos, Y en el embrujo De tus labios muy rojos Por llegar a tu alma Mi destino daré… Soy, una estrella en el mar Que hoy se pierde al azar Sin amor ni fortuna Y en los abismos De esta noche de luna Sólo quiero vivir De rodillas a tus pies Para amarte y morir… Acércate a mí y oirás mi corazón Contento latir como un brujo reloj, Mi voz te dirá palabras de miel Que harán en tu pecho, fuego encender. El canto del mar repite en su rumor Qué noche de luna, qué noche de amor, Dichoso de aquel que pueda decir Yo tengo un cariño, qué dulce es vivir. Corre, corre barcarola, que la luna se escondió… Un amor te da la noche y ese amor lo siento yo…

Come near me and you’ll hear my heart beating happy like a sorcerer clock. The night is blue, it invites to dream, The sky has turned on its best guiding light. If I give you a kiss, it won’t be a sin The night is the culprit that incites to love. Love tempts me, come close now, The creed of a dream will redeem us. Run, run little boat, by a river of illusion. That in the song of the waves my confession will emerge. I am a star in the sea That today stops its pace To sink in your eyes. And in the spell Of your lips very red, To reach your soul My destiny I’ll give up. I am a star in the sea That today gets lost at random Without love nor fortune. And in the abysses of this moonlit night, I only want to live, On my of knees at your feet, To love you and to die. Come near me and you’ll hear my heart Beating happy like a sorcerer clock. My voice will tell you words of honey That will cause your chest to light up a fire. The song of the sea repeats in its rumor What a moonlit night, what a night of love. Happy is the one who’s able to say, I have a love, how sweet is to live. Run, run little boat, that the moon hid. The night gives you love and I feel that love

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

BAILEMOS

Let’s dance (1955)

LYRICS by: Reynaldo Yiso

MUSIC by: Pascual Mamone

TRANSLATION by: Alberto Paz

Last updated on: 9/15/12

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Sing along with FLOREAL RUIZ with ORCHESTRA

PASCUAL “CHOLO” MAMONE Bandoneon player, arranger, bandleader and composer (22 April 1921 – 15 September 2012) R.I.P.On this day the great bandoneonist PASCUAL “CHOLO” MAMONE passed away at the age of ninety-one. His last public performance was last Tuesday at Teatro Maipo, during the “Troilo Composer” CD release presentation, playing Triste Milonguero in the bandoneon that belonged to Anibal Troilo.Mamone was without a doubt, one of the great arrangers of the music of Buenos Aires. Much sought after by maestros of the caliber of Osvaldo Pugliese and Alfredo Gobbi, he earned an outstanding prestige in the difficult art of embellishing melodies.He had a profound respect for the essence of each composition, such as it was written by the composer, and wrote his arrangements and orchestrations with balance and detailed devotion, having specially in mind the style of the target orchestra and the distinguishing features of the singer.In 1936, with more will than knowledge, he joined the orchestra led by José Otero, an obscure group that used to play in the neighborhoods. But, three years later, he succeeded in making the acquaintance of his idol, Pedro Maffia, who agreed to teach him and polish his technique. His notable growth with the instrument encouraged his teacher who, in 1942, invited the latter to join his orchestra.In 1944, after he left Maffia, he began his career as arranger and he made himself noticed with his works for Pugliese, -since 1949 and for fifteen years-; for Roberto Caló, for whom he also on some occasion played the bandoneon; for Alfredo Gobbi, José Basso, Enrique Francini and Pedro Laurenz, among others, in the 50s. He played and wrote the charts for the Florindo Sassone Orchestra in the late 40s and, soon thereafter, for Joaquín Do Reyes, for his programs on Radio El Mundo and at venues in the interior of the country. In 1954 he joined the Alberto Morán’s orchestra, in a twofold role, as lead bandoneon player and arranger. The aggregation was conducted by the pianist Armando Cupo. Ten years later he likewise joined the group accompanying Miguel Montero, but those were difficult years for tango and he decided not to play any more, he took up other jobs, but kept on arranging for important musicians like Atilio Stampone and Leopoldo Federico. In the latter years of the twentieth century he was in full activity, fronting small outfits, accompanying and recording with different vocalists, also as conductor of the Orquesta Municipal del Tango of the city of San Martín, province of Buenos Aires, with Choly Cordero and Luis Linares on vocals. As a composer, his greatest hits were: “Bailemos”, a beautiful tango with lyrics by Reynaldo Yiso; with the same author, the milonga “Cuando era mía mi vieja” that Julio Sosa converted in a smash hit. Other interesting titles are: “Un regalo de Reyes” with lyric by Yiso; “Te quiero más” with Abel Aznar; “Al latir de Buenos Aires” with Norberto Rizzi; “Noche de duendes”, “Hay lugar” and “Platea” with Haidé Daibán, and the instrumentals “Negroide”, “Con lirismo”, “Vislumbrando” and, in collaboration with Roberto Caló, the milonga “Flauteando”. – Source TODO TANGO

