How do you dance to banda music
Latin American dance | History, Styles, & Facts
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Latin American dance, dance traditions of Mexico, Central America, and the portions of South America and the Caribbean colonized by the Spanish and the Portuguese. These traditions reflect the distinctive mixtures of indigenous (Amerindian), African, and European influences that have shifted throughout the region over time.
This article surveys selected genres of dance across the vast and diverse region of Latin America. After a brief consideration of dance in preconquest cultures (for further treatment, see Native American dance), the narrative turns to the profound influence on dance practice of the European-imposed Roman Catholic Church and its calendar of festivals and commemorations. At the same time, imported elite dance practices became part of the colonial cultures and were in turn infused with local and regional flavours. From the 19th century on, national variations have asserted themselves throughout dance practice in Latin America and in the Latino cultures of North America. (Latin American music shows a similar path of development; a great deal of the region’s nonclassical music, both vocal and instrumental, accompanies or shares a history with dance.)
Although the article discusses theatrical derivatives of traditional dance (which are often grouped under the name folklórico) because of their visibility and importance in the region, not included are international forms of concert dance, such as ballet and modern dance. After a chronological survey of broad trends, with examples, the article focuses on individual countries. Haiti, which was colonized by the French, is included in this article because it shares important African-derived ritual practices with Brazil and Cuba and because its history is entwined with that of the Dominican Republic.
Perhaps needless to say, this article can only skim the surface of such a vast topic.
From encounter to independence
On their arrival in the Western Hemisphere in the late 15th and early 16th centuries, explorers from the Iberian kingdoms of Portugal and Castile (Spain) encountered peoples—even entire empires—previously unknown to Europeans. A few of the Europeans wrote about the music and dance practices they observed during ritual festivals among the local populations. The indigenous populations were decimated by disease, forced labour, and warfare, and their history was disrupted. In the Caribbean very few indigenous people survived, but on the mainland significant populations managed to preserve their communities.
Some early dance history can be inferred from the archives and from what seem to be continuous practices. For example, creation stories were a common aspect of indigenous spiritual practice, and their telling often incorporated dance as a vital element.
Natural forces (i.e., gods and goddesses) and animal spirits were honoured or represented as dramatic actors; dance rituals were often meant to forestall or explain cataclysmic events. The great civilizations of the Aztec and Inca (like the Roman Catholic Church of their conquerors) organized time according to complex ritual calendars, and dance was essential in their communal ritual life.
The dances of the Aztec were precisely structured and executed. Priests trained young people in the movements of the ritual dances and organized the ceremonies into massive arrangements of dancers who moved in symbolic geometric patterns. Combat was a major theme that featured male dancers: weapons in hand, individuals or groups of dancers enacted struggles between gods or between military units such as eagle warriors and jaguar warriors. Dances could last more than a day to test the warrior-dancers’ endurance and commitment. In some ceremonies dancers moved in columns to represent revolving astral bodies in their annual and millennial circuits; in others they represented planters working in looping zurcos (furrows).
In the danza de los voladores (“dance of the fliers”), one of the few surviving preconquest dances of Mesoamerica, traditionally four fliers (dancers) who are suspended upside down from the top of a tall pole make 13 revolutions for a combined total of 52; in the Nahuatl belief system of the Aztec and Toltec peoples, 52 years make a “year-binding,” or xiuhmolpilli.
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Ritual contexts
The institution of the Roman Catholic Church—with its rituals, doctrines, and ways of looking at the world—accompanied the Iberians to the New World and was integral to the functioning of the viceroyalties in New Spain (based in Mexico; 1535–1821) and Peru (1542–1824), which between them administered the colonial territories of the Spanish. After the military conquest, religious music, dance, processions, and festivals became tools of cultural transformation and social control. Catholic priests and monks—Jesuits, Franciscans, Dominicans, Carmelites, Augustinians—allowed, even encouraged, indigenous dancers to continue their rituals, modified to incorporate Catholic saints and ideas in place of their own.
