Hay que Dios boludo

Divididos, an iconic Argentine rock band, brings a unique blend of poetic lyricism and raw emotion in their song 'Hay que Dios boludo.' The song delves into the complexities of love, disillusionment, and the absurdities of life, all wrapped in a tapestry of vivid imagery and cultural references.

The opening lines, 'El amor me llenó la cama de arandelas y tachuelas,' paint a picture of love as something that can be both beautiful and painful. The use of 'arandelas y tachuelas' (washers and tacks) suggests that love has left the narrator's life cluttered and uncomfortable. The metaphor of undergoing surgery 'con anestesia local' (with local anesthesia) to remove a 'bandoneón' (a type of accordion) from his heart further emphasizes the emotional pain and the attempt to numb it. This imagery sets the tone for a song that explores the highs and lows of romantic entanglements.

As the song progresses, the narrator reflects on the absurdity of life and love. The line 'Se me divorciaron las mesitas de luz' (My bedside tables got divorced) humorously captures the sense of disarray and rebellion in his personal life. The phrase 'ay, que Dios boludo' (Oh, what a foolish God) adds a layer of existential questioning, suggesting that even divine intervention seems inept or indifferent. This blend of humor and existentialism is a hallmark of Divididos' lyrical style, making their music both thought-provoking and relatable.

The song also touches on themes of escapism and fleeting joy. The invitation to 'Vestite pebeta que te llevo a pasear' (Dress up, girl, I'll take you out) offers a momentary escape from the chaos and disillusionment. However, the recurring imagery of 'cajita musical que se oxido' (a musical box that rusted) and 'carnaval de los picaflores' (carnival of hummingbirds) suggests that these moments of joy are temporary and often marred by underlying sadness. The song's closing lines, referencing 'aquelarre de presidentes' (witches' sabbath of presidents) and 'la azafata vuelve a ser la que trae el perfume y el pedal' (the stewardess returns to bring the perfume and the pedal), further underscore the cyclical nature of disillusionment and the search for fleeting happiness.