#also so many more rhyming possibilities when you mix and match languages

[hollyslangblr]

something i like about learning languages is i feel it allows me to better express myself, even if i’m only writing for me. if i’m writing a song and i feel like i’m laying myself too bare it helps me to switch language even just for a line or two cos it gives me a degree of separation and helps me stop judging myself so harshly

[little-writers-posts]

Shall We Dance, Sunflower? (Elliot 'Mirage' Witt x GN Reader)

Author's Note: Hello! I wrote this because it has been on my mind for a while, so I wanted to let it out. I hope you like it! Please, excuse my writing, if anything is misspelt it is because English isn't my native language, but I did my best, :D

Warnings: SLIGHT SPOILER OF THE BOOK, if you have not read it yet it contains a bit of the lore on the book, mainly about Mirage's past.

Word Count: 2397

(Y/N's POV)

‘Meet me at the bar tonight? Got a surprise ;)’

I looked over at my phone, ‘Elliot’ was written on it and I felt my heart skip a beat.

Ever since I joined the games, I have grown close to all the other legends, however, I’ve had a soft spot for the curly haired man for a while now. We’ve been getting closer ever since we got teamed up the first time, Mirage has always been there for me, had my back in every game, even when we’re in different teams, he manages to get to me.

We’ve been meeting often at his bar, after each match. Lately, I’ve been staying a little longer than the rest of the group, even after Wraith and Rampart, Elliot and I have been talking back and forth about our lives outside of the games, getting to know each other, and surprisingly, his company is really good, and I started looking forward to our little chat at the end of each night. Most of the times I even help getting the bar cleaned and he walks me home. Slowly I’ve started to like him more and more.

It’s obvious that I find Elliot handsome, but his ways are the ones that really get to me, he may be an idiot, but sure as hell he makes me laugh like no other, and deep down he cares a lot about his friends, his family. He’s been through so much in his life, yet he still manages to have a positive view of life.

I got my phone and texted back.

‘Sure thing, handsome. What you got for me?’

‘Well, sunshine, it’s a surprise, so you’ll have to wait and see. Come by at 9 pm. :D’

I smiled and looked over at the clock, still, a couple of hours to go, so I got in the shower, got a nice set of clothing and some light makeup, nothing too fancy and then order some dinner.

When it was time, I left my apartment and went to Elliot’s bar. I noticed that the door was closed, it’s a bit weird since he usually has the bar opened at this hour. I knocked on the door and heard him urging me to go inside.

Once I got in, I saw him cleaning some of the cups, as soon as his eyes landed on me, he got a huge smile on his face.

“Welcome to the Witt’s, sunflower”

“Hey, handsome. Where’s everyone?”

“What do you mean everyone?... OH, the bar! Right, I closed it early today, didn’t have a lot of customers, so…”

“I see… So what you got for me, Witt? I’ve been looking forward to your surprise.”

I sit down on one of the stools near the counter, right in front of Elliot and let my chin rest on my hand.

“Someone’s pretty eager… Well, I… drumroll please!” He made little movements with his fingers as drumsticks while hitting the counter “I made a new bevi… bevere… cocktail!”

Elliot cheered as he shows me a couple of bottles.

“And I want you to be the first to try, sunshine! I mean, I’ve already tried it, but I want someone else’s opinion.” He said as he took out a glass and some drinks.

“Am I going to die, Elliot?” The amount of alcohol he was pouring mixing with other fruits was unbelievable.

“I’m still here, so I don’t think so. Plus, I´ll kill you in the ring, not outside. Although, I think Revenant might kill all of us in our sleep.”

“I believe he might kill Loba first, to be honest” I grinned a little “Though I think he’ll have to face Bangs first, and she won’t go easy on him.”

“You think they are a thing? Loba and Anita, I mean.”

“I don’t know, but sure as hell, they look like it, and they look cute together.”

Elliot muttered something under his breath as he finished preparing the drink.

“What was that?”

“What was what? I didn’t say anything” Elliot nearly spilled the drink when he put it in front of me.

“I didn’t know that the great Mirage was afraid of speaking what’s on his mind. Guess you are afraid of something.”

“I don’t fear anything, sunshine. Now, you are the one afraid of having a taste, right?”

“No, no, I’ll taste it… eventually.”

I smiled. The drink had a yellowish colour and the smell seemed to burn my nostrils due to the alcohol, but I brought the glass to my lips and took a sip. Elliot was looking rather nervous at me, biting his bottom lip. I took another sip.

“So… How is it? C’mon, don’t leave me hanging, (Y/N).”

I laughed a little. “It’s great, Elliot, as surprising as it may seem, it tastes really good. You should definitely put it on the menu, the guys are gonna love it.”

“Really?? You don’t think I should add anything else, lemon or…”

“No, I like it the way it is, really.”

Elliot had the widest grin I’ve ever seen.

“Do you have a name for it yet?”

“Name? No, not really, I didn’t think about it.”

“You could name it ‘The Unwitty’” I laughed.

“What does that mean?” Elliot looked confused.

“Unwitty? It usually refers to someone who’s not clever, and I believe that after a few of these, you are definitely not the brightest person in the room” I said as I looked at the half-empty glass “Also, it rhymes a little with your last name, so it could be a pun, since… well… you know… you made the drink…”

“Well, that’s a lot cleveree… cleverir… more clever than what I thought”

“And what were you thinking?”

He looked at me and ended up scratching the back of his neck.

“Well, something in the lines of sunflower, maybe… or sunshine…”

“Oh, because of the colour! I get it! Never knew a drink with a name like that, but it should work.” I smiled.

“Yeah… the colour…”

Elliot started to pack up the drinks and clean what was left on the bar. He turned his back to me as I finished the drink, so I jumped over the counter and started to clean the dirty glasses in the sink.

“Hey, you don’t have to do that (Y/N)”

“It’s alright, you know that I like helping you out, plus I got a free drink” I smiled and bumped against his shoulder.

“Thanks, (Y/N).”

We finished cleaning the rest of the bar and I leaned against the counter, Elliot did the same on the other side. However, he did have a foolish grin on his face, like he was up to someth…

“I got an idea!” he clapped his hands and smiled at me.

“This can’t be good…”

“Of course it’s a good idea! I only have good ideas, sunshine!”

“Hm… No, not always, remember that one time on the zipline across Airbase…”

“No, no, no, no, no. That doesn’t count! It was all Crypto’s fault, not mine!!” He whined at me, pointing his finger like he was schooling me which made me laughed out loud “ANYWAYS, it is still pretty early to take you home, so…”

Elliot grabbed the Bluetooth controller for his sound equipment at the bar and started to go through the songs.

“What are you doing, Elliot?”

“Choosing a song.” He smiled.

“For what, exactly?” God, I think I know where this is going…

Elliot picked a pop song, one of those popular ones that are on the radio stations and stretched out his hand, bowing slightly to me.

“Shall we dance, sunflower?”

“No, absolutely not, sorry. Not happening.”

The look on his face was hilarious, I would’ve laughed harder if it wasn’t for his genuine heartbroken expression.

“But why…?”

“Elliot, dear… I don’t dance, I’ve never danced in my life, and I know I’m terrible at it. So, I’ll spare your toes and I won’t step on you.”

“I don’t mind it. Plus, I’m a pretty good dancer, I’m sure I can lead you through it.” He smiled and this time he took the liberty to take my hand and guided me to the centre of the bar.

“Elliot, this is not a good idea.” I shook my head in disbelief.

“Shhhh… I’ll guide you. Let Mirage take the lead.”

We started slowly moving at the rhythm of the song, shifting weight from one foot to the other and soon we were swinging backwards, dipping low and then soaring into the air. Elliot never let go of my hand and guided me through every move. I never felt so carefree and happy, in a small space it was just him and me having one hell of a good time.

I have no idea how many songs went by, my heart was pounding against my chest rapidly like I was in training. And then a slow melody came into play, Elliot’s smile grew wider, and he pulled me against him, one hand on my waist, the other holding my hand.

I looked up and his face was close to mine, my heart was beating faster than before, and I thought it wasn’t possible, and all the butterflies started to fly in my stomach.

Elliot started to guide me through the song once more, this time in a very slow rhythm, one step at a time.

“You’re doing great, sunshine.” He praised.

I felt my cheeks getting warmer and I looked away, anywhere but his face.

He then tried a turn, however, he stopped midway through, and pushed my back against his chest, the arm on my waist circled all the way as he hugged from the back, his other hand still holding on to mine. He leaned his face against mine, so our cheeks were touching. I felt like my breath got caught up in my throat and everything around us stopped.

We were still swinging slightly, but I could feel him moving his face, and then slowly he left a kiss on my neck.

And then another kiss.

And then another kiss.

And the last kiss had me shiver all over. He noticed.

“Seems like I found a sweet spot… Right?”

I smiled.

“Hm… I don’t know, maybe you should try it again, just to make sure.”

He chuckled, turning me back to face him. This time we were much closer than the last, so much that the tips of our noses were barely touching.

We stood still for what it felt like an eternity, I was too afraid to move, I didn’t want to ruin anything.

Elliot looked down, staring at my lips as he gulped.

“Damn… I want to kiss you so bad…” He whispered.

“Why don’t you…?”

“I’m scared, (Y/N).”

“Wha..”

I tried to look back into his eyes, but Elliot held me closer, and I had to rest my forehead against his shoulder.

“All my life, (Y/N), I saw the ones that I care about, the ones that I love, leaving me. I saw friends die, disappearing, leaving. It started with my father, who barely even knew me. Then, my brothers I couldn't even have a proper goodbye, because no one cared to try to find them. My mom is slowly leaving me, with each passing day her memory gets worse and I fear the day she won’t remember me at all and I…”

He was shaking a little which had me hugging him even more, trying to encourage him to talk to me.

“Elliot.”

“I can’t stand the thought of you leaving me, (Y/N), in any way. Makes my heart sting, my breath disappears, and my all body physically hurt. If anything happens to you while you’re with me, I’ll never forgive myself, I want to keep you safe, but it seems like I bring bad luck to everyone that I’m close to, and I can’t do that to you, (Y/N), not you…”

“Elliot, look at me.” I tried to push him lightly, but he wouldn’t let go. “Please, please look at me.”

He loosened his grip on me a little. I manage to look back into his eyes, and I realise that I’ve never seen those eyes that sad, bearing so much pain, that it started to hurt me too.

“Elliot, listen, I’m not going anywhere. I know how to defend myself and I’m here to stay, you’re stuck with me, at least as long as you’ll have me. If anything, you’ve been my good luck charm, ever since I joined the games you’ve had my back, you’re there for me every single time, you make me laugh more than anyone has ever made me, when I’m with you I’m genuinely happy like I have no cares in the world. We all have our ghosts, but we’re here to fight them, I’m here to help you, Elliot. You are the life and soul in every place you go, how could you ever be bad luck? You have a golden heart, and don’t tell yourself otherwise. Please, Elliot… I…”

He didn’t let me finish.

He held my check in his hand and leaned in, kissing me.

I never felt anything like that before, like he was made for me, all my thoughts were clouded by the feeling of his lips on mine. I reached my hand to the back of his neck, pampering with the hairs there.