The indigenous peoples adapted their own rich calendar of public festivals to new uses and new places. Into the present day, ancient ritual dances echo in the yearly observances that take place in front of churches and at other sacred sites, especially as part of the patronal fiestas, the festivals in honour of a town’s (or country’s) patron saint.
In Roman Catholic countries around the world, nonliturgical Carnival celebrations mark the last-chance merrymaking that occurs during the weeks before Ash Wednesday, the day that begins the austere 40-day period of Lent; in many parts of Latin America, Carnival parades feature exuberant group dances. As in the religious pageants, fantasy and elaborate costuming allow the Carnival dancers to become the “other” and to use dance as a means of escaping the anxieties of everyday life.
Perhaps the most widespread dance ritual of Latin America derives from the dance of Moors and Christians (la danza de Moros y Cristianos), which was performed at major religious festivals in medieval Spain.
The dance was based on an older form of religious street theatre, autos sacramentales (“mystery plays”), portrayals of the competition of forces of good and evil. In the 8th century Moors had brought Islam to Spain from North Africa, and Christians in Spain fought to regain ground until 1492, when the houses of Aragon and Castile expelled the remaining Muslims. (For more on that period, see Spain: Christian Spain from the Muslim invasion to about 1260.) After the dance-drama was imported to Mesoamerica and Peru in the 16th century, the oppositional forces in it were refashioned to cast the Spanish (good) against the Indians (bad). Although the danza de los Moros y Cristianos exists throughout Latin America, it is known by a variety of names, including danza de la conquista, danza de los Moros, marujada (in Brazil), and danza de Santiago.
Blended rituals such as la danza de la conquista became part of colonial religious festivals.
Theatrical enactments of the conquest, or farsas de guerra (“war farces”), played a prominent role in entertaining and enculturating colonial populations. In Mexico the entertainments became known as mitotes (from the Nahuatl mitotia, “to make dances”). Mitotes drew upon both Spanish dramatic action, which featured lengthy sections of dialogue, and the Aztec and Chichimec Indian tradition of using divided bands of enemies to represent the central theme of battle.
The conquest dances were taken to Spain and performed for elite audiences. Although their popularity faded in Spain during the 17th century, these spectacles became models for further ritual dances in the New World. July 25 marks the feast day of St. James (Santiago, Spain’s patron saint) throughout Spanish-speaking Latin America. For this major festival, many local traditions included dances to commemorate ancient battles between opposing forces. Dances of los vejigantes in Puerto Rico and los tastoanes in Mexico are prominent examples.
In both festivals there are representations of Spanish horsemen and masked figures representing African slaves or members of the indigenous resistance.
Upper-class immigrants from Europe brought with them their fashionable social dances (los bailes de salón). The aristocracy of the viceroyalties kept up with a succession of popular European dances. These included open-couple dances, in which couples generally did not touch—such as minuet, allemande, sarabande (zarabande in Spanish), chaconne, galliard, pavane, and volta. The interdependent-couple contredanse (contradanza in Spanish) and its variations (quadrille, lancer, and cotillion) were developing during the 17th century. Such choreographed dances of intricate geometries originated in Europe before sweeping quickly through Latin American ballrooms and dance salons during the 18th century. The fashion caught on across the social spectrum; for example, indigenous dancers in northeast Mexico adopted the contradanza into their ritual expression of the matlachines dance.
Contradanzas and quadrilles remained common throughout Latin America and the Caribbean in the early 21st century. Their characteristic interlacing lines, bridges, circles, and grand right-and-left patterns are easily recognized in hundreds of dances. In the Caribbean, contradanzas and quadrilles included the bélè, belair, and belén, as well as kadril and numerous other variants of quadrille. In northeastern Brazil they became quadrilhas, the traditional dances for the festival of St. John the Baptist (São João) on June 24; the dances remained popular in the Northeast, and into the 21st century quadrilha competitions occurred on the state and national level.
