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Oro muerto (Jirón porteño)

Oro muerto (Jirón porteño) is a Tango written by Juan Raggi and recorded by Roberto Firpo in 1927. Roberto Firpo has recorded Oro muerto (Jirón porteño) as an instrumental Tango.
“Oro Muerto (Jirón Porteño)” translates to “Dead Gold (Fragment from Buenos Aires).” This evocative piece captures the essence of lost splendor, perhaps reflecting on the faded glory of a bygone era in a bustling port city. The music weaves a tapestry of nostalgia and melancholy, painting a picture of dreams that once gleamed brightly but now lie dormant, like forgotten treasure.

Tango

Style

Roberto Firpo

Orchestra

Instrumental

Singer

Juan Raggi

Author

Juan Raggi

Composer

1927/6/3

Date

Instrumental
Instrumental
Roberto Firpo
Roberto Firpo

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Oro muerto (Jirón porteño) recorded by other Orchestras

Oro muerto (Jirón porteño) recorded by other Orchestras

Letra del Tango Oro muerto (Jirón porteño)

El conventillo luce su traje de etiqueta;

las paicas van llegando, dispuestas a mostrar

que hay pilchas domingueras, que hay porte y hay silueta,

a los garabos reos deseosos de tanguear.

La orquesta mistonguera musita un tango fulo,

Los reos se desgranan buscando, entre el montón,

la princesita rosa de ensortijado rulo

que espera a su Romeo como una bendición.



El dueño de la casa

atiende a las visitas

los pibes del convento

gritan en derredor

jugando a la rayuela,

al salto, a las bolitas,

mientras un gringo curda

maldice al Redentor.



El fuelle melodioso termina un tango papa.

Una pebeta hermosa saca del corazón

un ramo de violetas, que pone en la solapa

del garabito guapo, dueño de su ilusión.

Termina la milonga. Las minas retrecheras

salen con sus bacanes, henchidas de emoción,

llevando de esperanzas un cielo en sus ojeras

y un mundo de cariño dentro del corazón.

English lyrics of the Tango "Oro muerto (Jirón porteño)"

The tenement sports its fancy dress;
the ladies start arriving, ready to showcase
that there are Sunday clothes, there is manner and silhouette,
for the tough guys eager to tango.

The ragtag orchestra whispers a poor tango,
The toughs sift through, seeking among the crowd,
the little pink princess with curly locks
waiting for her Romeo like a blessing.

The landlord
attends to the guests
the kids of the tenement
shout around
playing hopscotch,
jumping, playing marbles,
while a drunk foreigner
curses the Redeemer.

The melodious accordion ends a grand tango.
A beautiful young girl takes from the heart
a bouquet of violets, which she places on the lapel
of the handsome tough guy, the owner of her dreams.
The dance ends. The cheeky dames
leave with their big shots, filled with emotion,
carrying a sky of hope in their dark circles
and a world of love inside their hearts.

Oro muerto (Jirón porteño) by Juan Raggi

Oro muerto (Jirón porteño) is a Tango written by Juan Raggi and composed by Juan Raggi.

Story behind the Tango Oro muerto (Jirón porteño)

The lyric of “Oro muerto (Jirón porteño)” vividly portrays the vibrant, yet gritty life within a Buenos Aires conventillo, or tenement, offering a slice of urban working-class culture in the early 20th century. The narrative encapsulates a lively scene where inhabitants, dressed in their best clothes, gather for a dance. The young women, referred to affectionately as “paicas,” arrive with the intention to flaunt their beauty and charm, while the men, described as “garabos reos,” eagerly anticipate the dance, hoping to find romance. Through its vivid portrayal of a community’s social interaction, the tango delves into themes of love, hope, and escapism amidst a backdrop of daily struggles.

Symbolism of Oro muerto (Jirón porteño)

Throughout the song, Juan Raggi uses clothing and fashion as symbolisms for personal aspirations and societal status. The “pilchas domingueras” or Sunday clothes, and the “princesita rosa” or little pink princess, highlight how individuals use attire as a form of expression and escape from daily hardships. The act of placing violetas (violets) in the lapel symbolizes affection and perhaps a gift of love, suggesting deeper emotional connections formed during these social gatherings. The description of the orquesta mistonguera (mixed sound orchestra) playing a “tango fulo” (possibly a slang for a low-quality tango) reflects the authenticity and rawness of the local music culture, resonating with the realities of those who lived there.

Oro muerto (Jirón porteño) in historic Context

Recorded in 1927, “Oro muerto (Jirón porteño)” reflects a pivotal era in Argentine history where tango was evolving not just as a dance form but also as a cultural symbol amidst the urban landscape of Buenos Aires. During this period, the city saw massive immigration which influenced the local culture, often depicted in the vibrant and chaotic scenes within tenements like those described in the tango. These densely packed living quarters became melting pots of culture and breeding grounds for the music and dance of the tango. The economic struggles experienced during this period also resonate in the lyrics, shedding light on the blend of joy and sorrow that characterized the life of the urban working class.

Juan Raggi

Juan Raggi was an Argentine tango musician known for his poignant portrayal of life in Buenos Aires through his compositions.