I felt his tongue pushing its way into my mouth, and I let it. My heart was beating louder in my chest, my hands were shaking, but I wanted him to know how much I cared, how much I wanted him, how much I loved him, just him.

We fell breathless and broke the kiss, leaning our foreheads against each other.

“You have no idea, how long I’ve wanted that, and how much I needed you, (Y/N).”

I smiled and hugged his neck, pulling him more to me. His hands were massaging my back, up and down.

“My heart is beating so fast, it feels like it’s gonna jump out of my chest, I don’t think I’ve ever felt this way before, with anyone… Can we do it again?”

“Oh, Elliot, you don’t have to ask that. Of course, you can.”

He leaned in and we kissed once more.

If this is dancing… We definitely need to do that more often.

[eurosong]

Undo my ESC - Semi-final 1

Hey there, folks – with this year having so many ESC national finals with results that I personally found lamentable, I thought I’d do a little write-up, Undo my ESC, where I take this year’s entrants and make a feasible change, anything as small as tinkering with a few minor touches or as big as another person winning the national final completely.  Obviously, just my opinion and a light-hearted review, but I hope the people that always unfollow this page because they disagree with something I say on the few occasions I go into personal opinions stop reading here. Let’s take a look, first, at Semi-Final 1. Azerbaijan: she’s a jazz and soul singer. Get her singing a song in one of these styles that is comfortable to her! If the Azeris really think they wouldn’t have a chance with these genres, then they haven’t been paying attention to the last few winners of the contest. Even if she didn’t emulate them, she’d surely get to the final with their qualification rate, and would have more of a chance of standing out than with this generic “bop” (my most hated overused word of this season.) Iceland: Iceland this year may have sent the song with the most excruciatingly hackneyed lyrics in several years. Take a Hallmark card poem, drown it in treacle and you have an idea of how syrupy and twee the song is, almost as if they were some pretty bad satirists trying to write an over-the-top “humankind is one” pastiche song. I didn’t really pay much heed to Söngvakkepnin this year – finding their offerings a tame lot compared to recent years, like the excellent showdown between Svala and Daði Freyr last year – so I don’t have a horse to back, but since Í stormi was winning the contest televote before the superfinal, in this alternate timeline, I will have it win instead. Albania: This song is as close to perfection almost as you can get to me. Some people don’t like the revamped version, but – after what feels like an entire era of bad revamping – I like it and think it makes the song melodically tighter. I guess my change would be that Eugent would get the visa needed to attend the pre-parties, as he really needs all the exposure he can get to get out of this semi-final of death. Belgium: A really nice effort from Belgium, with Flanders stepping it up a gear to match the Walloons’ quality over the past years. Not sure how to change it, except to perhaps incorporate some Dutch in there? The separation of broadcasters made sense when Wallonia was sending songs in French and Flanders in Vlaams, not so much now when they’re both sending English songs. It’d be nice to hear the first bit of Dutch from Belgium since 1996 in, for example, one of the reprises of the choruses. Czechia: The Czechs surprised a lot of onlookers by joining the wave away from internal selections and towards national finals, but there was only ever going to be one winner here, Mikolas Jozef, whose song soared above an otherwise weak crowd melodically – but not lyrically! Even his new “family friendly” version for the ESC feels sleazy, misogynistic, and raises a bunch of questions that I definitely wouldn’t want to have to explain to my students. My change would be that he take the opportunity of writing a new set of lyrics to write something to go much better with the admittedly catchy score. Lithuania: This is gorgeous on every level and is soaring up my personal chart. Ieva’s vocals, powerful in their delicacy, are really moving and add to the poignancy of the lyrics. I originally found the English version sorely lacking compared to Kai myliu, but they have a certain understated simplicity and naïveté that I find lovely. She’s letting the words speak for themselves and I love that. My one change? Make it bilingual and add some Lithuanian to the mix, something she did in the final but is unclear whether she’ll replicate on the big stage.

Israël: Netta was rightfully the breakout star of the Israëli preselection, and having seen interviews of her, she seems genuinely lovely. I wouldn’t change her as the representative picked, but I wóúld go for a different song. Listening to or watching “Toy”, for me, feels like sensory overstimulation, like entering a room with a blur of a thousand noises and flashing lights. It feels too try-hard for me, like they want to be the memetic entry of the year, which some people will vote for just because of the chicken memes rather than the musical value of the piece. I also think that trying to posture it as a #!MeToo anthem is the biggest reach since Brisa Fenoy’s acclamation of Lo Malo. Belarus: As much as I’ve come to ironically appreciate the song and Alekseev’s bizarre accentuation, Farevvahh doesn’t hold a candle to Chmarki for me, which would have been a second unusual and unique pick for Belarus. Estonia: Eesti Laul was a bit of a dud for me this year, unlike the previous year where I loved Spirit Animal and Slingshot liked almost every song in the final -except for the eventual winner (my luck in a nutshell, there.) My pick would have been the sweeping and otherworldly Külm, which would have brought about an overdue return to the exceedingly musical Estonian language at Eurovision. If we have to keep Elina, give her a song (rather than a vocal exhibition) in Estonian, a language whose vocalic richness is perfectly suited for operatics. Bulgaria: The thing letting this darkly atmospheric piece down the most is the female vocalist, Žana Bergendorff, who doesn’t add much to the five-piece combo and has done very little except for gawp distractingly at the crowd in live performances. Bulgaria’s broadcasters teased much bigger names… I would have had them follow through on them. Macedonia: I’ve really grown to like this song from Macedonia, though on first listen – and those first impressions are crucial for folk who haven’t been listening to the songs for months in advance – it seemed a bit messy rather than the musical odyssey I currently consider it to be. It’s a risk, but I’d leave the composition as it is – except for inserting some of the supposed Macedonian we might have got. Croatia: Go back in time and tell Franka not to make a version of Sam Brown’s “Stop” with trap beats? Austria: Another composition that I can barely find fault with and really like. I love the light and shade of this – the dark and despairing verses offset by the build of the bridge and the upbeat, gospel-twinged verses. Only a special voice could pull that off, but Cesár’s husky and soulful timbre is perfect for both. The only part of the song where my attention flags is between the 2nd and 3rd choruses, where I think a fully-fledged third verse would be more interesting. Greece:  Actually have a national final. Don’t eliminate all but one song in the shadiest way possible. And have the winner be Don’t forget the sun/ Μην ξεχνασ τον ηλιο, which I feel brought a truly Greek atmosphere and combined English and Greek effortlessly, avoiding the clunkiness that bilingual songs often have. Finland: I would rather have had a proper UMK with more than one candidate, rather than what we got, 3 songs from Saara Aalto, which doesn’t represent that much choice. If that were impossible – as it seemed YLE was dead set on that path – then I’d probably have gone with Domino instead. Monsters is, musically, a more interesting piece and doesn’t have the atrocious rhyming of “falling, oh” with “domino” (troolee jeenyus riming), but her performance of Domino was considerably less shaky, and I find the chorus a bit gratingly shrill. Armenia: I love that Armenia are sending a song in their beautiful native language, and Qami is a grower with mystical and poetic lyrics. But I can’t lie – I much preferred If you don’t walk me home and would have it win Depi Evratesil instead. Switzerland: I’m going to be honest: in the last few years, I haven’t expected much out of Switzerland except for “non-qualifier” fodder, having brought us only 3 songs I like (Cool vibes, Unbreakable and especially the verbosely charming Hunter of Stars. Come back, Sebalter!) … since their last victory in 1988! I don’t mind Stones, even if I think it’s pop that’s rolled around in the mud a bit to present itself as grungey. However, there was something truly beautiful and stirring in the selection, Chiara Dubey’s “Secrets and Lies”, which seemed elegantly pared back despite also having something of an orchestral flourish. And her voice, as smooth as velvet, crowning the composition. Unfortunately, it had no chance… but I would make it my personal winner of the Swiss selection. Ireland: Ireland’s song this year is not daring or likely to make a splash, but quite lovely, with beautiful harmonies. I find the representative this year to be very unctuous and shifty though, especially his fake news about his video – whence I imagine most of the hype comes from, representing his song about a boy and girl breaking up with a romantic interpretive dance between two fellas falling in love, naturally – that he propagated against Russia.  Cyprus: Just no on every level to the current package, one of my absolute least favourites this year. I’d have a national selection with some Greek language songs. Whilst I begrudge how ERT handled their “national final” fiasco, at least they made a few steps in the right direction. This is the equivalent of flying half way around the world in the wrong direction. And the direct finalists voting in this semi-final:  Portugal: Whilst I have grown to find Isaura’s meditative song about the loss of her gran quite an extraordinary and emotive listen, I found this year’s Festival da canção of great quality and diversity and would have preferred Beatriz’ Eu te amo, Diogo Piçarra’s Canção do fim, or even better, Janeiro’s “(sem título)” as the host nation’s entry. Spain: This is one of my huge favourites this year, so I can pick little fault with it at all, though I think I prefer their pre-revamp version, which was a little more subtle in its lack of additional adornments. United Kingdom: The only thing I was happy about when it came to the result of You Decide, (which should be renamed You decide 50%, a jury decides the rest and we never tell you who réálly was decisive!) was that this prevented the more hideous hymn of unwarranted self-aggrandisement that was “Legends” from getting the ticket. But the eventual winning song, and especially the revamp, which sounds like the producers got bored and let their six year old kid go wild on a Casio, is such a wet weekend for me, especially when it was up against a soaring voice and poignant set of lyrics in Jaz Ellington’s “You”. 

So, that’s my summary of what I consider to be by far the stronger semi-final of this year’s Eurovision, and where only a few of my changes needed to be drastic. Join me soon to go through SF2, as I navigate a nearly wall-to-wall litany of horrors and share how I would like to try to right them!

[myanalyticalcrutch-blog]

Pagan Poetry

Written for FS 464: Film as a Visual Poem, on September 18, 2017

Bjork is, like many poetic artists, misunderstood by a lot of people. However, there is a reason she has won awards and gotten media attention, other than her swan dress. She pours herself out into every song, and whether you understand what she is saying or not, you can feel the raw emotion behind it. Both the song and video for Pagan Poetry explore the dialog between love, pain, and lust. Bjork is telling us about her love for someone and the pleasure he gives her along with the pain attached to him. This pain is both wanted and unwanted, almost necessary for the relationship. The abstract images slowly become more clear, revealing different parts of Bjork herself. She is showing herself and becoming more comfortable, realizing what she wants before our eyes, being reborn in a sense. Love is considered sacred in most cultures. It is supposed to be the closest thing to a magical experience that you can have. The worst people can change for love, the true happiness makes them want to be better or opens their eyes to a new point of view. Love can also blind you from the bad things about your partner or the world itself. The shelter of love can both be constructive and destructive.