As struggles for independence roiled Latin America during the 19th century, closed-couple dances, specifically the waltz, schottische, and polka, became fashionable in elite society. In closed-couple dances the partners touch most of the time; as a result, these dances were considered rebellious acts of sexual immorality.
In addition the new couple dances were distinctive because each couple could choose steps from a range of possibilities. With the passage of time, these social dances became commonplace and their intimacy more accepted. The dances migrated to the countryside, where most of the people of African heritage lived. African-influenced hip movements—which could be seen as sexually suggestive—were incorporated into the dances, and they again transgressed the Roman Catholic Church’s standards of morality.
The Best Norteño and Banda Music of 2014
Beware: what follows may contain tubas. Also accordions, clarinets, canned gunfire, protest songs, dance songs, songs about roosters, songs about drug cartels, songs using drug cartels as metaphors to make the singers seem intimidating and/or awesome and/or “authentic”, songs using roosters the same way, and amor. Lots and lots of amor. Any kind of amor you can think of, unless it’s completely unremarkable and pedestrian. That’s not how these singers do amor.
In 2014, norteño quartets and big brass bandas continued to dominate the Mexican music charts, awkwardly named “Regional Mexican” in the US and, somewhat less awkwardly, “Popular” in the motherland. (That’s “Popular” as opposed to “Pop” or “General”, both of which include Ricky Martin. We’re not talking about Ricky Martin.) Nominally these are “country” styles, but they’re a country music that borrows imagery from rap and 100-year-old folk songs, and chord changes from Tin Pan Alley and hard rock. In those regards, this music’s not too different from modern city-slicker pop country. But comparisons will only get you so far, because ultimately norteño and banda are pure pop for their audiences: Mexicans, Latino Americans, and anyone else (hi!) lucky enough to have radio stations (95.5 “El Patrón”!) that allow us to listen along. Not everything below is radio fare, but it’s all grabby like the best pop music. And while understanding Spanish can make listening more fun, particularly when cusswords are involved, it’s certainly not required.
ALBUMS
Artist: Adriel Favela
Album: Mujeres de Tu Tipo
Label: Gerencia 360/Sony Latin
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Adriel Favela
Mujeres de Tu Tipo
Young Favela has the most soothing voice this side of Glenn Medeiros. In fact, you might have to go back to ’70s AM radio to find soothingness of this magnitude. The overconfident title song suggests Favela would benefit from spending time with Miranda Lambert’s “Girls”, but his voice is so comforting it’s impossible to dislike him. How do you hate a warm bath? For a while Favela’s second album edges toward classic MOR, with the horns in “Cómo Olvidarla” attempting Tower of Power riffs, and “Murió El Amor” threatening to become “Every Rose Has Its Thorn”. But the back half delivers a string of corridos, played by an exceptional band and sung with a warmth not often associated with drug cartel honchos.
Artist: Martin Castillo
Album: Mundo de Ilusiones
Label: Gerencia 360/Sony Latin
Image: http://images.popmatters.com/misc_art/m/mcastillo.jpg
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Martin Castillo
Mundo de Ilusiones
On the better of his two 2014 albums, Martin Castillo sings, drums, writes corridos, and leads his band with the same aim: attaining the norteño sublime. (Apologies to the late hip-hop scholar Adam Krims.) The first half of Mundo de Ilusiones (Castillo sees deeply) features a banda, and it’s pretty good, peaking early with the minor hit “Así Será”. But Castillo hits his stride on the last six songs when, joined by his quartet, he tosses off one corrido after another. Each song features one instantly memorable melody that Castillo sings over and over, meditating on the nature of illicit power, while around him the band weaves polyphonic tales of its own.
This is the sierra of Castillo’s imagination: a complicated tangle of associations bespeaking a force best left implicit.