CASTELLANO

ENGLISH

No llores, no muchacha, la gente está mirando bailemos este tango, el tango del adiós así entre mis brazos, mirándote a los ojos yo quiero despedirme sin llanto y sin dolor. La vida caprichosa nos puso frente a frente prendiendo en nuestro pecho la hoguera de un querer, mas hoy, la misma vida nos manda separarnos el sueño de querernos, ya ves, no puede ser. Bailemos como antes, cariñito, abrazados, bien juntitos, sólo un alma entre los dos Bailemos que no vea en tus pupilas una lágrima furtiva, ni una sombra, ni un dolor. Bailemos que después ya sin tus ojos he de arrancar un sollozo por mi amor y por tu amor. Siempre estarás en mi desvelo ¡como una estrella en el cielo prendida en mi corazón! No intentes rebelarte, lo nuestro es imposible, un sueño irrealizable que nunca floreció, qué importa que nos una un mismo sentimiento y encienda nuestras almas la antorcha del amor. Que tengas mucha suerte, que Dios no te abandone, yo sé que a mí me espera la eterna soledad, no tiembles en mis brazos, te ruego me perdones, el tango ya termina, salgamos a llorar.

Don’t cry, girl don’t cry, people are watching Let’s dance this tango, the farewell tango This way in my arms, looking you in the eyes I want to say good bye without tears or pain. The fickle life brought us face to face igniting in our chests the bonfire of love, but today, life itself asks us to separate the dream of loving, you see, can not be. Let’s dance, as before, darling, embraced, really closed just one soul between the two Let’s dance may I not see in your eyes a furtive tear, not a shadow, not any pain Let’s dance that later already away from your eyes I will go on sobbing for my love and for your love. Always you will be in my sleeplessness like a star in the sky shining in my heart! Don’t try to rebel, our affair is impossible an unrealizable dream that never bloomed, no matter to be bonded by the same feeling and turn on our souls the torch of love. Best of luck, may God not abandon you, I know that for me is waiting the eternal loneliness do not tremble in my arms, I beg you to forgive me, the tango is almost over, let’s dance and cry.

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

LA MULATEADA

Bunch of mulattoes (1943)

LYRICS by: Carlos Pesce

MUSIC by: Julio Eduardo Del Puerto

TRANSLATION by: Alberto Paz

Last updated on: 6/28/12

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Sing along with ROBERTO RUFINO with CARLOS DI SARLI

Mazorqueros were social elements surrounding ruler Don Juan Manuel de Rosas cooperating with the Rosas’s police in maintaining order. Chinesco is a musical instrument consisting of a metal frame from where bells hang, all horned into a wooden handle to make it sound when shaken. Restaurador was the name given to ruler Juan Manuel de Rosas. Locro is a regional meat and vegetable stew. Federal is a partisan of the ruling political party

CASTELLANO

ENGLISH

Están de fiesta, en la calle larga Los mazorqueros de Monserrat, Y entre las luces de las antorchas Bailan los negros de La Piedad. Se enlaza Pancho, rey del candombe Con la mulata más Federal, Y en los cuarteles de la Recova Sueña el mulato sentimental. Baila mulata linda Bajo la luna llena, Que al chi qui chi, del chinesco Canta el negro del tambor. Baila mulata linda De la divisa roja, Que están mirando los ojos De nuestro Restaurador. Ya esta servida la mazamorra Y el chocolate tradicional, Y el favorito plato de locro Que ha preparado un buen Federal. Y al son alegre de tamboriles Los novios van a la Concepción, Y al paso brinda la mulateada Por la más santa Federación.

They’re celebrating on the long street The mazorqueros of Montserrat, And among the lights of torches The La Piedad black folks are dancing . Pancho, king of candombe binds With the most Federal mulatto girl, And in the barracks of the Recova The sentimental mulatto dreams. Dance pretty mulatto girl Under the full moon, With the chi qui chi, of the chinesco Sings the black man with the drum. Dance pretty mulatto girl wearing the red emblem, That they’re looking the eyes From our Restaurador. The porridge is ready And the traditional chocolate, And the favorite dish of locro That has prepared a good Federal. And to the happy son the drums The couple go to the church of the Conception And as they pass the bunch of mulattoes toast To the holiest Federation.

