Fabrice Knecht Tango DJ

Barracas al sud

Barracas al sud is a Milonga written by Fulvio Salamanca and recorded by Juan D’Arienzo in 1940. The Milonga Barracas al sud is written by Fulvio Salamanca, Juan D’Arienzo has recorded Barracas al sud with the singer Carlos Casares.
“Barracas al sud” translates to “Sheds in the South” in English. This name evokes the bustling heart of an old, industrial hub, where the vibrant tango rhythms echo through weathered streets and storied markets. It whispers tales of life and labor, capturing the resilience and passion of a community thriving amidst the shadows of the past.

Milonga

Style

Juan D'Arienzo

Orchestra

Carlos Casares

Singer

Julio Alberto

Author

Fulvio Salamanca

Composer

1940/8/8

Date

Carlos Casares
Carlos Casares
Juan D'Arienzo
Juan D’Arienzo

Discover Other Orchestras

Osvaldo Pugliese – Amurado – 1944/11/24
Osvaldo Pugliese – Coplas – 1961/9/1
Osvaldo Pugliese – Esta es mi ciudad – 1982/9/3
Osvaldo Pugliese – La cachila – 1952/11/24
Osvaldo Pugliese – Andres Selpa – 1985/5/21
Héctor Varela – El flete – 1952/6/9
Héctor Varela – Volvé mimosa – 1958/1/2
Héctor Varela – Eras como la flor – 1954/10/26
Héctor Varela – El africano – 1951/11/15
Héctor Varela – El marne – 1967/5/9
Osmar Maderna – Tarde gris – 1946/11/23
Osmar Maderna – Volviendo – 1947/5/30
Osmar Maderna – Pequeña – 1949/7/21
Osmar Maderna – Concierto en la luna – 1946/9/24
Osmar Maderna – Chiqué – 1946/6/19
Florindo Sassone – Nostalgias (2) – 1971/1/1
Florindo Sassone – La cumparsita – 1968/5/30
Florindo Sassone – Malevaje – 1974/1/1
Florindo Sassone – Mujer – 1974/1/1
Florindo Sassone – Soledad – 1959/10/8

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

1940/8/8 – La bicoca – Juan D-Arienzo
1940/8/5 – Ausencia – Carlos di Sarli
1940/8/5 – El jaguar – Carlos di Sarli
1940/8/13 – Contigo pan y cebolla – Enrique Rodriguez
1940/8/13 – Isabelita – Enrique Rodriguez

Lyrics Translation of the Milonga Barracas al sud

This is the translation of the Milonga “Barracas al sud” from Spanish to English. The English lyrics of the Milonga “Barracas al sud” have been done with AI.

Letra del Milonga Barracas al sud

Fue por Barracas al sud
Dónde yo la conocí,
En los tiempos que lucí
Trencilla en el pantalón.

Fue por Barracas al sud
Cuando por una mujer,
Pa´ conseguir su querer
No había más ley que el facón.

English lyrics of the Milonga "Barracas al sud"

It was through Barracas to the south
Where I met her then,
In the days I did don
Braids on my trousers, proud.

It was through Barracas to the south
When for a woman’s heart and charm,
To win her warmth and arm
There was no law but the blade, unbowed.

Barracas al sud

Barracas al sud is a Tango written by and composed by Fulvio Salamanca.

Story behind the Tango Barracas al sud

The tango “Barracas al sud” tells a tale of nostalgia, longing, and passion, rooted in a specific location significant to the protagonist. The narrator reminisces about meaningful encounters and youthful bravado, especially tied to a particular woman and a time when life was ruled by raw emotions and duels of honor symbolized by the knife. This personal narrative is woven into the broader cultural tapestry of Argentine tango, where love and heartbreak often intertwine.

Symbolism of Barracas al sud

The piece is rich with symbolism and notable language choices. The phrase “Fue por Barracas al sud” repeatedly anchors the story in a specific geographic and emotional space, suggesting both physical and emotional nostalgia. The “trencilla en el pantalón” indicates a youthful fashion statement, emblematic of a bygone era of style and identity. The mention of “facón” (a large knife) symbolizes a period in Argentine history when personal honor and love were often defended in duels, and masculinity was expressed through displays of bravado.

Barracas al sud in historic Context

Set in the Barracas South area of Buenos Aires, the tango captures a historical snapshot of the 1940s, a time when this neighborhood was a hub of working-class life and tango culture. The social context of the era, marked by its codes of honor and machismo, deeply influences the story’s tone. The reference to Barracas grounds the narrative in a real place, known for its vibrant cultural and industrial activity, resonating with anyone familiar with Buenos Aires’ social geography.

The Author

While the author of the lyrics is not specified, Fulvio Salamanca, a renowned Argentine composer and orchestra leader, crafted its composition. His contributions to tango music often evoke deep emotional responses, encapsulating the spirit of Argentine life in the mid-20th century.