Artist: Banda Los Recoditos
Album: Sueño XXX
Label: Disa
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Banda Los Recoditos
Sueño XXX
You may have seen the advertisements for this album? Like, they were on condom wrappers? Recoditos is one of the most consistent bands around, both in terms of their quality and their sticking to themes. They never release a bad album. They never release a mind-blowing fantastic album. They tend to sing about sex, XXX-rated dreams, drinking, partying, forgetting what happened during drunken parties, and things of that nature. (Also “love”, blah blah blah.) The musicians play their gleaming arrangements with spectacular dexterity.
The singers’ personalities jump off the radio. Basically they are Electric 6. Doesn’t it seem like Electric 6 should advertise on condom wrappers?
Artist: Regulo Caro
Album: Senzu-Rah
Label: Del/Sony Latin
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Regulo Caro
Senzu-Rah
Hey, anyone want a whole bunch of metal guitar with their banda songs? How about some filthy-minded letras en español for the lead single? Regulo Caro knows his stuff — his degree is in business administration, but his heart is in his songs. In Senzu-Rah, he lets it all hang out, with writerly precision (he has written songs for many of the other acts on this list) and a gonzo spirit of mean-spirited fun.
Matt Cibula
Artist: Nena Guzman
Album: La Iniciativa
Label: Del/Sony Latin
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Nena Guzman
La Iniciativa
A forthright singer who lets her brass players take care of the sentimental stuff, Guzman doesn’t do melodrama, or even vibrato. Sometimes she veers close to telenovela territory — playing the other woman in “Yo Soy La Amante”, she cattily reveals her identity to the first woman, then offers to be her assistant — but even then she sounds cheerful and warm. Corralling her small band is a different story. Though tuba, accordion, and bajo sexto are all technically playing the same songs, they’re locked in a battle to see who can improvise the most notes. Using her syllables to keep time, Guzman strides with authority through a solid batch of corridos, love songs, hate songs, and the requisite cumbia.
Artist: Noel Torres
Album: La Balanza
Label: Gerencia 360/Sony Latin
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Noel Torres
La Balanza
Torres’s whirling dervish accordion and propulsive band were musical highlights a year ago. This year’s La Balanza is an unwelcome step toward respectability — it’s a touch less surprising and it flags near the end. But Jesse “El Pulpo” Esquivel is still pounding the skins in a way that makes music writers write things like “pounding the skins”, and Torres stages a couple coups. Coup #1 is hitting the charts with “Amanecí Con Ganas”, a funny scenario involving a spoiled rich girl, her gun-toting father, and an alarmed Torres in the role of profane farm boy Westley.
Coup #2, “El Cambio”, pays tribute to Mexico’s autodefensas, the local self-defense militias standing up to cartels and Mexico’s corrupt government. In the U.S., with our overheated 2nd Amendment rhetoric and open carry wingnuts, a song like this might make you cringe. But its anthemic melody is undeniable, and it shows Torres experimenting like few other norteño songwriters.
Artist: El Komander
Album: Cazador
Label: Twiins
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El Komander
Cazador
With his aviator shades, fealty to country living, and endorsement of la mota, Alfredo Ríos could almost be Eric Church, if Church had Brantley Gilbert’s vocal range and described gangland killings in gory detail. For Cazador, Ríos has dialed down the gore but not the substance abuse.
His band plays wonderfully loose and shaggy norteño, augmented by demented horns that jump out of nowhere and sound like they’re two hits away from falling down. Lead song “Toquezones de Cannabis” sets the tone; its abrupt tempo shifts will either make you laugh uncontrollably or start freaking out. Despite having about eight notes at its disposal, Ríos’s voice has charisma to burn. He only fools himself into trying to sing pretty once, on the mariachi ballad “Descansa Mi Amor”, where his ideal of love is a whispering frog.
Artist: La Nueva Rebelión
Album: Me Hicieron Mas Fuerte
Label: LR
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La Nueva Rebelión
Me Hicieron Mas Fuerte
They’re 26 hours drunk, their songs are full of second-hand hoods, and they have very defensive notions of justice and vengeance.