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Copyright (c) Planet Tango 1998-2012 All Rights Reserved

ORO Y PLATA

Gold and silver (1943)

LYRICS by: Homero Manzi

MUSIC by: Charlo

TRANSLATION by: Alberto Paz

Last updated on: 6/10/12

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Sing along with CHARLO

Homero Manzi epic poem about a love triangle among people of color reflects on an imaginary time in the mid eighteen fifties, a period from where there is no evidence left about the lives and mores of the black population. The term “pardo” is used to define a mulatto as opposed to the generic designing of “black” to the people of color population. The use of the drum metaphor is in reference to the mythical camdombe rhythm usually associated with early slave populations in colonial Buenos Aires.

CASTELLANO

ENGLISH

Un broche de aguamarina y una esterlina te regaló. Tu negro, que era muy pobre, no tuvo un cobre para el amor. Un pardo de ropa fina para tu ruina te convenció. Yo digo que una mulata, por oro y plata se enamoró. ¡Ay! Late que late, y el cuero del parche bate con manos de chocolate, el negro que la perdió; rueda que rueda, lo mismo que una moneda, con ropas de tul y seda, la negra que le mintió. Todos los cueros están doblando, Pero sus ojos están llorando, que un pardo de cuello duro fumando un puro se la llevó. ¡Ay! Siga que siga, no sufras ni la maldigas que el cielo también castiga la culpa de la ambición. La manos en la tambora mientras tu pena, llora que llora. Yo digo que es un tesoro de plata y oro tu corazón. Tu corazón. Tu corazón. Un broche y una esterlina fueron la ruina de una pasión. Un pardo con diez monedas forró de seda tu corazón. La plata siempre es la plata que hiere y mata sin compasión, yo digo que una mulata por oro y plata se enamoró… Ay…

An aquamarine brooch and sterling he gave you. Your black man, who was very poor, didn’t have a penny to buy love. A well dressed mulatto man convinced you, for your downfall. I say that a mulatto woman, for gold and silver fell in love. Oh! Beats and beats, the drumhead beats with chocolate hands, the black man who lost her; rolls and rolls, same as a coin, with robes of tulle and silk, the black woman who lied to him. All the drum leathers are tolling, But his eyes are crying, a starched collar mulatto smoking a cigar took her with him. Oh! Follow and follow, don’t suffer nor curse her that heaven also punishes the guilt of ambition. The hands on the drum while your sorrow, crying crying. I say it is a treasure of silver and gold your heart. Your heart. Your heart. A clasp and a sterling were the ruin of a passion. A mulatto with ten coins silk lined her heart. Silver is always the silver that wounds and kills without mercy, I say that a mulatto girl for gold and silver fell in love… Oh!

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Copyright (c) Planet Tango 1998-2012 All Rights Reserved

MADRE HAY UNA SOLA

Mother, there is only one (1930)

LYRICS by: José de la Vega

MUSIC by: Agustín Bardi

TRANSLATION by: Alberto Paz

Last updated on: 6/10/12

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Sing along with CARLOS GARDEL

CASTELLANO

ENGLISH

Pagando antiguas locuras Y ahogando mi triste queja, Volví a buscar en la vieja Aquellas hondas ternuras Que abandonadas dejé. Y al verme nada me dijo Por mis torpezas pasadas, Palabras dulcificadas De amor por el hijo Tan sólo escuché! Besos y amores… Amistades… bellas farsas y rosadas ilusiones en el mundo hay a montones por desgracia… ¡Madre hay una sola!… Y aunque un día la olvidé me enseñó al final la vida que a ese amor hay que volver. Y nadie venga a arrancarme del lado de quien me adora de quien con fe bienhechora se esfuerza por consolarme de mi pasado dolor… Las tentaciones son vanas para burlar su cariño; para ella soy siempre un niño, ¡Benditas sus canas! ¡Bendito su amor!

Paying old follies And drowning my sad complaint I sought in the old woman Those deep tenderness That I left abandoned. And seeing me she said nothing About my past blunders, Sweetened words of love for the son, It’s all I heard! Kisses and love … Friends … beautiful shams and rosy illusions in the world there are plenty unfortunately … Mother, there is only one! … And though one day I forgot her Life taught me at the end that to that love we must return . And nobody tear me away from the one who adores me from whom with beneficent faith strives to comfort me from my past pain … The temptations are vain to circumvent her affection; for her I am always a child, Blessed be her gray hair! Blessed  be her love!