We witness the piercing of her nipples on screen. Body mutilation is shown as a way of expression and self-love as it is for many people. Many cultures even use it as a sign of honor or bravery. Whereas in many western cultures, tattoos, piercings, and scarification are seen as the sign of someone who hates themselves and others. It is seen as unprofessional and unfriendly, though it is slowly becoming more accepted. But it is also to resemble to piercing pain that love can be related to. The draping of pearls and lacing of the piercings on her back match the weaving of the messages and emotions of love and agony throughout the song. Her vocals are precise but have an animalistic quality, adding to the true emotion of the piece. The love and pain for her is instinctual human nature, but it has such a taboo around it, she must question if it is what is best for her. When her face is fully shown, she is smiling while singing, as though she is in ecstasy. However, as the song goes into a chant of “I love him” she stops singing on screen and seems to be in distress. This chant gives the song and video a sense of ritual, love and pain dialog ritually. One must always sacrifice something for love.

Many marriages end in divorce. I have always wanted to believe that love existed in the beginning or at least somewhere down the line. People are breaking the taboo that you must love one person forever. Love cannot exist without pain. She is wearing a dress by Alexander McQueen, a famous fashion designer, another artist. The dress exposes most of her torso with a mermaid bottom creating an incomplete wedding dress aesthetic. There are pearls, often seen as a feminine accessory, draped from her neck and shoulders. She is breaking taboos and bringing up stereotypes addressed to being a proper woman while she herself is embracing pain with love. She is opening exposing herself and the love and pain coupled with ecstasy and lust. The lyrics also suggest that perhaps there was an openness to the relationship at some point, or perhaps in her last relationship. This brings up the possibility that it started as something solely sexual and for her it developed into other feelings. It is often said that one of the most painful things in life is losing a lover or partner. She yells and shouts with a smile on her face that he makes her want to hurt herself. Shortly after we see an image of corset piercings on her back and blood around the holes. The weaving of these emotions is making her bleed and yet she will not let go of them because they also provide her with a sense of liberation from the bonds of social norms in relationships and as a woman.

People are highly affected by the emotions tied to poetry and music. Our lives are surrounded constantly by music and its effects. Some people argue that particular music can affect us negatively, while others claim that all music has a sense of liberation for individuals. According to legends, Orpheus was the first poet. He is usually depicted holding a musical instrument known as a lyre. In many images, the lyre is being held to his chest and close to his heart. It captures the soul of the poet, his love, his emotions, and all that he is. Music and poetry are to this day seen as way to ultimately expose yourself emotionally and express everything that you are and hope to be. Two important words that have risen from the lyre are lyrics and lyrical. These words are used to describe art from all genres, including music, painting, poetry, and film. All essential to an artist’s everyday life. Lyrics are words, often associated with poetry that are connected to a melody and are meant to be sung, not just spoken, however, there is a thin line that is often crossed between speaking and singing. Poetry itself is very musical. It is aware of rhythm, tones, and patterns. Chants and repetition can be seen in both music as well as poetry. The chorus of many modern songs is extremely repetitive and can evoke the feeling of a chant, especially when we look at genres like rap and hip hop. Rap is a genre that frequently crosses the line between singing and rapping and focuses highly on rhythm and rhyme just as poetry does, whereas other genres may focus more on the melody and the music.

As stated before, there is a thin line between music and poetry and they are often weaved together. They both deliver and story in a very strong, emotional, and intimate way. The artist is aware of all of the elements that go into his piece and strives to capture the essence of being human. This also applies to film, a visual poem. However, it is not a visual poem the same way that a painting is, it has literal movement and stillness contrasting each other. Film is a massive mixing pot of many different art forms. Greek tradition calls the poet and lyrical being, lyricism being strongly attached to passion. Plato had said that poets are enthusiasts. They are expressive, passionate and energized by that passion. To Plato, enthusiasm is a trance. Poets become enraptured by their subjects, they dig deeper and deeper into something and they cannot be pulled out of their art and passions. In The Republic, he says that poets should not be included in the city. They are radicals or have a tendency to embrace radical behavior and thoughts, and this is a danger to society. Poets abandon logic and twist language, they play with concepts like young children poking at dead animal carcasses. They explore depths of opinions and subjects that are taboo and to most people should not be thought about. Tarkovski’s poets illustrate two sides of this. His mad poet is loud and filled with rage. He is disruptive and subjects everyone in his presence to his truth, he scars them with the images of his death and the sounds of his final cried. The wise poet, however, uses silence to contemplate his message. It slowly sinks deep and has a chilling tone about it. He is caught in a silent trance while performing his final ritual.

In a sense, poets create their own language. Shakespeare is one example of a poet literally creating language. He betrayed the known laws of language and created terms and phrases that are still common in language long after his death. His impact on society and art is immeasurable. His plays have been rewritten and stories retold over and over. His plays often put people in the shoes of the poet, entrancing them and inviting them to think about the taboo and unusual. Topics of spirituality and sexuality are often covered in Shakespearean plays and poetry. Lyricism and poetry can represent the elevation of the voice and the gaze from the creation of language. As long as that language is lived through momentum and constantly fed with the energy of the poet and the audience.

Poetry embraces the duality of chaos and order. Many poems have a strict formatting while also exploring the chaos of humankind within its text. Poets whether through literature or image are obsessed with paradoxes and irony. There is a constant idea of the overlap between two things usually seen as opposites. Black and white are colors used frequently as a metaphor even when the concepts presented in the piece explore the many different shades of grey. Modern art often depicts Orpheus as a meaningful hero. He is seen as a representation of the human experience and what it means to be an individual. He is to thank for the many different forms of art and poetry that our lives come into contact with. We have access to so many different ways of expressing ourselves and sending a message to other people. We can connect and embrace other people and individual personalities through poetry while exploring areas of our subconscious we are not always familiar with. Raoul Dufy shows Orpheus surrounded by the sea and nature. In the image, there is a balance between the sky and the ocean. The presence of nature is a representation of how natural poetry is and poet’s deep connection with nature and life. Orpheus is at the center of the world and able to communicate across many platforms and elements. He can dialog with life and the spirit of nature. This lines up with the legend that his power of words and lyricism, he was able to communicate with the entire world, from the biggest creatures, to the smallest, down to small specks of life hardly seen or noticed by humankind. It is said that he could even make stones cry. This legend applies the idea of super natural power to poets.

As creators, artists across all genres adapt a special style so they can be seen as an individual and separate themselves from the works of other famous creators. They often have another artist that helped them discover their art, style, and passion. Visual poets are true visionaries, their gaze being projected with and onto others and sending out sparks of inspiration to other aspiring artists that wish to show the world their point of view. Orpheus’ vision and gaze was so powerful, that he could be seen as an extremely unsettling force. He could dialog with the Gods. I can understand why Plato would want to kick out poets if they could speak to the Gods. Poetry and visual poems explore spirituality and occasionally the spirit world itself. It is often referenced or its image depicted within poetry or films. Poets have a particular charm to them, making them dangerous because this charm gives them the power to speak with many different forms of life and even gives them a sort of power over others. Other people can be put into a trance with the chant of a poet. They can become mesmerized and led away from the dangerous safety of societal norms.

Art is a journey. Film, music, and poetry all take us on an adventure when they attempt to capture the Orphic voice. Their rhythm and voice often embracing a sense of ritual. Similar to how many parts of Bjork’s video do. The act of piercing is a ritual of adulthood and life events in many cultures. Even within modern western culture there is an accepted way to perform the act of piercing one��s body. In Pagan Poetry, she undergoes a journey of self-discovery through love and pain, just as is the poets goal to go on an extreme journey. However, extreme can mean even the smallest things. Because poets look at the world through the grey and in between areas, they do not always see the black and white as the most extreme. So many people accept that life if black and white that it is more extreme to walk somewhere in the middle. Though poets and filmmakers often explore the unknown and unreal, they also have to acknowledge reality. You cannot explore the unknown without first knowing what is known and accepted amongst the masses. Music videos bring poetry, music, and filmmaking together as a holy and transgressive experience. Artists like Bjork explore parts of reality and the subconscious seen as taboo through these art forms. She, as well as the filmmaker, want the viewer to also explore everything from the visuals, to the music, to the lyricism and words. Pagan Poetry explores the Orphic voice with its playful journey through sexuality, risk, love, and pain as one.

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The 70 best phrases of Canserbero https://ift.tt/35TwfIo

This artist made it clear in his lyrics that a better future is possible.

In this article, we collect the 70 best phrases of Canserbero, a deceased Venezuelan artist and rapper, who composed mostly vindictive songs, social and also romantic.

As we will see, most of these phrases can be found in their letters. Many of them also have a poetic character. They deal with issues of love, oblivion, lack of love, emotions, social demands, death, injustices, religion ...

Who was Canserbero?

phrases of Canserbero

Canserbero was born in Caracas, Venezuela, on March 11, 1988, and died with only 27 years, on January 20, 2015, in Maracay, also Venezuela.

Canserbero was a rapper, composer and Venezuelan activist. Its original name is Tirone José González Orama. Through his lyrics, he composed rap songs of a vindictive and independent nature. His music became famous especially for Latin America and Venezuela.

Without further delay, we will know the best rhymes of this ill-fated artist.

The 70 best phrases of Canserbero

We will see the 70 best phrases of Canserbero, most of them present in their rap songs and in their combative lyrics.

1. I am not a gold coin, they taught me to be honest to believe me when the wolf comes out.

If we lie to those who love us, the day we need to be truly believed they will not.

2. And who does not die, only the one who forgets dies.

The people we forget are those who die, according to him, metaphorically speaking.

3. Love is that gun with which we all shoot at some time.

It alludes to love, which also makes us suffer, like a bullet.

4. Time heals wounds in an obvious way ... although no wound heals without scarring.

They say that time heals everything; Even so, the things that hurt us, even if we forget them or forgive them, mark us and define us forever.

5. We know people when we last see them.

Sometimes in a farewell, many things of the other person appear; many of them, essential things for oneself (or of vital importance).

6. If you don't sweep the shit today, maybe tomorrow you step on it.

Sometimes we must "make clean" with the past, that is, forgive, review, analyze ... to move forward and focus on the present. One of the most remembered phrases of Canserbero.

7. All we need is love

The theme of love is recurring in his songs. He speaks of love as a "salvation," or as the only important thing in life, beyond superficial things.

8. I invite you to dance lady loneliness on the planet. And sorry if the floor, but this heart squeezes me.

Loneliness is present in our lives; in some more than in others, and/or for longer. When we find someone who makes us happy, in a way, we stop being alone.

9. I kissed your feet to be in your tracks.

As a form of compliment.

10. Excuse my rudeness but damn the day when the sensibility came into my life.

It makes a pun, since rudeness and sensitivity are antonyms.

11. We walked without looking for each other although knowing that we were walking to meet.

Talk, in a way, about destiny. That we wander through life "searching", with our actions and without realizing it, to that person who will make us happy, to end up finding her.

12. Heart and body do not speak the same language.

Especially in matters of love, sometimes the heart (emotions) says one thing and what the body wants (physically) is another, and it is not easy to match.

13. I am in those times when drop by drop the mind runs out.

The mind (thoughts) also needs to rest.

14. I think it's time to forget your kisses.

It is a melancholic phrase, as of sorrow; It's not always easy to forget a person. In this sentence, he tells himself that "it is time" to do it.