Is La Nueva Rebelión the only rock’n’roll band that matters? I don’t wanna overstate my case for the aesthetic achievements of their corrido lyrics, partly because I don’t understand the nuances of Spanish, partly because “aesthetic achievement” only matters if it brings the songs to life. That’s where Rebelión excel. They populate their songs with as lively an assortment of characters and life lessons as Springsteen or Jay-Z or whoever your favorite world creator is. That energy spills over into their music, with the singers harmonizing at crooked intervals, the accordion and bajo sexto filling every bit of sonic space, and the drummer, g-d bless him, flailing like Tommy Lee tearing up a hotel room.
Artist: Julión Álvarez y Su Norteño Banda
Album: Soy Lo Que Quiero…Indispensable
Label: Fonovisa
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Julión Álvarez y Su Norteño Banda
Soy Lo Que Quiero…Indispensable
Indispensable is a shiny pop album in caballero drag. That’s true of most major label banda albums anymore, but this one has an advantage: the best singer on the continent. A young man blessed with a voice dusty as the Sierra, Álvarez sings 12 short songs with a mix of high melodrama and lived-in naturalism. Lead single “Te Hubieras Ido Antes” is a good example — listen to the way his voice tugs against the stately waltz laid down by the banda, falling behind the beat almost immediately. For a delicious moment it’s unclear whether he’ll make it out of the chorus. Eventually he does, big surprise, and goes on to some very happy flirtations with cumbia, corrido, and a woman with “Ojos Verdes” who inspires a gorgeous midtempo love song. “Hoy mi pena ya no duele”, sings Álvarez — “Today my pain doesn’t hurt.” I feel the same way whenever Indispensable is playing.
Also worthwhile:
Los Tigres Del Norte – Realidades (Fonovisa)
Diana Reyes – Mis Mejores Duranguenses (DR)
Los Rieleros del Norte – En Tus Manos (Goldfink/Sony)
La Adictiva Banda San José de Mesillas – Disfruté Engañarte (Sony Latin)
SinglesSINGLES
Artist: Los Horóscopos de Durango
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Los Horóscopos de Durango
“Las Chicas Malas”
Having jettisoned duranguense three albums ago, the Terrazas sisters throw themselves into Jenni Rivera mode, putting their banda musicians’ fingers to work as they embark on a wild night of drinking and, if the video can be believed, destructive pillow fights.
Sometimes after the song has ended, I can still hear the screaming.
Artist: Calibre 50 feat. El Komander
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Calibre 50 feat. El Komander
“Qué Tiene De Malo”
It’s not often a protest song hits #1 on any chart. But when two of Sinaloan corrido music’s leading flamethrowers teamed up for this ode to free speech, they topped the radio charts in Mexico. Granted, it’s sort of a self-serving protest. Both Calibre and Komander have been fined or banned in various Mexican localities, for the crime of “inciting violence” with their music, when really all they’ve ever tried to incite was the purchase of Calibre and Komander records. So they wrote this song on behalf of all hard-working citizens who enjoy listening to songs about drug murders.
They wrote it for YOU! It’s sort of like when Anthrax did “Startin’ Up a Posse”, only much better — the whole thing swings like some fearsome pendular tuba.
Artist: La Trakalosa De Monterrey
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La Trakalosa De Monterrey
“Mi Padrino El Diablo”
You know the old story. Kid runs away from his abusive dad, falls asleep in a drainage ditch, wakes up to a Companion of Black touching his forehead, and joins a new family: the Devil’s family! What could possibly go wrong? From Faust to Coraline, Robert Johnson to Tom Hagen, the myth finds its way to “Mi Padrino” and its 40-odd-million YouTube views. La Trakalosa mix a small band texture with brass fanfares, an exciting gimmick that became al corriente this year — see also Los Buitres de Culiacán’s best songs.