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Copyright (c) Planet Tango 1998-2012 All Rights Reserved

MARIPOSITA

Small butterfly (1941)

LYRICS by: Francisco García Jiménez

MUSIC by: Anselmo Aieta

TRANSLATION by: Alberto Paz

Last updated on: 5/12/12

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Sing along with ARIEL ARDIT

CASTELLANO

ENGLISH

Un bandoneón con su resuello tristón. La noche en el cristal de la copa y del bar y del tiempo que pasó… Mi corazón con su borracha emoción. Y en otra voz, la voz de la historia vulgar, dice mi vulgar dolor… Mariposita, muchachita de mi barrio, te busco por el centro, te busco y no te encuentro, siguiendo este calvario con la cruz del mismo error. Te busco porque acaso nos iríamos del brazo… Vos te equivocaste con tu arrullo de sedas palpitantes, y yo con mi barullo de sueños delirantes, en un mundo engañador. ¡Volvamos a lo de antes! ¡Dame el brazo y vámonos! Ni vos ni yo sabemos cuál se perdió. Ni dónde el bien, ni el mal, tuvo un día final y otro día comenzó… Yo bebo más porque esta noche vendrás. Mi corazón te ve; pero habrá que beber mucho… ¡pero mucho más!…

A bandoneon with its sad breath. The night on the glass of the cup and the bar and of the time that passed… My heart with its drunken emotion. And in another voice, the voice of the common history, says my vulgar pain … Little butterfly, girl from my neighborhood, I look for you around down town, I look and I don’t find you, following this ordeal with the cross of the same error. I look for you because perhaps we would go arm in arm… You were wrong with your lullaby of fluttering silk, and I, with my racket of delirious dreams, in a deceitful world. Let’s go back to before! Give me your arm and go! Neither you nor I know which one was lost. Nor where the good or evil, had a final day and another day began … I drink more because tonight you will come. My heart sees you; but it’ll have to drink a lot … But much more! …

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EL CHOCLO

The ear of corn (1903)

LYRICS by: Juan Carlos Marambio Catan (1930) and Enrique Santos Discepolo (1946

MUSIC by: Angel Villoldo

TRANSLATION by: Alberto Paz

Last updated on: 3/27/12

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Sing along with ELBA VERON with SEXTETO MAYOR Sing along with ANGEL VARGAS with ANGEL D’AGOSTINO

On November 3, 1905, the upper class clientele of the exclusive Restaurante Americano gathered as ususal listen to pianist Jose Luis Roncallo and his classical orchestra play. A few days earlier, Angel Villoldo had shown to Roncallo the melody of a Tango he had just composed. It was by far the best Villoldo had written but Roncallo fretted at the idea of playing a Tango for the “creme-de-la creme” of Buenos Aires society dining at the Restaurante Americano. Yet, the sound of the unnamed tune was so compelling that Roncallo decided to sneak it by disguised as a “danza criolla”, a Creole dance. And so, he did on that balmy evening of November 3, 1905. The name had been decided by Villoldo, who named it El choclo, the ear of corn, because “I loved it from the very first note, and for me the ear of corn is the tastiest ingredient of the ‘puchero’, a meat and vegetables stew …” The “puchero” reference reflected Villoldo’s hope that the success of the Tango would bring food to his table. To earn a living was commonly referred to as earning the “puchero.” An appropriate name for an undercover Tango being premiere at a restaurant.Juan Carlos Marambio Catan wrote the 1930 lyrics at the request of Villoldo’s sister and heir Irene Villoldo de Corona.Enrique Santos Disceopolo wrote a new set of lyrics in 1946 at the request of Libertad Lamarque who wished to sing the tango in the movie Gran Casino directed by Luis Buñuel. In order to do so, Discepolo had to reach a laborious agreement with Marambio Catan.In his version, Discepolo makes excellent use of lunfardo lexicon.Bailongo: lunfardo for a place where people dance, i.e. a milonga Bacan: lunfardo for a wealthy man or one who pretends to be wealthy. A man who keeps a woman. A pimp who owns a woman. A concubine of a prostitute. Cana: lunfardo for the police, a policeman or the jail. Canyengue: lunfardo word with several meanings. It refers to somebody or something from the slums, i.e. low class. It also describes a gathering where people from the slums dance. Finally, it is a rhytmic effect created by Leopoldo Thompson by hitting the string of the contrabass with the hand or the arch of the bow. Carancanfunfa: in the lingo of the compadritos, the dance of tango with interruptions (cortes) and also those who dance it that way in a very skillful manner. Gavion: lunfardo for a libertine man who seduces women. A Don Juan that charms the women. A seducer, a mocker. Grelas: lunfardo for woman. Mishiadura: lunfardo for poverty. Mina: lunfardo for woman. Paicas: a lunfardo word for girl. Pebeta: lunfardo for young woman or girl. Reo: lunfardo for hobo, unemployed, given to partying and reticent to work. Typical of people of lower class status. Also, it is used as humble, poor. Shusheta: lunfardo for a person who takes excessive care of his posture and attire. Also it is used to describe a police informant, a person who accuses in secret, a snitch. A fop, a dandy.