15. It is Machiavellian to meditate alone where you lived everything with her.

Relationships are not easy, especially when there are third parties, or stories of the past "in between."

16. You are the cause of this feeling that I do not breathe from these cravings for oblivion and at the same time being with you.

Talk about the contradictions of love and heartbreak ... of oblivion and love that is desired at the same time.

17. That is why I no longer believe in my pillow, or in my shadow, that is to say anything. I don't even believe in my old man, if one day I tell you that I believe you, don't believe me that I believe you because I don't believe in my reflection anymore.

He speaks of disbelief, of not trusting us or of our own shadow. Perhaps for having lived negative or disappointing experiences with oneself and others.

18. Thank you for teaching me what to improve and knowing that not everyone should apologize.

We are all imperfect, and we can always improve as people.

19. We laugh and cry, we fall we get up, we enjoy the good, we learn from the bad.

In life, there are moments of everything; laughter, crying, pain ... We must learn to move forward and enjoy the good.

20. Try to save what is worth it, and throw away what is no longer useful, throw it away even if it hurts.

We must get rid of the things that hurt us and that don't let us move forward, and keep the good things.

21. My mind is my worst enemy .. he said to me: I will tell you what a lie is without thinking about the harm it would do to me.

The lies end up damaging in the long run. Of those phrases of Canserbero that make us think.

22. Although I don't believe in love at first sight, I believe in wanting at first night.

Love and passion are recurring themes in his songs.

23. Although I can not want to live without you.

He speaks of love as something not to be needed, but simply to be wanted, loved.

24. If not for those times when I usually breathe I could swear that I don't remember anything.

Also a kind of pun on your songs; Talk about oblivion.

25. And the worst part is that I know so much about you that I could teach intensive classes in your life.

Sometimes we know people so much that we could explain practically all their lives to others; Perhaps here it refers to the pain of knowing someone so much that they have failed us or that they have damaged us.

26. If this is not love then I am crazy for no reason.

Love often makes us seem "crazy," or act irrationally.

27. Let him who does not believe in anyone raise his hand and if no one raises them, I raise it.

Here Canserbero says he doesn't believe in anyone, perhaps because of disappointments.

28. As a paratrooper who forgot the parachute, this love collapsed.

Make a metaphor, and compare the parachute landing with a love that breaks.

29. You should close your eyes to a good smell, and slowly enjoy all good taste.

It focuses on sensations, smell, the enjoyment of a perfume or a smell.

30. I am already disturbed by the injustice that it causes to suffer, but still, I do not ignore the news before sleeping.

It is a claim letter; He speaks of injustices, which although frustrated, must be known and heard.

31. I admit that sometimes I get tired of fighting and would like to sleep to never wake up.

Sometimes the fight tires physically and mentally, so we must also rest and disconnect to gain strength.

32. Something as simple as that I go in you and you go in me as two pieces that fit perfectly.

It speaks of the perfect union between two people who want each other, and who sometimes feel like "one."

33. When I die, throw a pencil in the wooden box and do not let those in life do not want to.

He speaks of his death; He just wants to be visited - or remember, who knows - the people who loved him, not hypocritical people.

34. I am so confused I don't know whether to cry, bother or sit down to think, look for you or just wait.

Talk about mixed feelings, confusion and contradictions.

35. And you believing yourself better for having money.

Money is another thing, does not define or represent anyone. It takes away importance.

36. My eyes are betrayed when I hear his name.

The glances speak, since the eyes are very expressive, and it is difficult to hide from that. A reflection of Canserbero on love.

37. Ants are all just change the anthill.

We are all equal (in rights), even if we come from different places, and live in different places.

38. Please tell me you love me or I won't stop tantrums lying on the floor.

It is a way of saying that "if you leave me, I will be very sad", but in a bit childish words.

39. It is hard for me to think that there is another living being worth giving my heartbeat to.

Talk about the disappointment that people can produce; Surrender to someone to end up hurting.

40. Females like them were born to inspire wars.

Talk about the strength of women.

41. A kiss and a caress goodbye routine and thinks that if I leave you you will take his life.

The small acts of love from day to day, are what make us have illusion.

42. I am sincere so I don't want to, true things are said lightly even if they are hurt, life goes as it arrives.

It encourages sincerity and talks about its importance although it sometimes hurts.

43. We care about stupidities and forget that when we die we only carry what we enjoy.

It's another way of saying: Carpe Diem! Enjoy the moment! Well, life is short.

44. Well, my only defense is to explain this misunderstanding, give me another chance and I swear you'll want to grow old with me.

Another phrase with rhyme; Here he asks for another opportunity to explain the things that may have affected the relationship and explains his desire to continue.

43. I will not tell you that I believe that I will die without you, because I do not believe... I know that I am a warrior.

In this sentence, he speaks of the suffering generated by heartbreak, but of the forces, we draw to pull forward.

44. If with everything you have you are not happy, with everything you lack either.

Happiness is not having everything, nor wishing to have everything; It is to be happy with what you have.

45. I felt like butterflies what I know today are worms.

Sometimes emotions confuse us, or we realize things long after living them.

46. ​​Hate is sometimes so much that I hide it with a smile.

Hate, like another emotion, does not always hide where we usually think, but can be camouflaged in other gestures.

47. I feel like a madman trying to still trust someone on the planet of hypocrisy.

Another social claim; He talks about the hypocrisy of society and how difficult it is to trust someone.

48. All the evil in the world is in a man who beats to death with another. Where is all the goodness?

Here he indirectly refers to wars and the evil of the people who perpetrate them.

49. I do not know if there is a God but if I exist I am almost certain that he is not a great tiger with mane but rather that voice that most of us ignore and listen when we get into trouble.

He speaks of God as a voice that "guides" us and we turn to when we have a problem.

50. After all, death is so sure of winning. That advantage gives you a life.

A singing to life; It is a way of saying: "Let us live, since we die surely we die."

51. After all, being happy is what I must demand from you; If you are already happy without me I cannot contradict you.

Here Canserbero expresses that what matters is that the other is happy, and that if he is without us we cannot recriminate him anything.

52. Hopefully, those who always lie drown ... and once in hell, they burn forever.

Talk, in a way, about revenge. From wishing evil to people who have done evil.

53. I lack the air and the heart tucún, tucún, tucún. Today blood is going to run, I know where that one moves… Today I am going to become a criminal, I don't believe in anyone anymore. Unless I become a dead man. Today I will avenge my brother, as I swore to my father.

He speaks of revenge, of "social justice", of a harsh reality he lived ... You can tell he feels frustrated and angry.

54. There is only one thing in you that I admire: and that is how being so two faces, you can sleep so quietly.

He talks about hypocrisy and lies, and how sometimes people have two faces and hide it very well (or it seems that they are not affected by the damage they can cause).

55. I hate when this happens, having a dream and feeling that it was true even when you are already awake.

Sometimes we dream things that we want very strongly that are true; However, when we wake up, we are disappointed with reality.

56. God cannot duplicate what I think when I observe you because more than once I cannot enter hell.

It is another pun, it speaks of God and hell, and of a person ... Perhaps it refers to someone who has caused him harm, because he is in hell.

57. It is not a solution to give education to the poor if you give them a poor education.

This phrase reflects on the importance of education being a quality education, not just "education."

58. As time goes by, youth is over and you don't notice it until you lose half of your life without feeling the simple and special things. Like your people you hugged only at Christmas.

Talk about the "carpe diem", to seize the moments, because life goes by so fast and we don't realize it.

59. My arm tells me that love will take me away but hate taught me to be a lynx and not a fool.

Talk about innocence and mischief; love often makes us "innocent" and vulnerable, but when we live painful experiences we learn not to trust anyone.

60. Trusting who you love does not know if it is virtue or defect, even more knowing that nothing is eternal or perfect.

Talk about love, which can sometimes hurt because it can end.

61. And they believe that speaking straw they will silence a movement called sincerity, reality, truth or whatever they want or shooting at me they can make my voice die.

Canserbero claims to sing, saying that he will never shut up and that he will always say what he thinks, denouncing the injustices.

62. I would like to be less complicated and more understood, that the public understands more clearly what I write and say.

Here Canserbero talks about the desire for others to understand his lyrics and songs.

63. You should never let a comment complicate you because even improving the world someone will have to criticize you.

They will always criticize us, whatever we do. So we better do what we are born and what we want.

64. Today I just want to think about things that make me laugh yes. May they make me happy. Stop looking at gray clouds that you will wallow. Root all unhappy memories.

Talk about being happy, focus on the good things, enjoy.

65. It was perfect, as if it were a story. I could even create a defect, in case the perfect thing scared me. The fact is that for a moment I entered into reason and I was not dreaming, I was making love to you.

It is a quite poetic and rhythmic phrase; It explains what it is like to make love with a certain person. He talks about his feelings, about having the feeling that everything is perfect, about being a dream.

66. Never say "forever", "forever" or "forever" if whenever I turn around you stop being transparent.

Talk about hypocrisy, lies, and deception, very common in people, especially in love and relationship issues. Ask them to be honest with him.

67. We live training to make money or studying things that sometimes we don't even want, sculpting our bodies to be good and good because we know that to see hearts all are blind.

It is a phrase of vindication and social criticism. It speaks of what they instill in us, of what we reproduce as a society and of what we "pursue", sometimes without even wishing it.

68. I live in fear of doing the right thing with the wrong person or doing the wrong thing with the right person.

It is not easy to agree: do the "right thing" with the right person. Sometimes we only get one of the two things.

69. I want to see you shine like the star that made us leave a trace in this vast abstract universe.

It is another pun; Talk about the universe and the impact of a person through rhymes.

70. And if we die and go to heaven, I will escape hell and make love to you in a cloud in honor of our memories.

Many of Canserbero's phrases, like this one, are poetic; Talk about death, love, and memories.

[thesinglesjukebox]

ED SHEERAN - GALWAY GIRL [2.27] No video for this yet, so here's our nearest guess to how it'll look.