Artist: Gerardo Ortiz
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Gerardo Ortiz
“Eres Una Niña”
Like Adriel Favela, Ortiz could stand to sit down with Miranda Lambert’s “Girls”, but we’ll cut him some slack since he released his own 16-song masterpiece a year ago. Its third single, a chivalrous offer to kiss the extremities of a young woman until she screams the word “Gerardo”, innovates by sticking bachata guitar into the Sinaloan banda mix. Its melody is long and winding like Ortiz’s gilded tongue. Even though the current face of regional Mexican music isn’t really directing his song at me, it still sets my heart aflutter.
Artist: Alacranes Musical
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Alacranes Musical
“Zapateado Encabronado #3”
10 reasons you shouldn’t listen to this song: 1) The video endorses cockfighting. 2) The two drummers, while not explicitly endorsing cockfighting, sure make a lot of scritchy scratchy sounds that may or may not imitate agitated cocks scampering around mid-fight. 3) The song’s repetitive accordion+sax+synth riffs could drive you to drink. 4) I, for instance, am cracking open a bottle of Buchanan’s. Come over! 5) If you get drunk and start messing with cocks, Alacranes Musical will not help clean up your mess. 6) There’s no bass or even tuba in this song, so Alacranes Musical are clearly ripping off “When Doves Cry”, which also had no bass or even tuba. 7) “When Cocks Cry”. This song made me type that. 8) The third installment in a saga is always the weakest. 9) Oh wait, Toy Story. 10) OMG, are you remembering a cockfighting sequence in one of the Toy Story movies? It was like in a flashback, Sarah McLachlan was singing about sad cocks…WHAT ON EARTH AM I THINKING OF???
Artist: El Komander
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El Komander
“Soy De Rancho”
Back in April at the EMP Pop Conference in Seattle (home to FM 99.3 “La Gran D”), Professor Josh Kun described how people’s mobility — across borders, or from country to city and back again — is central to the mezcla of genres known as “Regional Mexican”. Alfredo Ríos, “El Komander”, agrees. “Sí, Señor, yo soy de rancho,” he tells a US border official, right before Ríos’s tuba player farts in the guy’s face. Over furious accordion and a ramshackle acoustic waltz, Ríos goes on to describe a ranchera paradise full of singing cocks and weed-covered hills, but also admits his fondness for citified flashy brands and fast cars that may or may not have been afforded by those weed-covered hills. A man for all people! The people agreed, making this his first top ten hit in the US.
Artist: Julión Álvarez y Su Norteño Banda
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Julión Álvarez y Su Norteño Banda
“Y Así Fue”
Julión Álvarez sings his love songs with a smoky warble that makes him sound twice his age. Makes sense, since on paper this hit — rubbing shoulders with Romeo and Enrique on the Hot Latin chart — could be an ace pre-Beatles pop song, complete with those magic changes and a tune that’s unforgettable because it simply follows those chords around. But in the world of banda, those pop chords, along with the band’s relentless syncopated rhythms and the recording’s knife-like sheen, make this song sound utterly contemporary. Think “In the Still of the Night”, only faster, hornier, and hornier — Álvarez and his ladyfriend give it up on the first date, and so they go from there.
Artist: La Nueva Rebelión
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La Nueva Rebelión
“Me Hicieron Mas Fuerte”
Lately, certain corrido bands have rocked harder and wilder than most rockers claiming the title. (Like, for instance, Good Time Rockin’ Jack White — his latest is OK, in the way reading someone’s dissertation is OK.) It’s still rare, though, to catch the norteño guys playing songs that would, in any other context, be considered rock music, which makes the title single from La Nueva Rebelión’s latest such a blast. Literally — the video’s body count is high. This manifesto of vengeful resolve opens with a trio texture straight from the Minutemen, and then the accordion kicks in — you always thought the Minutemen needed an accordion, right? The band launches into a power waltz, built on a chord change I think Black Flag once used, with both singers’ voices straaaaaaaaining into the chorus, shouting threats at their haters until the instruments have no choice but to collapse.
It’s the most exciting four minutes of music this year. Trigger warning: things don’t end well for the horse.
