Fabrice Knecht Tango DJ

La fulana

La fulana is a Milonga written by Alberto Mastra and recorded by José Basso in 1957. The Milonga La fulana is written by Alberto Mastra, José Basso has recorded La fulana with the singer Floreal Ruiz.
“La Fulana,” translating to “The So-and-So” in English, carries an air of mystery and anonymity. This Tango, with its swirling melodies, seems to tell the tale of a nameless woman whose presence lingers in whispers and shadows. She embodies the fleeting, ephemeral experiences of life, capturing the bittersweet essence of moments that come and go like a passing breeze.

Milonga

Style

José Basso

Orchestra

Floreal Ruiz

Singer

Alberto Mastra

Author

Alberto Mastra

Composer

1957/3/27

Date

Floreal Ruiz
Floreal Ruiz
José Basso
José Basso

Discover Other Orchestras

Armando PONTIER – Verdemar – 1960/7/21
Juan D’Arienzo – Quién como yo – 1959/10/29
Juan D’Arienzo – Tremolina – 1970/12/16
Juan D’Arienzo – La mentirosa – 1944/6/9
Juan D’Arienzo – Solamente por amor – 1965/10/14
Juan D’Arienzo – Inspiración – 1967/7/27
Osvaldo Pugliese – Gente amiga – 1958/1/2
Osvaldo Pugliese – Se tiran conmigo – 1966/8/1
Osvaldo Pugliese – Bolero – 1947/12/16
Osvaldo Pugliese – Decencia – 1967/8/1
Osvaldo Pugliese – La vaquita – 1972/12/22
Adolfo Carabelli – Mentira – 1931/10/2
Adolfo Carabelli – Cuando miran tus ojos – 1932/5/6
Adolfo Carabelli – El mundo sigue al revés – 1934/1/1
Adolfo Carabelli – Deci que si – 1933/1/1
Adolfo Carabelli – Remembrance – 1929/1/1

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.

1957/3/27 – Quedemonos aqui – Jose Basso
1957/3/29 – El entrerriano – Hector Varela
1957/3/29 – La tablada – Hector Varela
1957/4/2 – Fondin de Pedro Mendoza – Ricardo Tanturi
1957/4/2 – Provinciana linda – Ricardo Tanturi

Lyrics Translation of the Milonga La fulana

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

Letra del Milonga La fulana

Tal vez, por ser afortunado en el querer
no he sido desconfiao pa’ la mujer
siempre supe entreverarme sin complicarme
y al fin largué.
La fui de mozo vivo y rompedor
mientras duró el jueguito ligador,
pero la última fulana
me adelantó el reloj.

La vi pasar y me enredé
en la armonía de su andar
¡Qué monumento al churro aquel!
¡Qué calidad!
Nunca creí, ¡pobre de mí! que esa fulana fuera mi fin.

Cuando mi orgullo de varón
entró el en juego de plantones y de ruegos
que ella lo esquivaba así.
¡Que no puedo! ¡Que quién sabe!
¡Que esta noche! ¡Que mañana!
La cuestión que la fulana,
me dio el dulce y lo mordí.

Ya ven
que aquel mocito taura y rompedor
hoy es un convencido jugador
bien calladito y conforme
con su uniforme de changador,
la pinta es puro grupo y nada más,
hay que vivir en serio y trabajar,
y buscar a la fulana
que a uno lo haga cambiar.

English lyrics of the Milonga "La fulana"

Maybe, because I’ve been lucky in love
I’ve never been suspicious of women.
I always knew how to get involved without complications,
and in the end, I walked away.
I was a keen and dashing young man
as long as the charming game lasted,
but the last woman
set my clock ahead.

I saw her pass by and got tangled
in the harmony of her stride.
What a monument to beauty!
What quality!
I never believed, poor me! that this woman would be my downfall.

When my male pride
entered the game of standoffs and pleas
that she so dodged.
I can’t! Who knows!
Tonight! Tomorrow!
The thing is, the woman
gave me sweetness and I bit.

You see,
that brave and dashing young man
today is a convinced player,
very quietly content
with his uniform of a changer,
looks are just surface, nothing more,
you have to live seriously and work,
and look for the woman
who makes one change.

La fulana by Alberto Mastra

La fulana is a Tango written by Alberto Mastra and composed by Alberto Mastra.



Story behind the Tango La fulana

Alberto Mastra, in “La fulana,” narrates the tale of a man whose cavalier attitude towards love is transformed by an encounter with a woman—an enigmatic “fulana.” The man, previously unencumbered by serious relationships, meets a woman who challenges his freedom and views on romance. Despite his efforts to remain detached, he falls victim to her allure, only to be left longing and unfulfilled, as she evades his affections with excuses and postponements. This story serves as a reflection on how love can unpredictably change one’s life and perspectives.



Symbolism of La fulana

The term “La fulana” in the title represents an unspecified woman, often used in Spanish to refer to someone without naming them directly. This choice of words underscores the anonymity and universality of the woman in the story—she could be anyone, hence reflecting the universal nature of the protagonist’s experiences. Key phrases such as “¡Que no puedo! ¡Que quién sabe! ¡Que esta noche! ¡Que mañana!” illustrate her evasiveness, symbolizing the elusive nature of love and the protagonist’s inability to grasp or control it. Meanwhile, the transformation from a “mocito taura y rompedor” (confident and groundbreaking young man) to a “convencido jugador” (convinced player) suggests a loss of naivete and a resigned acceptance of the complexities of life and love.



La fulana in historic Context

“La fulana” was recorded in 1957, a time when Tango music deeply reflected the emotional and social undercurrents of Argentine society. Post World War II, Argentina was marked by rapid industrialization and urbanization, shifting societal norms and values. This era saw a marked transition from traditional to more modern lifestyles, where personal freedoms and new social dynamics were explored more openly. The tango, therefore, emerges not just as a musical expression, but as a narrative that critically engages with themes of love, disillusionment, and societal change.



Alberto Mastra

Alberto Mastra was a noted Uruguayan singer, composer, and guitarist, celebrated for his contributions to the genre of Tango.