Cacho Castaña (Humberto Vicente Castagna, Buenos Aires, Argentina, June 11… Read Full Bio ↴Cacho Castaña (Humberto Vicente Castagna, Buenos Aires, Argentina, June 11, 1942 – October 15, 2019), was an Argentine singer and actor.

Cacho Castaña developed an interest in music during his early years, and by age fourteen, he was a piano teacher. Raised in modest circumstances in the Flores neighborhood, he worked with his father, a shoe cobbler, until age 16. He began his career in music in his teens as a pianist in Oscar Espósito's orquesta típica, one of numerous such groups that performed tango music at the time, and also performed in the Chamamé folk genre.

Castaña became famous as a bolero singer during the 1970s, performing on Argentine television programs such as Tiempo Final and Un Cortado, among others. He authored numerous hits, including Me gusta, me gusta ("I like it, I like it"), Lo llaman el matador ("He's Nicknamed the Killer") and Hay que encontrar al ladrón ("The Thief Must be Found"), and his signature bolero: Para vivir un gran amor ("To Live a Great Love"). His lyrics became known for their extemporaneous and often autobiographical style, which he described as "writing as I would speak."

He is much better known, however, for his contributions to tango music: some of his compositions are considered classics by his fans, including Qué tango hay que cantar ("What Tango Must One Sing", with Rubén Juárez), Garganta con Arena ("Throat full of sand", an homage to Roberto Goyeneche, his mentor), "Tita de Buenos Aires", (Tita de Buenos Aires, dedicated to Tita Merello), A dónde vas? Quedate en Buenos Aires ("Where are you going? Stay in Buenos Aires"), and his ode to the Flores neighborhood: Café la Humedad. Castaña composed around 2,500 songs, of which 500 have been recorded. He produced 44 records, of which fifteen became gold records (over 20,000 sold, per CAPIF ratings), and ten, platinum (over 40,000 sold).

Castaña also starred in thirteen Argentine films, including two for which he wrote the score, El mundo que inventamos ("The World We Created", 1973) and Los hijos de López ("López's Sons", 1980); numerous picaresque comedies; and in Felicidades (2000). A confirmed bachelor for much of his life, his numerous relationships included one with Susana Giménez during the 1970s (Giménez would later become a top-rated talk show hostess in Argentina). He ultimately married Andrea Sblano, the 27-year-old daughter of a close friend, in 2006; among his other close friends was former President Carlos Menem. His television appearances in later years included a cameo on the popular Argentine telenovela, Los Roldán. He earned a Konex Award in 2005 for his work as songwriter, and his tango album released that year, Espalda con espalda ("Shoulder to Shoulder") earned a Gardel Prize.He was invited to perform "with all the other monsters" in Leopoldo Federico's series, Selección Nacional de Tango Argentino (an event he considered "the happiest day of my life"), and was inducted into the National Academy of Tango in 2007.

Castaña's career declined during the 1990s, but rebounded after 2003, and he became active in Argentina's stage and festival circuit. He headlined numerous Corrientes Avenue shows, and was a regular performer in the National Peña Festival, in Villa María. A heavy smoker, he developed emphysema in later years, and was twice hospitalized as he prepared to appear in shows. He and his wife opened a children's clothing boutique, Las Castañitas.[8] Their marriage suffered, however, and they separated in 2011. He was again hospitalized following the separation, and made a speedy recovery.

After two weeks hospitalized, Cacho Castaña died on October 15, 2019.

Tita De Buenos Aires
Cacho Castaña Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Te pintaron las cejas con dos pinceladas de asfalto caliente
y quedó Buenos Aires dibujada en tu frente.
Y esa pena de amor que agrandó tus ojeras, faltando a la cita,
no pudiste borrarla ni con agua bendita.
Era escudo y espada tu palabra atrevida,
tu mirada insolente, cuanto miedo tenías que te dañe la gente.
Esa gente que hablaba y que mal comentaba tu sabiduría.
Ellos nunca supieron lo que tu ya sabías

Tita de Buenos Aires, Tita mía,
la de los tangos calientes y las manos tan frías,
la de plegarias al cielo como la Madre María.
La del mercado de Abasto, la del paseo en tranvía.
Ese loco coraje de potro salvaje, te galopa en las venas
cuando bailas un tango, cuando cantas tus penas.
Y aunque tires la bronca, me trates de loco,
de nada me quejo, tu mirada en silencio es también un consejo.
Te pintaron las cejas con dos pinceladas de asfalto caliente
y quedó Buenos Aires y su calle Corrientes.
Esa pena de amor que agrandó tus ojeras faltando a la cita,
no pudieron borrarla ni con agua bendita.
Tita de Buenos Aires, Tita mía,
la de los tangos calientes y de las manos tan frías,
la de plegarias al cielo como la Madre María.