Also worthwhile:
Marco Flores Y La Número 1 Banda Jerez – “Soy El Bueno”
Banda MS – “Hermosa Experiencia” (Discos Sabinas)
Regulo Caro – “Soltero Disponible” (Del/Sony Latin)
Los Buitres de Culiacán – “Mejor Soltero” (Sony Latin)
TAGS Banda Music Best Music of 2014 Norteño Music Popmatters Picks The Best Musi
Hoovermusic Public Enemy lyrics translation
You have a microphone. The so called street
Hoovermusic
How are you going to make music
When you take music
And abuse it, make my team sick
So nobody can use it
More than just some
Others who don't sing
Drug lords,
Who sing in
Hollywood?
It's rating or rape
No more taping
But somebody still rules
This love to hate songs
You all know it's wrong
Tough guy,
I bet mtv pic
The mic The pig
Honesty,
This policy is
Killing me.
Good for anyone.
Good for what?
Your mind is the soul of the body.
Is it any better?
Tell me why do you like it?
Songs were supposed to send you to
Prison to influence a million and a half children.
You have a microphone.
The so-called street,
Grow radio,
World Wide Web,
But we can't do anything about what you said,
Sounds like something in bed with the feds.
Monstars lurk behind the Glory planet,
1 hand in pocket,
1 hand in brain,
Sucking out the soul like in a video game.
I don't even understand what you're saying,
When someone eats up the boom,
When they vaccinate your room,
Shake your boom boom.
They finance your death.
You think it's romantic
Just because you dance
What a black performer, you know he never had a chance
Trapped in the middle of what you do
Increased position and how you listen,
Came to this game.
Never thought I'd ever
Be a Siphop.
Playing in the name of the jedgar.
You have a microphone.
The so-called street,
Grow radio,
World Wide Web,
But we can't do anything about what you said,
Sounds like something in bed with the feds.
Hoovermusic
From cats said shit
Young rappers fall into the trap.
Buying the same trick
On some of the same ol tracks,
Rich stackin chips,
Poor ones banging new slang
In the Ghost and shadow of your name,
Made in the USA,
Fighting with power in Brooklyn,
To grinnin' in juicin while crooked.
Say you don't know me
Or don't owe me or us.
My disgust
Interrupting my black August,
Fussing because these white kids are confusing the worst of us.
Could it be a little more
Than sex and drinks, songs,
Fight clubs, they get naked?
Gangs of children,
Who copy what they did,
Both coasts are clear,
Some people have no idea
Have no idea who sent them here.
You have a microphone. The so called street
Hoovermusic
Artist: Public Enemy, Title: Hoovermusic
More translations of Hoovermusic lyrics andersen )
A-and know first read your contract before signing.
Andy breaks in on time for the meeting.
A-Young man, you're late.-said Emily's father.-Andersen.
A-Sorry, I overslept. The alarm clock didn't ring again...
Andy didn't have time to finish his sentence when Andersen interrupted him and said
A-And you won't come to court again.
E-but
A-you are fired
E-what?
R-Young man, call the guards for us to take you out of here. Reed said in a rough voice
- don't go out myself.
- the first rule of my contract, I don't like being late. Anderson said.
After the robots, Sean heard the music where the meeting was. And I saw Emily rehearsing a dance for "Woodmoon ,.
- you dance beautifully.Sean said going up to Emily.
- this is not enough
- what is not enough? Yes, I'm dancing
- Are you dancing? Emily asked in surprise
- Come tonight at this address.0199 Sean said and taught me to write something on pieces of paper - and put on something more decently.A little later *
- sorry brother for not following you. Sean said standing next to Andy
- nothing to worry about. everything is fine.
-skills have an idea for the next flash mob
-let's go to the guys
-let's go
At the gallery
- you came ., by the way you look great said great when he saw Emily
-thank you
-but it's not a date. Sean whispered in Emily's ear
-I thought you lacked a little bit of inspiration. Sean said bypassing the girl
From author
All the pictures seemed to come to life, and the statues too.