Will Adams: Because I have red hair, freckles and the palest of skin, people think I'm far more Irish than I actually am. I also get a lot of doppelgänger talk, usually concerning celebrities I have nothing in common with besides red hair (Prince Harry, Andy Dalton, Rupert Grint, any Weasley). I haven't gotten Ed Sheeran yet, which is a relief, because a) I run a comb through my hair more than once a week, and b) I'd like to think if I were to write a song for the Irish-ginger diaspora, I'd do better than dump signifiers all over my lyrics and feign authenticity by incorporating traditional folk elements, only to bury them beneath greasy pop-rock stew and a parody boy band chorus. Sheeran's everyman brand combined with his chart and radio dominance now means that our most ubiquitous pop music is stuck recounting truly banal bar encounters, managing to make 2017 even more irritating. [1]

Joshua Copperman: Producer Mike Elizondo: This is a terrible idea, Ed. Who's going to listen to Irish folk-rap? Ed: You just worked with Twenty One Pilots, didn't you? This will be a hit too. Mixing engineer Mark "Spike" Stent: I already did the same thing for the Script, and that song was terrible. I'm not letting you get away with this. Ed: Yes you are m9. Make sure all the instruments awkwardly push against each other at all times and not one thing sticks out. That's how it'll be a hit. Warner Music: Irish guitar songs are on their way out, Mr. Sheeran. Ed: Nah m12 there are 400 million Irish people that just want representation even though the Corrs, the Pogues, and U2 are more than enough representation for anyone - besides, it's gonna be a hit. Warner: Fine, we'll put it on the album but we're gonna stick it in the middle. *song becomes a hit* Everyone involved with the making of this goddamn song: What??? Ed: See? Told you! [6]

Katherine St Asaph: 1) I have pitched way too many excellent Irish artists -- none trad-folk, imagine! -- to impenetrable editor silence to have any time for Ed goddamn Sheeran steamrolling this fuck fantasy past supposed label objections that "Irish music doesn't sell." 2) Whatever you call "Irish music" will sell just fine if you attach a soft-rock chorus. Did you learn nothing from the last eight go-rounds? 3) Grafton Street is in Dublin. YouTube is currently arguing over whether there is, in fact, a pub there, or if it's just on a side street, or if Sheeran's talking about his awwww parents, or his awwwwww grandparents, or if facts matter at all. 4) At a certain point rapid-fire verse endings stop being impressive and start being a signthatyougotnoflow. 5) A couple people have suggested that part of the Ed Sheeran backlash comes from concealed revulsion at someone who looks like Ed Sheeran getting laid, which would be a fair critique (I made it about Meghan Trainor) if every relevant song didn't sound like Sheeran posting a field report on /r/seduction. (The "Englishman" is key here -- it comes from the same place, Sheeran preening in the formal language like a secondhand suit.) 6) Just listen to a Sharon Shannon record, christ. [0]

Katie Gill: I'm not sure what's worse: the white boy rapping or the Irishy Irish Irishness of the actual singing parts. It's like a Lucky Charms box suddenly gained sentience. At least this is Ed Sheeran embracing the fact that he's inherently a goofball and not trying to give us a repeat of the gormless 'sexiness' of "Shape of You." [5]

Rachel Bowles: I am always horrified by male vocalists that refer to an adult as a "pretty little girl." Thankfully, Ed's entitled nice guy act continues to be eviscerated in certain areas of the press, with the odd woeful exception lauding "Galway Girl" as evidence of how much he loves Ireland. And what better way to celebrate a national culture than through a tacky throwing together of lazy stereotypes to exoticise an Irish lass? Sorry, "pretty little girl." *shudder* Lack of cultural specificity when calling on the imagery of a place or time is nothing new - Lana Del Rey's "Brooklyn Baby", for instance. It's a reflection of globalisation that space and place are compressed and multiplied so that the local becomes generic, like your neighbourhood McDonalds. The difference with Lana is she has something to say: "my boyfriend's pretty cool, but he's not as cool as me." Sheeran's Galway girl could claim the same thing. [0]

William John: I don't profess to have an extensive knowledge of the country, but the delivery of a sweeping list of clichés brings to mind Robbie Williams' similarly negligent "Party Like A Russian". At least Robbie had the grace to avoid the talk-rapping for which Sheeran has an inexplicable preference; there's a showiness to it, as though he wants us to marvel at the number of syllables he can fit into each line. The problem with this is that he writes too untidily to give any impression of dexterity - quite apart from the #BrexitBritainisms, rhyming "pool" with "room" in the second verse is barely passable; on the next couplet, where "stool" is matched with "tunes", he doesn't even bother attempting to fit with cadence. The result is ugly; ugly, rotten, bad-smelling Doritos-dust music. [0]

Claire Biddles: Ed Sheeran is marketing "Galway Girl" to the "400 million people in the world that say they're Irish, even if they're not Irish", citing "a huge gap in the market" for folk-pop left by The Corrs sometime in the late '90s. It's unsurprising, with all his pre-release corporate talk of markets and release schedules, that "Galway Girl" feels so targeted: it's like he's gone through his default wooing-an-average-looking-girl-with-crisps-and-a-half-pint-of-shandy narrative and stuck in phrases from an 'Irish things' word cloud every two lines. Fiddles! Whisky! Van Morrison! "Trad tunes"! (I bet B*Witched are pissed off.) I usually don't give a shit if pop is written for a specific audience, but when it's dressed up in the borrowed ~authenticity~ of folk music it's tiresome. Also, I usually don't give a shit as long as the song is good. [0]

Edward Okulicz: Disclaimer: I love The Corrs. This wears its Oirish influence about as snugly as "You Need Me, I Don't Need You" its rap ones. That means "not well." The fiddling weighs a tonne rather than being delightful frosting, and the song is trying to be so many things at once to so many people that I'm almost jealous I can't be one of them. Instead, I'm going to listen to "The Right Time." [4]

Alfred Soto: See, when a Richard Thompson writes a folk song, his intonations and lyrics give some indication that he understands the form, if not the people. This fool is out for a kiss and a jig and an instant top ten. This gay Latino man has not a drop of Irishman in him, yet the "but" casually inserted in the first couplet offended him: why should it matter if the Irish girl fell in love with an Englishman? As for the rap, Sugar Ray and LFO did it better. [1]

Maxwell Cavaseno: The true genesis of the rise of Ed Sheeran comes not in his singles, but in his throwaways. Years and years ago, Sheeran's claim to fame was appearing on Youtube channel SB.TV's "F64 Series", a curation of freestyles by the UK's best-regarded underground rap or grime MCs. It was an easy splash of cold water to go from various barrists to this ginger with an acoustic guitar who seemingly free-associated while making it muuuusical. Sheeran used it as a jumping point, comprehending that it does more impact not to be 'exceptional' but to be an 'exception'. "Galway Girl", for all its folkisms, is essentially still designed as a rap song, as proven by Sheeran's frequent forays into Mraz-style overkill. That's the real strength of Sheeran: his ability to graft what bubbles beneath the surface and bring it as close to the breach as possible, yet still keeping himself on top. [4]

Scott Mildenhall: It's catchy, and an instrumental version wouldn't be objectionable, but therein lies the problem that renders it near-unlistenable: it is not an instrumental. Little in music is as aggressively dull as the sound of Ed Sheeran rapping, and his agglomeration of Celtic cliches is just as clumsy as "Castle on the Hill"'s depiction of a place he knows and loves well enough not to fetishise. It would feel generous to call his second consecutive "Van on the jukebox" line a motif; it's more a hallmark of utterly uninspired songwriting. Still, Riverdance. [4]

[Read, comment and vote on The Singles Jukebox ]

[ignitingwriting]

Igniting Writing Create Your Own Session Plan Challenge 2020, Submission by Christopher McAllister

Lyric Writing

 There is lots to cover so I have a few things to say before we get started:

- There are not really any rules to songwriting. Don’t take what I say as if it was the word of God.

- Good lyrics are subjective and might affect people in different ways so don’t worry if people don’t like it. As for everyone else, constructive feedback and don’t be so hard on yourself.

- We will have to talk about music theory so I will cover that ASAP before we get onto writing.

- Songwriting requires you to experiment and not just stick to the rules. Learn the rules like a pro to break them like an artist.

- You don’t need to see any of the handouts.

- Only the song links to the activities need to be used.

 1) Rhythm of lyrics in a broad sense:

Lyrics are poetry set to songs. To understand how to set lyrics to songs, you need to understand how lyrics work. First, we will talk about rhythm because lyrics need to have a rhythm in which they are sung at.

In most songs, the lyrics being sung take up the role of being the main melody of a song and it occurs over a period of time. To begin simply, music has a time signature. There are loads of them out there; the most common is 4/4 where you have four crotchet beats in a bar. 

A measure (or bar) is a segment of time corresponding to a number of beats. An easier way of thinking about it is like a phrase when you talk. (With rhythm) “You can talk in time for four bars.” That is one phrase. Another would be this: “Combine lots more to make a song”.

So you have noticed that I consistently said those words in time but also I counted two words per clap. This is an example of different rhythms you can use and will come across.

Notes can be divided in groups of two and three. We will focus on two for now and this is called “simple time”. Where you have four crotchet beats in a bar, you could have eight quavers – which was my chosen rhythm for that example. You could go further, dividing it into 16, 32, 64. Pop songs don’t usually go past 64 at all because it is too fast for most. We will call the crochet a 1/4note and talk about all the others in terms of fractions.

With this in mind, you can create loads of rhythms mixed up with 1/4 notes, 1/8 notes, and 1/16 notes to create a rhythm. (Example.)

Another side of this, is something called a rest. It is just to say that nothing must be played. You can’t leave music as an empty space, it has to be filled with something and that includes silence.

The other things you really need to be aware of to continue are 1/2 notes and whole notes. 1/2 notes last for two beats (or half of your measure). You can guess what a whole note is.

Okay, that was a mouthful now I got a game for you all to play. It might be simple but you can get as creative as you want with this. I created a loop which we are gonna clap along to. I want to give you a sense of rhythm and also get you to be creative in coming up with them.

 Activity One: clapping multiple rhythms (length of activity; three minutes excluding explanation)

So, you will get a one bar count-in before the song starts. The first part of the game is just to clap along to the first part of the song that lasts eight bars. I will call out the ‘subdivisions’ I’ve told you about, which everyone here should follow along to. I promise all of this has meaning in the long run. 

After the first part of the song, you have one bar to clap out any rhythm of your choice then everyone else will be able to repeat it the bar after. This is called a ‘call and response’. Don’t be scared to go complex but it must be ‘in-time’ with the music. Music has a set tempo which is the speed at which you count the 1/4 notes. (Provide example.) I will pick who goes, don’t worry if you can’t get it the first time around because I certainly didn’t. I will run through part of the whole song with you then we will all try it together. 

Activity One instrumental w/ voice: https://drive.google.com/file/d/1I-mtvSOUFMMUe4MLTuyL2_OkwhA_8EQF/view

 2) Writing lyrics:

So now you hopefully have an idea of rhythm and most of you here have seen or heard poetry before. We are going to look at rap songs first because this will build on your sense of rhythm as well as give you a few tools to transfer into different situations like poetry and songwriting.

Rap songs focus on rhythm and rhyme as a bare minimum. One of the best rappers is Eminem and a few of you here might have heard their songs. Most of you know how to rhyme but it can be done in a few more satisfying ways in music and we will look at an example.

 Lose Yourself - Eminem (handout):

His palms are sweaty, knees weak, arms are heavy

There's vomit on his sweater already, mom's spaghetti

He's nervous, but on the surface he looks calm and ready

To drop bombs, but he keeps on forgettin'

What he wrote down, the whole crowd goes so loud

He opens his mouth, but the words won't come out

He's chokin', how, everybody's jokin' now

The clock’s run out, time’s up, over, blaow!

 There are quite a lot of things to pick up on. You can utilise these in your lyric writing if you want to. Not every song has to rhyme. Let's look at what’s going on here:

This verse is built upon rhyming groups, that isn’t the exact name but it says what it is.

- Palms, arms, vomit, calm, bombs, on.

- Sweaty, heavy, sweater, already, spaghetti.

- Nervous, surface.

- Wrote, opens, won’t, chokin’, jokin’, over.

- Crowd, loud, mouth, now, out, blaow.