CASTELLANO	ENGLISH
VERSION DE DISCEPOLO DE 1946	1946 DISCEPOLO’S VERSION
Con este tango que es burlon y compadrito se ato dos alas la ambicion de mi suburbio; con este tango nacio el tango y como un grito salio del sordido barrial buscando el cielo; conjuro extraño de un amor hecho cadencia que abrio caminos sin mas luz que la esperanza, mezcla de rabia de dolor, de fe, de ausencia llorando en la inocencia de un ritmo jugueton. Por tu milagro de notas agoreras, nacieron sin pensarlo, las paicas y las grelas, luna en los charcos, canyengue en las caderas, y un ansia fiera en la manera de querer… Al evocarte, tango querido, siento que tiemblan las baldosas de un bailongo y oigo el rezongo de mi pasado… Hoy que no tengo mas a mi madre, siento que llega en punta’e pie para besarme cuando tu canto nace al son de un bandoneon… Carancanfunfa se hizo al mar con tu bandera y en un ‘perno” mezclo a Paris con Puente Alsina. Fuiste compadre del gavion y de la mina y hasta comadre del bacan y la pebeta. Por vos shusheta, cana, reo y mishiadura se hicieron voces al nacer con tu destino… Misa de faldas, querosen, tajo y cuchillo, que ardio en los conventillos y ardio en mi corazon!	With this tango, mocking and show off, tied two wings the ambition of my slum; with this tango tango was born and like a shout left the sordid bog looking for heaven; strange spell of a love turned cadence that opened paths with no more light than hope, mixture of rage, pain, faith, absence crying in the inocence of playful rhythm. From the miracle of your ominous notes, were born without a thought, the paicas and the grelas, moon on the puddles, canyengue on the hips, and a fiery desire in the way to love… Evoking you, tango beloved….. I feel the shaking of the tiles of a bailongo and I hear the grumbling of my past… Now that I don’t have my mother anymore, I feel her coming in tiptoes to kiss me when your chant is born to the sound of a bandoneon. Carancanfunfa crossed the sea with your flag and in a Pernod mixed Paris and Puente Alsina. You were buddy of the gavion and the mina and even crony of the bacan and the pebeta. Because of you, shusheta, cana, reo and mishiadura became voices that were born with your destiny… Mass of skirts, kerosen, slash and knife, that burned in the tenements and it burned in my heart!
VERSION DE MARAMBIO CATAN DE 1930	1930 MARAMBIO CATAN’S VERSION
Vieja milonga que en mi horas de tristeza, traes a mi mente tu recuerdo cariñoso y, encadenandome a tus notas dulcemente, siento que el alma se me encoje poco a poco; recuerdo triste de un pasado que en mi vida dejo una pagina de sangre escrita a mano y que se he llevado como cruz de mi martirio aunque mi carga infame me llene de dolor. Hoy que los años han blanqueado ya mis sienes, que en mi pecho solo anida la tristeza como una luz que ilumina en el sendero llegan tus notas de melodica belleza. Tango querido, viejo tango que me embargas con la cadencia de tu musica sentida quiero morir bajo el arrullo de tus quejas, cantando mi querellas, llorando mi dolor recuerdo aquella epoca, tan linda que se fue.	Old milonga that on my hours of sadness brings to my mind an affectionate reminiscence and chaining me to your notes sweetly, I feel my soul shrinking little by little. sad memory of a past that in my life I leave a page of handwritten blood and that I have carried my cross of martyrdom as but my burden infamous fill me with pain. Now that the years have whitened and my temples, that nest in my chest just sadness as a light that illuminates the path your notes arrive melodic beauty. Tango dear, old tango that overwhelms me with the rhythm of your music felt I want to die under the cooing of your moaning, singing my complaints, crying my pain I remember that time, so nice that has gone.

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