La del mercado de Abasto, la del paseo en tranvía
Que pocos, que pocos se dieron cuenta cuanto miedo les tenías

Overall Meaning

In this song, Cacho Castaña pays tribute to Tita Merello, a legendary Argentine actress, singer and dancer who became an icon of Buenos Aires in the mid-twentieth century. The first verse describes her distinctive appearance, with her eyebrows "painted" with two strokes of "hot asphalt," a reference to the dark and thick eyebrows that became her trademark. Castaña suggests that the city of Buenos Aires is imprinted on her face, as she embodies the spirit and emotion of the city. The next line refers to a pain of love that caused her to miss a date, and despite attempts to erase it, it remained visible in her eyes. Her fearless personality is captured in the phrase "shield and sword," as her bold words and insolent look concealed her fears of being hurt by others. Castaña suggests that those who criticized Tita's wisdom and misunderstood her, never knew what she did, and praises her for being an insightful person.

The chorus repeats the name "Tita de Buenos Aires", as a celebration of her identity and connection to the city. She is described as the one with hot tangos and cold hands, a reference to her ability to convey emotion through her music, as well as her tough personality. The lyrics also highlight her religious devotion, likening her to the Virgin Mary with her prayers to heaven. Her personality is further described through her love of the Abasto market and trips on the tram, as well as her fierce spirit like that of a wild horse.

The final verse alludes to the fact that despite her strong personality, Tita had fears and insecurities that went unnoticed by many. Castaña praises her for her ability to give advice silently through her gaze, and concludes by repeating the opening lines, emphasizing the indelible mark that Buenos Aires left on Tita's face and soul.

Line by Line Meaning

Te pintaron las cejas con dos pinceladas de asfalto caliente
Your eyebrows were painted with two strokes of hot asphalt, depicting the city of Buenos Aires on your forehead.

Y esa pena de amor que agrandó tus ojeras, faltando a la cita, no pudiste borrarla ni con agua bendita.
The pain of love that caused dark circles under your eyes by standing up for a date, couldn't be erased even with holy water.

Era escudo y espada tu palabra atrevida, tu mirada insolente, cuanto miedo tenías que te dañe la gente.
Your bold words and insolent gaze were your defense mechanism but you were afraid of people hurting you.

Esa gente que hablaba y que mal comentaba tu sabiduría. Ellos nunca supieron lo que ya sabías.
The people who spoke ill of your wisdom never knew what you already did.

Tita de Buenos Aires, Tita mía, la de los tangos calientes y las manos tan frías, la de plegarias al cielo como la Madre María.
You are Tita of Buenos Aires, my Tita, who dances hot tangos with cold hands and prays to heaven like Mother Mary.

La del mercado de Abasto, la del paseo en tranvía. Ese loco coraje de potro salvaje, te galopa en las venas cuando bailas un tango, cuando cantas tus penas.
You are the one from Abasto market, who takes a tram ride. The courage of a wild horse runs through your veins when you dance a tango or sing your sorrows.

Y aunque tires la bronca, me trates de loco, de nada me quejo, tu mirada en silencio es también un consejo.
Even if you get angry and call me crazy, I have no complaints, because your silent gaze is also advice.

Te pintaron las cejas con dos pinceladas de asfalto caliente y quedó Buenos Aires y su calle Corrientes.
Your eyebrows were painted with two strokes of hot asphalt, and Buenos Aires along with its famous Corrientes street was depicted on your forehead.

Esa pena de amor que agrandó tus ojeras faltando a la cita, no pudieron borrarla ni con agua bendita.
The pain of love that caused dark circles under your eyes by standing up for a date, couldn't be erased even with holy water.

Tita de Buenos Aires, Tita mía, la de los tangos calientes y de las manos tan frías, la de plegarias al cielo como la Madre María. La del mercado de Abasto, la del paseo en tranvía
You are Tita of Buenos Aires, my Tita, who dances hot tangos with cold hands and prays to heaven like Mother Mary, one from Abasto market, who takes a tram ride.

Que pocos, que pocos se dieron cuenta cuanto miedo les tenías
Only a few knew how afraid you were of them.

Contributed by Layla C. Suggest a correction in the comments below.

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