These words are grouped by vowels. There are around 20 vowel sounds in the English language, even more if you alter your accent like Eminem did.

The rhymes land on the same beat in the measure.

Eminem uses multisyllabic rhyming which we are going to cover in our next activity.

 Activity Two: rapid fire word rhyming (length of activity; three minutes + two minutes)

We are developing rhyme in preparation for the activity after this. This activity is meant to help you develop your rhyming and also provide you with a way of building verses and stanzas in the future.

To begin, everyone will pick two words at random from one hat. This word could be anything, but it will mainly be a noun or pronoun. Then, everyone will get five minutes to write as many words that rhyme (with your two words) as possible. An extra tip is that you can change your accent slightly and bend the rules to fit a word but that rule bending must remain consistent.

 List of words (can be used by more than one person):

Horse

House

Juice

King

Cat

Dog

Lock

Lunch

Match

Nail

Train

Trip

 Now you should have two banks of words which you can use. The next stage is to look at your words and see if you can combine them so that you have multisyllabic rhyming – this is where you have two words with more than one syllable that rhymes with another word with more than one syllable. You have less time because it might not be possible to come up with any, in which case, we can move on.

 Activity Three: (writing a rap) (length of activity; 15 minutes excluding explanation, 10 if we listen to 10 people)

So you now have a sense of rhythm as well as a really useful tool that helps you build rhymes from one word. If you keep practicing that with random words, then you should find yourself improving the level of your rhyming. Now that you have a few of the lyrical tools, we are all going to put them to the test. You’re going to write a stanza or two, or three, or four. Your topic is going to focus on 1 or both of the two words that you have been given which means that you can use your word banks that you have created for help.

To further help narrow the scope of what you have to do, I have created a few beats of different levels that you can set your raps too. Some of them are of a typical standard, others are much more difficult. All of them are one minute long. If you want to sing or add a melody, you can but focus mainly on the rhyming and the lyrics. 

Activity 3a - (86bpm, 4/4, LoFi) (Difficulty; 2/3): https://drive.google.com/file/d/1PxVqFcpSeeFDuvIDLTGHfqzfMZ-HUedc/view

Activity 3b - (125bpm, 4/4, Hip-Hop) (Difficulty; 1/3): https://drive.google.com/file/d/1JtTa3ZEUp4dZts-gidADljXzUDQEz-9W/view

“Activity 3c” - (120bpm, 4/4, Hip-Hop/Funk) (Difficulty; 2/3): https://drive.google.com/file/d/1fJoTkXT4yrzPRVTdFrQo-_NoBRFQnAnH/view

 3) Applying music and lyrics to story:

Okay, now is the next stage of writing songs. Of course, we overlooked loads of other components that make up a song but should you be interested, there are loads of people who teach music and lyrics online. I’ll mention a few at the end. Right now, we are looking at applying lyrics to a story and there is no better genre than musical theatre.

A song is a key component of musical theatre and they serve multiple purposes. These are some that I have noticed so try to name a song that fits in with the following. They can be from a Disney film or another musical of your choice:

(Quick fire, show of hands if they have an answer.)

To introduce characters (Beauty and the Beast: Gaston https://www.youtube.com/watch?v=VuJTqmpBnI0, Hamilton: Alexander Hamilton https://www.youtube.com/watch?v=VhinPd5RRJw, Beetlejuice: The Whole ‘Being Dead’ Thing https://www.youtube.com/watch?v=4ADY7FGtwmM).

An ‘I want something’ song, usually near the beginning of a musical (The Little Mermaid: Part of Your World https://www.youtube.com/watch?v=SXKlJuO07eM, Hamilton: My Shot https://www.youtube.com/watch?v=Ic7NqP_YGlg, Beetlejuice: Dead Mom https://www.youtube.com/watch?v=KEct4Nod2iU).

A song that is at a character’s lowest point in the story: (Frozen 2: The Next Right Thing https://www.youtube.com/watch?v=w6g1yQV0dIY, Hamilton: It’s Quiet Uptown https://www.youtube.com/watch?v=vjEoOeXId1k, Beetlejuice: Home https://www.youtube.com/watch?v=6Xt3WNuB-oc).

So those are three types of songs out of millions of others and I can guarantee that a good song isn’t because of the music directly; it is because of the lyrics. And I would argue that though well written music is very important in musical theatre, well written lyrics are the most important component of the music in most musical theatre shows, with a few exceptions. 

But why is that the case? (Ask them why they think lyrics are important.) This goes for any form of media: communication. Stories are written by people to communicate something, whether it is an emotion like happiness or a lesson. 

- A Christmas Carol being written in 1848 as a political diatribe to battle against the poor working conditions in London. 

- Beauty and the Beast teaches about not judging a book by its cover. 

There was a point to communicate to an audience and it was done throughout the bigger picture of a story. But the ‘bigger picture’ isn’t necessarily where the real story exists.

Where is the story in a story? (To rephrase, ask them why they listen to stories told by other people.)

We can look to screenwriting, drama as well as life for the answer: all stories exist within the characters. They don’t exist in events – events fuel the story that exists in the characters. The reason for this is because your characters have had their own unique experience that nobody else has ever had, which is where the story exists. How were they affected? What was it like? Those are questions that characters communicate and I would argue that is where the core story lies.

Musical theatre songs are sung by characters who have a story to tell because they were affected by something in the moment. They are effective because they communicate a unique experience. 

 Activity Four: writing for a character (length of activity; 15 minutes excluding explanation) 

This activity is a step up from the third activity in basically all aspects, including story. You have a choice on what you write: An ‘I want’ song, a character introduction song, or a song where the character is at their lowest point in the play. 

The character that you pick can be already established, including yourself. You can use the previous tracks if you want, though I don’t recommend it, and you can read them like poetry or perform them. The choice is yours.

One more thing to talk about is the structure of a song. In musical theatre, most go AABA, but you can mess around with this if you want to. Make sure it has a clear structure when you write it and I look forward to seeing what you come up with. Don’t be ashamed if you think it is trash as it is a first draft. That is why us musicians cut, change and rewrite, even after the song is on Broadway or the West End. Good luck.

[lazyridabeatspt]

Rap Beats – an Entire Guide tutorial

Imagine that you’ve started writing rap song, a song that build your dreams true.

You’ve written the song, compose rap beats and edited it, just look at it.

You send the song to your friends, family, share it on social network, and settle in to see what happens.

And then …

Sure, you get some view. Perhaps even some comments. However obscurity close to the amount of your breakthrough drawback from song ought to be obtaining.

Yes, if you want to follow your passion for rap.

Simply begin believe yourself and increase your hunger for learn rap music.

Start learn everything regarding popular rap music. Go surfing internet, learn multiple tutorials, do not miss any of them.

That according to popular rap music.

In this article I will talk to you about the music.

This article cowl most searched nine voices.

So Before I begin to write a list of topics that progress towards concisely.

What’s Beats in music?

What is a type beat?

What’s Rap Beats and its type?

What’s the aim of rap?

Who makes rap beats?

What programs do rap producers use?

What area unit Royalty Free Rap Beats?

Wherever are you able to get free Rap Beats?

Tips On Becoming A Successful Rapper / Artist These Days

9 Tip For Understanding popular music concisely.

What is beats in music

A beat is the basic unit of music. Beats will be live live. They live the heart beat and rhythm of a musical piece. They’re just divided into 2 kinds: stressed and unemphatic beats. Stressed beats area unit the ‘strong beats and the unemphatic area unit the weak beats. Time signatures and tempos. Created by moving the beats into specific orders. (Source Wikipedia )

Is not confusing. Seriously I can not perceive what Wikipedia author want to say regarding music beat. Here I have created easy definition for beat.

“The tracks on a drum machine or the digital sampler area unit” isats the “beats,” so I have to take a look at the musical time signature to the rhythm. “

So during this context, Beat simply means that the instrumental track.

So artistic use of drum, rhythm and synth patterns for instrument, whether sampled or programmed. You will additionally hear “beats and loops”.

In kind of popular music, songs area unit. One of those elements could be tracked because of the beat or beats.

What’s a type beat?

I hope you do not understand what it is like in music.

Now we are progressing to learn about the type of beat in music.

There are mainly four type of beats. Here below is a letter of type of beats

Down beats

Up beats

Stressed beats

Non-stressed beats

Down Beats:

During listening song some time you clap your hand along with song rhythm. This is often nothing other than down beats, simply you are clapping down beats.

Up Beats:

Up beats is an element of rhythm in music. When you clapping your hand along with rhythm, upbeats occurs after you pull your hand faraway from each other’s.

Stressed Beats:

We can said stressed beats keep very little robust and louder or in it’ll stand out from other beats. It not continuously however most of your time 1st beats in music is stressed beats.

Non-stressed Beats:

We can outline non-stressed beats as opposite of stressed beats. Thus “off-beat” could be a musical beat that emphasizes the weak even beats of a bar.

What’s Rap and its type?

Rap is a type of music where the words are not sung directly but are spoken in a rapid, rhythmic way. Rap vocal delivered over combination multiple instrumental in rhythmic beat. Rap is mainly focused on the rhythm, or flow, rather than musical melodies

Rap is a vocal technique that falls somewhere between singing and chanting. The ability to rhyme different words is a vital component of rapping.

Improvised rap is known as free styling and is considered a highly prized skill, although most recorded rap is not improvised.

Rap is not as complex in its melody or harmony as traditional singing is, being very much focused on rhythm.

The quality of a rapper’s rhythmic pattern is sometimes referred to as flow.

Everyone has different ideas about what makes a good flow or a bad flow, so hip-hop culture is filled with variance contingent upon individual preferences.

Where Does Rap Come From?

Rap has two basic points of origin: Jamaica and New York City.

Although many people associate Jamaica only with reggae, the island has been profoundly influential on numerous forms of popular music, including rap. In the 1960s.

Jamaican DJs playing and mixing records at big outdoor parties started picking up the microphones and yelling at the crowd to dance.

This practice came to be called toasting and was the precursor to rap.

Hip-hop culture, and rap more specifically, emerged in African-American and Latino neighborhoods in New York City during the early 1970s.

The Bronx was the most important borough for the development of rap and hip-hop, but other boroughs like Queens were soon to follow.

DJ Kool Herc was born in Jamaica, but came to prominence in the Bronx.

Familiar with the dance party culture, DJing, and toasting traditions of Jamaica, he transformed these styles into a vibrant form of youth culture that served as the basis for hip-hop.

Other important figures in the Bronx during this early period included Afrika Bambaataa, Melle Mel, and Grandmaster Flash.

Type of Rap beats

Alternative Rap

Bounce

Dirty South

East Coast Rap

Gangsta Rap

Hardcore Rap

Hip-Hop

Latin Rap

Old School Rap

Rap

Underground Rap

West Coast Rap

Why is Rap Important?

Rap is important because it’s probably the most internationally recognized popular music.

Rap and hip-hop are performed throughout the world and in just about every language that you can imagine.

The hip-hop subculture that rap is a part of is one of the most influential of international music culture.

Rap and hip-hop represent the best of music culture in terms of creativity and resilience.

