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Un baile a beneficio

Un baile a beneficio is a Milonga written by Juan Carlos Caccaviello and recorded by Osvaldo Pugliese in 1950. The Milonga Un baile a beneficio is written by Juan Carlos Caccaviello, Osvaldo Pugliese has recorded Un baile a beneficio with the singer Jorge Vidal.
“Un baile a beneficio,” translated as “A Dance for Charity,” invites us to step onto a heartwarming floor where rhythm and goodwill intertwine. Each note weaves a tapestry of generosity, offering hope and grace to the world. In this dance, every gesture becomes a gift, a celebration of community and compassion, moving in harmony for a greater cause.

Milonga

Style

Osvaldo Pugliese

Orchestra

Jorge Vidal

Singer

José Alfredo Fernández

Author

Juan Carlos Caccaviello

Composer

1950/11/16

Date

Jorge Vidal
Jorge Vidal
Osvaldo Pugliese
Osvaldo Pugliese

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Horacio Salgán Y Dante Amicarelli – En bateau – 1970/1/1
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Lucio Demare – El naranjerito – 1942/4/14
Lucio Demare – Soy del 90 – 1943/5/6
Lucio Demare – La casita de mis viejos – 1953/1/27
Lucio Demare – Gricel – 1957/1/1
Lucio Demare – Nunca tuvo novio – 1957/1/1
José Garcia – Candombe rioplatense – 1943/8/13
José Garcia – Anselmo Acuña el resero – 1943/8/13
José Garcia – Solo compasion – 1942/6/17
José Garcia – Quien no tuvo un amor – 1944/6/1
José Garcia – A lo mejor quién te dice – 1942/10/27
Héctor Varela – Como tu cariño – 1954/11/25
Héctor Varela – Guardia vieja – 1973/1/1
Héctor Varela – Cariñito – 1958/7/17
Héctor Varela – Y llorarás como yo – 1973/1/1
Héctor Varela – Risque – 1955/7/22

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.

1950/11/16 – Barra querida – Osvaldo Pugliese
1950/11/17 – Mi vieja viola – Jose Basso
1950/11/17 – Payada criolla – Jose Basso
1950/11/10 – Como la caperucita – Alfredo De Angelis
1950/11/10 – Selecciones de Enrique Delfino – Alfredo De Angelis

Lyrics Translation of the Milonga Un baile a beneficio

This is the translation of the Milonga “Un baile a beneficio” from Spanish to English. The English lyrics of the Milonga “Un baile a beneficio” have been done with AI.

Letra del Milonga Un baile a beneficio

Con el lungo Pantaleón,
Pepino y el Loco Juan,
el Peludo Santillán,
Tito y el Chueco Ramón,
salimos con la intención
de ir a un bailongo fulero
a beneficio de un reo
que se hallaba engayolado
en Devoto y acusado
por asuntos de choreo.

Al buffet por la bebida
fui con Tito y el Peludo,
que ya estaba medio mudo
por la curda que tenía;
pero ahí encontré una cría
chupando que daba gusto.
Estaba el violero Augusto,
Gatillo, el cortao Potranca
y el Zorro, con una tranca
que con verlo daba susto.

Y entre el ambiente de minas
estaban las de Mendieta
con la flaca Pañoleta,
la Paja Brava y la China,
Pichota, la Golondrina,
la mechera Encarnación,
la Bizca del Corralón,
la Grela de Puñalada,
Sarita de la Cortada,
y la Parda del Callejón.

También la Lunga Sofía,
doña Lola y la Ramona,
la Lauchita y la Patona,
y la petisa María;
la bigotuda Lucía,
la Latera, la Zulema.
Estaba toda la crema
con sus pilchas domingueras
y me pareció que entera
se había venido la Quema.

En el baile, meta y ponga,
era brava la negrada;
y, entre cortes y quebradas,
se mandaban la milonga.
Una negra media conga
bailando con un chabón,
le dio al Loco un pisotón
propiamente en el juanete:
si Santillán no se mete
el Loco le da un piñón.

Pero un petiso careta
al Loco le dio un sopapo;
cayó lo mismo que sapo
haciendo sonar la jeta.
Intervino Pañoleta
para arreglar la cuestión,
el petiso para un rincón
se las quería picar,
pero lo hizo sonar
de un tortazo Pantaleón.

