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Sobre el pucho (Un callejón en Pompeya)

Sobre el pucho (Un callejón en Pompeya) is a Tango written by Sebastián Piana and recorded by Juan D’Arienzo in 1941. The Tango Sobre el pucho (Un callejón en Pompeya) is written by Sebastián Piana, Juan D’Arienzo has recorded Sobre el pucho (Un callejón en Pompeya) with the singer Héctor Mauré.
“Sobre el pucho (Un callejón en Pompeya)” translates to “On the Spot (An Alley in Pompeya)” in English. The title evokes a snapshot of life captured in an instant, as if standing at a crossroads in time. The alley in Pompeya suggests a hidden passage in a bustling neighborhood, where stories linger in whispered melodies of tango, echoing the rhythm of everyday life.

Tango

Style

Juan D'Arienzo

Orchestra

Héctor Mauré

Singer

José González Castillo

Author

Sebastián Piana

Composer

1941/9/12

Date

Héctor Mauré
Héctor Mauré
Juan D'Arienzo
Juan D’Arienzo

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Sobre el pucho (Un callejón en Pompeya) recorded by other Orchestras

Sobre el pucho (Un callejón en Pompeya) recorded by other Orchestras

Lyrics Translation of the Tango Sobre el pucho (Un callejón en Pompeya)

This is the translation of the Tango “Sobre el pucho (Un callejón en Pompeya)” from Spanish to English. The English lyrics of the Tango “Sobre el pucho (Un callejón en Pompeya)” have been done with AI.

Letra del Tango Sobre el pucho (Un callejón en Pompeya)

Un callejón de Pompeya
y un farolito plateando el fango
y allí un malevo que fuma,
y un organito moliendo un tango;
y al son de aquella milonga,
más que su vida mistonga,
meditando, aquel malevo
recordó la canción de su dolor.

Yo soy aquel que, en Corrales,
-los carnavales
de mis amores-
hizo brillar tus bellezas
con las lindezas
de sus primores;
pero tu inconstancia loca
me arrebató de tu boca,
como pucho que se tira
cuando ya
ni sabor ni aroma da.

Tango querido
que ya pa’siempre pasó,
como pucho consumió
las delicias de mi vida
que hoy cenizas sólo son.
Tango querido
que ya pa’siempre calló,
¿quién entonces me diría
que vos te llevarías
mi única ilusión?

English lyrics of the Tango "Sobre el pucho (Un callejón en Pompeya)"

A back alley in Pompeya
and a small lantern silvering the mud,
and there a thug smoking,
and a street organ grinding out a tango;
to the sound of that milonga,
which more than his shabby life,
meditating, the thug
recalled the song of his sorrow.

I am the one who, in Corrales,
-during the carnivals
of my loves-
made your beauty sparkle
with the charm
of its finest;
but your crazy fickleness
snatched you from my lips,
like a cigarette butt thrown away
when it
no longer gives flavor or scent.

Beloved tango
that has forever passed,
like a cigarette consumed,
the delights of my life
that are now only ashes.
Beloved tango
that has forever gone silent,
who then would have told me
that you would take away
my only illusion?

Sobre el pucho (Un callejón en Pompeya) by José González Castillo

Sobre el pucho (Un callejón en Pompeya) is a Tango written by José González Castillo and composed by Sebastián Piana.


Story behind the Tango Sobre el pucho (Un callejón en Pompeya)

The tango paints a nostalgic and melancholic picture of a scene in Pompeya, a neighborhood in Buenos Aires, characterized by its typical alleyways and the ambiance of the early 20th century. The lyrics describe a man (malevo) reminiscing about a lost love while smoking and listening to a tango being played on a small organ. The setting, with a solitary streetlamp illuminating the mud (fango), evokes a sense of solitude and a deep longing for the past. José González Castillo narrates this tale of ephemeral love and irrevocable loss through the metaphor of a cigarette stub (pucho), used to signify something discarded after it has lost its essence.


Symbolism of Sobre el pucho (Un callejón en Pompeya)

In this tango, the ‘pucho,’ which is a colloquial term for a stubbed out cigarette, symbolizes the remnants of a past love – consumed and discarded. The lyrics “como pucho que se tira cuando ya ni sabor ni aroma da” directly translate to “like a stub thrown away when it neither gives taste nor aroma.” This metaphor reflects the deep disillusionment and the sense of something once cherished now rendered tasteless and empty. Another layer of symbolism is presented through the ‘organito,’ a street organ that grinds out tangos, representing how music can stir memories and emotions, anchoring the mood of the song.


Sobre el pucho (Un callejón en Pompeya) in historic Context

The tango was recorded in 1941, a period marked by social and political changes in Argentina. By this time, tango music had evolved from its origins in the lower-class neighborhoods of Buenos Aires to become a national treasure that expressed the collective sentiment of the populace. The choice of Pompeya, a quintessential barrio with its own cultural and historical significance in the urban landscape of Buenos Aires, serves to root the narrative in a specific locale known for its strong associations with the working class and tango culture. The historical and geographical elements contextualize the tango, highlighting themes of loss, nostalgia, and the passage of time, resonant with the broader societal milieu of Argentina during the early 20th century.


José González Castillo

José González Castillo was a prominent Argentine playwright, poet, and tango lyricist, renowned for his contributions to the literary and musical heritage of Argentina.