Rap is both a type of music and a form of social expression. Also Rap is one of the four pillars of the hip-hop subculture.

What do you need to produce Rap beats?

one of big questions and confusion of fresher rap producers that what equipment they required for start or follow their passion in build own beat or rap song.

Another problem which stop them from getting started is that they seem to think that the equipment they will need to make quality beats is highly expensive.

And this can may be think to dismiss their desires as a producer or building their career in rap music.

There is no doubt that some must have equipment needed for build high quality beats and songs.

So today I will gives you list of equipment you have before entering into rap music industry.

Desktop or Laptop PC:

There is an honest probability that you simply already own some kind of PC, however if not this is often the primary place to start out. As a result of beat creating software package will use a lot of your computer’s RAM, notably once a lot of plugins are used in a session, the next mac computer or raincoat are going to be best if it fits your budget.

However, you’d be terribly very at how much you’ll do with a budget PC, particularly if you invest in a very RAM upgrade. Please don’t get discouraged if you want to invest in a very lower finish PC to start on. You’ll do a lot with a little if need be. That said, it’d be informed purchase the simplest PC you’ll that matches your budget rather than using these additional funds on flashy hardware or software package.

If you opt on a portable computer rather than a personal computer, please make sure to think about the scale of the screen. Laptops with small screens is also tempting because of their portability and weight, however make sure you take a look at out a DAW (Digital Audio Workstation) like Fruity Loops, Logic, Ableton, etc.

Before creating the purchase. It can be extremely uncomfortable to create music on such tiny low screen, as your DAW can usually have 2-3 separate windows (mixer controls, sequencer, library, etc.) to not mention plugins which can all be crammed up in a very small space. Your advancement are a lot of power tool with a bigger screen, allowing you to own multiple windows opened aboard one another.

An Audio Interface:

The next piece of kit you may got to create your own beats is an audio interface.

The interface is a tiny box that connects to your PC and acts as a preamp for your audio equipment.

It usually contains outputs for your monitors/speakers within the back as well as mic/instrument inputs on the front panel.

The aim of the interface is to power your speakers and recording instruments, acting as a “middleman” between your pc and your audio devices.

Another necessary feature of the interface is that it contains a sound card that provides low latency for your recording devices, minimizing recording delay to nearly zero.

If you choose to make your own PC, there’s no need to purchase an internal sound card as your interface can function a high end external sound card and can be all you would like.

Additionally keep this in mind if you buy a pre-built PC, as you may not got to pay extra cash on a PC that boasts having a high finish sound card. Hands down, the foremost common and value efficient interface available nowadays.

Studio Monitors

When creating a beat, it’s crucial to own a pair of monitors (speakers) that represent sound as accurately as possible with none enhancements or alterations to the original sound.

This can be why producers use monitors with a close to flat (accurate) response. Owning a pair of studio monitors can change you to listen to each sound in your mix the way it sounds in its most raw and true type, and this can lend to creating mixes which may sound nice on any pair of speakers from clubs to phones.

The first issue you’ll want to determine is what size monitors you would like.Some common sizes are eight inch, 5 inch, and 6 inch.

I personally like the eight in. size, because it offers me enough of a sub bass response to produce hip hop beats while not having a sub loudspeaker system. However, the five in. monitors are a decent choice too if your budget calls for it.

MIDI Controller

Another piece of equipment you may wish to invest in to form a beat could be a MIDI controller. A MIDI controller is basically a keyboard/piano that controls the virtual instruments inside your DAW, allowing you to record sounds into your sequencer. You’ll assign it to play out any virtual sound, from pianos to synths, bass, strings, etc. while it’s not required due to most DAW’s ability to assign keys to your computer’s keyboard, it’ll create your workflow and production experience much more enjoyable and economical.

Most MIDI controllers are available in a range of sizes that represent the amount of keys on the board.

Some common sizes are 25, 49, 61, and 88 (standard piano key range).

I like to recommend visiting a local music store to do out every size before buying one, as you’ll notice that you simply enjoy a smaller or larger size looking on your wants. The smaller (25 key) size is nice for movables, particularly if you wish to form beats on the go. However,

It’s very limited in its range and you’ll find yourself having to constantly press the Octave up/down key to play higher or lower notes. A 49 key controller could be a nice medium for an aspiring producer, giving you enough space to play whereas being cost-effective as well.

I personally own and prefer the 61-key size, because it offers Maine an excellent range and fits perfectly onto my table. The massive 88 key models are probably only worth it if you’ve got enough area and are an avid keyboard/piano player who likes to have access to every octave range.

Many MIDI controllers also have different features.

Some include drum pads, mixer fades, and knobs that you can assign to plugin parameters.

These can be nice, however the only features that I personally believe are mandatory are a pitch wheel, mod wheel, and octave up/down buttons. If you’re a more active kind of person, the assignment knobs could also be more important to you.

DAW (Digital Audio Workstation)

Now that we’ve covered the hardware you’ll need, it’s time to speak a small amount about software. You’ll need a Digital Audio workstation (DAW), the bread and butter to recording and manufacturing beats on your laptop. Your DAW are going to be the software you utilize to record instruments (virtual or live), record vocals, sequence and arrange your beats, lay drum patterns, export beats, and so on.

Most DAWs contain a Sequencer window, that is basically a timeline that shows waveform and MIDI info of your beat as it progresses over time.

Another feature of a DAW is that the mixing window. This contains virtual faders and looks like a mixing board, allowing you to adjust the amount and effects levels of each track. It’ll also contain your Master Fader, plugin/effects sends, auxiliary busses, and more.

Some of the most popular DAWs today include Fruity Loops, Pro Tools, Logic, Ableton Live, and Reason.

If you are doing not have a laptop yet, it’d be wise try out every of these DAWs initial and choose that one you prefer best, as a number of them are mac or PC-specific.

Logic, as an example, is only available on mac, and Fruity Loops is only on Windows (although a mac version is supposedly on its way).

Your DAW choice should be an important consider what kind of pc you buy.

What programs do rap producers use (Best 3 )?

Ableton Live

Since its introduction in 1999, Ableton Live has been steady growing as a really common DAW and for good reason. We all know we’ve gotten scrutiny for listing it first, and everyone is entitled to their opinions. However, we feel this is often the best digital audio workstation for most of our readers.

Here’s why (and simply some reasons, considering it would take days to explain the power of this) — you’ve got the quality multi-track recording (an unlimited range of audio/MIDI tracks for songs) and cut/paste/splice features, but what’s particularly nice concerning this software is that the seamless MIDI sequencing software and hardware.

We’ve had such a large amount of fusses with our MIDI controllers getting mapped to our sounds through the DAW (back when we used Acid professional in 2005-2010), however ever since the switch to Ableton it’s been extremely headache-free.

Another huge and is the included sound packages included. though this really depends on your preferences and whether or not you have your gear and sounds up to speed, it comes with 23 sound libraries (about 50 GB of sounds), thus you can build music right out-of-the-box (great for starters).

To finish off our description for the beloved Ableton, this factor is the best possible music software for performing live with. We’ve experienced only a few glitches (the biggest fear of performers…it will build or break a set).

What’s even better is that Ableton has paired up with some brands to make gear specifically for the program, typically matching interfaces with the software for easier pairing and remembering of sounds.

Operating system:Mac or Windows

FL Studio

This is one in every of the best DAWs for those trying to start out and obtain their feet wet in the music creating world. FL Studio by Image-Line has been out and about for quite some time, being one in every of the most popular software so far.

It’s got your standard protocol with pitch shifting, correction, time-stretch, cut, paste and also the works, however its interface is especially well-suited for the beginner.

It’ll take a little bit of reading to start going, however once you’ve got the hang of it you’re smart to go.

There are plenty of YouTube videos out there qualitative analysis back to 2005 giving tutorials for pretty much any feature you need explained.

Their latest version includes over 30 synth software for out-the-box usage, therefore if you’ve just purchased a controller and need some sounds to start out fiddling with you don’t got to pay much money.

So Basically FL studio best software for my personally choice. It has everything that as music producer we want.

If you really serious about learning and want to know how to use FL Studio. Follow this our tutorial on How to Make Rap Beats / Rap Instrumentals in FL Studio

Operating system: Windows only.

Apple Logic Pro X

Apple Logic Pro X is an amazing digital audio workstation, particularly for those with a mac (not compatible with Window). What stands out with Logic professional is the interface — very advanced to assist with the music creating process by including track consolidation (track stack), instrument layering, an intuitive mixer for plug-in control, and a “score editor” to permit you to make your own MIDI (comes with 9 MIDI plug-ins that help you transform the sounds, such as chaining multiple plug-ins together, scale speed, etc.) tracks with only a mouse (most programs have this).

It’s a “virtual drummer” feature that options an interactive drum set for visual implementation of drums for some fun playing and natural sounding kits.

Additionally has an arpeggio that’s better than a lot of software out there — it’s programmable too.

This thing is just jam-packed with features, synths, plug-ins, and not to mention a good interface for easy learning. Even if you’re a beginner, although not suggested, you can most likely get away with using Logic — it’ll just take it slow to learn it.

Simply remember, it’s worth sitting down for even a month or 2 to find out the basic ins and outs of this and you’re smart to travel for years.

Logic professional isn’t going anywhere any time soon, and their community is huge for any queries that may arise. Another and is it comes with a sound library and loop collection with some pretty fresh out-of-the-box effects as well, therefore if you’re looking for some sounds for your controllers/pads this is a plus.

It’s solely usually priced around $200 retail, so it’s pretty easy on the wallet compared to others.

Simply bear in mind this only works with mac. It’s expressed to give professional Tools a run for their money — I’d recommend grabbing it if you’re simply a step below professional Tools and don’t want to pay the money or take months take a class to learn it. If you want an easier interface that’s geared more towards beginners, you can read further until you get to Garageband — Apple’s a lot of straightforward digital audio workstation that’s free.

Operating system: Mac only.

What are Royalty Free Rap Beats?

Royalty-free, that means you’ll be able to keep 100 percent of your earnings. Songs using these beats may be music streaming sites like Sound cloud, Spotify, YouTube and DatPiff. You can also sell songs using iTunes, Google Play, Amazon, etc. they will even be used for music videos, TV, radio or film.

Where can you get free Rap beats?

You can get some free rap beats from us

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A FEW DAYS INTO January 2018, I heard Kwame Dawes give a lecture on “The Poetry in Music / The Music in Poetry” in Oregon, at Pacific University’s low-residency MFA program. Dawes had just been named one of the new chancellors of the Academy of American Poets, along with Marilyn Chin and Marie Howe. He was continuing a professorship at the University of Nebraska. He was also continuing as editor of Prairie Schooner and in his work with the African Poetry Book Fund, which publishes four full-length books of poetry and a new series of chapbooks every year. 