Después se armó la podrida:
piñas, patadas, bancazos…
Santillán tiró un balazo
con un chumbo que tenía.
Toda la gente corría,
quedó la casa pelada;
pa’ terminar la velada
yo me llevé un bandoneón,
un Perramus, Pantaleón,
y el Loco la jeta hinchada.

English lyrics of the Milonga "Un baile a beneficio"

With long-legged Pantaleon,
Pepino and Crazy Juan,
Hairy Santillan,
Tito and Crooked Ramon,
we set out with the intention
to go to a shabby dance
for the benefit of a convict
who was caged
in Devoto, accused
of thievery issues.

At the buffet for a drink
I went with Tito and Hairy,
who was already half mute
from the booze he had;
but there I found a chick
sucking merrily away.
Augusto the guitarist was there,
Trigger, the cut off Colt
and the Fox, with a load
so heavy, just seeing him was frightful.

And amid the crowd of gals
were Mendieta’s,
skinny Pañoleta,
Wild Straw and China,
Pichota, Swallow,
the swindler Encarnacion,
Bizca from the Corral,
Stabbed Grela,
Sarita from the Alley,
and the Mixed-race from the Lane.

Also long-legged Sofia,
Donna Lola and Ramona,
Mousey and Big-Foot,
and shorty Maria;
mustachioed Lucia,
Latera, Zulema.
All the high-society was there
in their Sunday best
and it seemed like the whole Quema
had come.

In the dance, hit and throw,
the crowd was fierce;
and among cuts and breaks,
they threw down the milonga.
A half-conga black woman
dancing with a dude,
stepped on Crazy’s bunion
precisely:
if Santillan hadn’t stepped in
Crazy would have punched him.

But a sly shorty
slapped Crazy;
fell just like a toad
making his face clatter.
Pañoleta intervened
to settle the matter,
the shorty wanted to sneak off to a corner,
but Pantaleon ended it
with a slap that rang.

Then the mess kicked off:
punches, kicks, chair smashes…
Santillan fired a shot
with a gun he had.
Everyone ran,
the house was cleared;
to end the evening
I grabbed a bandoneon,
a Perramus coat, Pantaleon,
and Crazy with a swollen face.

Un baile a beneficio by José Alfredo Fernández

Un baile a beneficio is a Tango written by José Alfredo Fernández and composed by Juan Carlos Caccaviello.



Story behind the Tango “Un baile a beneficio”

The song narrates an eventful tale set at a problematic charity dance organized to aid an incarcerated individual. Featuring vivid characters like Pantaleón, Pepino, el Loco Juan, and others, the lyrics dive into a night filled with mischief, alcohol, and eventually a brawl. These various characters gather with the initial intent of supporting a detained fellow, known only for his involvement in theft, but end up in chaotic waltz of violence and theft themselves. The setting, an underprivileged and perhaps nefarious environment, is animated by the colorful and lively interactions between the ‘crema’ — the cream, or main group — of attendees.



Symbolism of Un baile a beneficio

Symbolism in “Un baile a beneficio” reveals much about societal norms and human behavior. The ‘baile’ or dance symbolizes a coming together for communal support but juxtaposes with stark reality when it descends into chaos, mirroring how well-meant intentions often follow unforeseen paths. The detailed depiction of the characters—often through nicknames expressing distinct personality or physical traits—serves to amplify the poem’s larger commentary on human nature and societal roles. Notably, the transformation of a benefit event into a violent scene underscores the thin veneer of civility that barely conceals undercurrents of turbulence and disorder.



Un baile a beneficio in historic Context

Set in 1950s Argentina, this tango reflects a period of political and social upheaval, mirrored in its vibrant yet volatile dance scene. It was a time when Tango music often carried undertones of dissent and was reflective of the lower classes’ daily struggles and realities. The casual mention of a neighborhood like Devoto, referencing a well-known Buenos Aires prison, anchors the song in a tangible reality familiar to its contemporary audience. Portraying scenes from specific locales like Devoto and mentioning activities akin to local gossip (theft, street altercations) embodies the societal context and adds layers to the interpretation of the tango as not only a musical piece but as a reflection of societal dynamics.



José Alfredo Fernández

José Alfredo Fernández was a prolific lyricist known for encapsulating vivid narratives and rich character studies within the compact form of Tango songs.