Dawes’s lecture on music was among my favorites at the residency, and I picked up his most recent collections, including City of Bones: A Testament (2017), at the student bookstore. “Most recent” is a slippery term with Dawes. For example, when we first corresponded about this interview, City of Bones was recent. Since then, he has at least two new books out, including a reprinting of 1995’s Prophets and, co-authored with John Kinsella, A New Beginning: A Poem Cycle. Dawes, who was born in Ghana and raised in Jamaica, is a prolific poet with more than 20 collections, as well as an established playwright, novelist, journalist, critic, musician, and synthesizer. He is the author of the authoritative study on Bob Marley’s lyrics and is responsible for a number of innovative mixed-media projects and anthologies, including the recent responses to the work of artist Romare Bearden.

When I saw him again in April, he was reading at Split This Rock’s social justice poetry festival in Washington, DC. Actually, he wasn’t reading — he was singing. He opened his presentation with a lesser-known Bob Marley chant, “Roots natty roots / dread bingy dread / I and I a de roots,” which created a sense of calm and suspense over the audience. His gift for rhythm remained in his delivery of poems — some of praise and some of mourning. I could see the audience nodding at familiar sounds and delighting in surprise as he invoked the tactics he showed us in the craft talk three months earlier, like creating patterns with poems that reward the listener by matching expectations, then changing the patterns to counter expectations and emphasize important shifts. 

In our interview, which occurred over email in May, he discussed many of the takeaways from that January lecture, including the role of music in verse and the overlap between genres. We spoke about how our childhood memories of poetry inform our current understanding of the genre and how that entry point into the work is usually closer than we think.

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EMILY SERNAKER: How can existing songs within us — nursery rhymes, hymns, chants, and prayers — inform our approaches to poetry?

KWAME DAWES: I believe that some of our earliest experiences with poetry come from the hymns, songs, rhymes, and chants that we hear as children. Nonsense stories, language play for the sake of invention and delight, are all part of that barrage of poetry that we deal with as children. We learn mystery and fear through incantations and prayers. We learn the gap between sound and meaning and we learn to dig deeper or simply ignore it. The fact is, that not even technology has changed that reality for us. These informal and sometimes formal ways in which we encounter the poetic are important in instilling an impulse toward language and mystery and the power of language to bring clarity.

What happens after that period is what determines whether we grow to love poetry in its more formal sense or not. Some cultures and some periods in history are known to formalize the engagement with structured and artful language sooner and for a longer period than others. Popular music, the radio, television, computers, and much else, have complicated the ways in which we encounter the poetic, but I like to think that much of the magic is still there. I do remember as a child believing fully that words chanted could effect change, could haunt, could curse, could, as we would say in Jamaica, guzum circumstances and experiences.

What shatters that magic of those early moments is when we discard that element of delight, play, and mystery for the business that happens in the middle-school classroom that turns the play of language into study, into labor, and into a negotiation between certainty and received assurances of meaning. We stop associating poetry with something everybody does, but with something related to academics and study. I am not talking about the difference between spoken word and book poetry, as some are wont to do. The tyranny of form as a polemical force crosses both of these genres, and sadly, even the spoken word rarely enters the atavistic realm of mystery and incantation that I believe should be part of the poetic impulse. It is not, either, a distinction between so-called “academic poetry” and “popular poetry.”

The difference is largely specious, for there is mystery and magic and sentiment in work that we like to call academic inasmuch as there is formal rigidity and conservatism in so-called popular street performance poetry. These labels do not get to the heart of the matter. The heart of the matter is the poetic impulse, and I am increasingly of the view that the closer that poetry gets to prayer — to something spiritual, if you will — the closer we come to a genuine poetic sense.

You’ve described your recent collection City of Bones as having particular urgency. How was creating it different from other collections?

I write to understand the world I live in and to discover what I think and feel about that world. I also write to write. The truest answer to that pesky “inspiration” question is that I am driven to write by the desire to write. The process of writing, the way it makes me feel, that is what gets me back to the page.

City of Bones arose out of my intense study of and love for the plays of August Wilson. I have been taken by the work of a number of playwrights in my life — playwrights whose work I have spent a great deal of time reading and, where possible, viewing. Some names that come to mind are Athol Fugard, Ntozake Shange, Dennis Scott, Wole Soyinka, Michel Tremblay, and Caryl Churchill. For years I worked as an active playwright, so this kind of focused examination of their works makes sense. The list is a far longer one and includes single plays by gifted artists like Patricia Cumper.

In my own training as a playwright, I have read much of the Western canon of plays in English and in English translation, and, of course, the works of African playwrights, Asian playwrights, and so on. So it is a thing for me, as they say. Wilson was a revelation; and I was in awe of the audacity of his project and his remarkable success at achieving it before he died. I simply wanted to be in conversation with that work as a way of conversing with myself. So I made one basic and ambitious decision. I bought 10 notebooks, and vowed to write as many poems in response to each of the plays in his 10-play cycle. The task is not completed, but the job is — the job of making a collection of poems in dialogue with August Wilson. All the plays have some echo and voice in the collection, some more than others. But I regard these poems as deeply personal, even though many aren’t personal in nature.

I suppose I come to the poems with the attitude of a very sloppy actor who has decided to pick and choose what snippets of language from the playwright he will use and then selfishly lets his emotional “interpretation” of the plays shape his performance and, in the process, go as far as quarreling with, echoing, stealing from, and departing entirely from the work of the playwright. The last thing I am doing is retelling Wilson’s plays. Instead, I am treating Wilson (and this is the best I can do by way of explanation) as thousands of artists have treated William Shakespeare, Miguel de Cervantes, Dante Alighieri, the Bible — as a rich source of poetic allusion, reinterpretation, tradition, possibility, and stories.

The truth is, we have a strange kind of permission that Jamaicans delightfully cast as “t’ief from t’ief, God laugh,” meaning when a thief steals from another thief, God laughs. The suggestion is one of a certain kind of comeuppance, but we also embrace it as a kind of permission without judgment. Cervantes and Shakespeare were, by any standard, famously inveterate larcenists, so there is something almost necessary about the “conversation” with tradition that is built into my project. Perhaps such projects require a buffer of centuries to avoid some of the inevitable weeds, so to speak, but I truly enjoyed the poems that emerged and the hard work that followed of culling them to fit into a coherent collection of verse.

City of Bones is full of music, with scenes in church, conversations with ancestors, sounds of nature and breath, instruments, spirituals, hymns. Bluesmen play throughout. In what ways did you seek to utilize music to engage with the larger story of African diaspora?

I think you have answered your question by your observation. You might have said the plays of August Wilson are full of all the sources of music you listed above and more. Wilson was drawing on jazz, on classical music, on the collage improvisations of Romare Bearden, on the call-and-response of folktale telling, on prison songs, on the echo of West African chants and rituals to feed his work. It is inevitable that any “good ear” would have to pick up much of this and use it with glee in the poetry that is claiming to be “inspired” by Wilson’s art.

Some of the most brilliant commentaries on blues are made in Wilson’s plays, and he himself would speak at length about the ways in which he handled the monologue and the long speech as a kind of blues narrative form and structure. Wilson wrote deep inside black tradition, and he relished all the possibilities there, possibilities that writers like Zora Neale Hurston, W. E. B. Du Bois, James Weldon Johnson, and Langston Hughes, among so many others, would talk about beautifully and movingly when they spoke of their nascent poetics and literary aesthetics. I bring to this conversation my own rootedness in African music, both from my childhood and my later adult life, and my long-established engagement with reggae music and its aesthetic.

City of Bones is thick with allusions to calypso, to reggae, to samba, to highlife — forms that Wilson does not speak of explicitly, but that he would have also heard in his own immersion into music and culture of Africa and its diaspora. Wilson, in many ways, writes a play of deep authenticity to region, to cultural history — what some would even call a purity of care to accuracy and authenticity. I have enjoyed breaking through that with the intrusion of my narratives, my other cultures, and my sense of the pan-African experience that is both confirmed and bolstered by Wilson’s work. So there are accents that I hear in Wilson that arise from the South Carolina landscape where I lived for two decades, and I bring other accents to the poems in City of Bones to remind us of the ways in which the African experience has followed sea currents and trade winds and the paths of abuse and horror and survival around the globe. Maybe that is what I could call an “achievement” of the book.

Do you see the trumpet from Wilson’s Fences (and Gabriel’s eventual inability to create sound) as particularly devastating?

The possibilities of interpretation here are immense. The most obvious read is to see this as a tragic moment, a moment in which the muting of all music and thus all articulation is completed. But there is something else that happens in performance, and I think when the actor does not look devastated, but actually acts as if he feels that the effort has been worth it, that this is something he will continue to do until a sound will come, we are then left with a sense of hope.

Wilson’s hope is also hard won and something that has to be wrested out of tragedy. And Wilson is making it clear that every single act of hope and joy in African-American life has had to be hard won. For when we celebrate Martin Luther King Jr., we are, like Jesus’s disciples at the Last Supper, anticipating the crucifixion. The same goes for Malcolm X, for Medgar Evers, for Angela Davis, for Zora Neale Hurston, Tupac Shakur, Bill Cosby, heroes, villains, victims, and victimizers — the story of the African American arrives at hope and joy, true terrible calamity; and that wind, that long wind of sound, is at once a sign of breath and a sign that there is a long way to go. I can hear people saying that this is true of all people. Perhaps. But here Wilson has made this particular tragedy into monumental art, and it has become a gift for all others to carry with them. It is what Bob Marley did. It is what great art does.

The poem “Stop Time” centers around the concept of a joyful pause within a moment of singing spirituals. How did the three-stanza structure help you achieve the tone you wanted for this poem?

You know, the blues form is basically a three-line form, and it does evolve around repetition and a kind of satisfying “punch line” in the third. That is normal. I was actually fascinated by the gaps that much black music relishes in — the way that black music makes use of syncopation to create a sense of anticipation, and anticipation that happens when the body and mind continue the rhythm even when the music has stopped playing. When the music returns, there is something like an orgasmic whoosh of delight in the way we have kept time, the joy that the beat has returned, and the addictive desire for yet another testing of that faith.

I don’t think I have managed to capture everything or even most of what that sensation is like in the poem, but it is a good failure, as they say. Just listen to a good dub track by King Tubby and Lee “Scratch” Perry and allow your body to be mesmerized by the rhythm, and then listen for that moment when the bass drops out, leaving all the high stuff — keyboards, high hat, guitar — going, and then feel what happens when the bass returns. Whoosh! It enters the belly. That is a kind of stop time. In gospel, funk, and other forms of black music, even in the way the clave works, we get smaller versions of that pleasurable syncopation. To then make metaphorical that sensation into so much that has meaning for a people who have suffered and triumphed is one of the great pleasures of making poems.

Can you speak about this passage from “Stop Time”: “And here / in this chapel the world is held / in the cradle of a song, and for this / one moment, he knows how to walk”?

I do believe that the pleasure I mentioned above is the “walking” that is an affirmation of presence and existence in the world. Reggae dancing in its many forms has amounted to a kind of walking, various ways of stylizing the walk. And the walk is massively important because a people who is moving both because it has been forced to (and so is still alive by walking) and also because it is seeking to connect with creation and live in it, is a people aware of its very history and presence. Oh, language, how it fails us! I do know that I wanted to capture this difficult truth that sometimes, in the moment of spiritual sublimation that comes with worshipful singing and dancing, there is a way in which we are enacting this movement inside the world; and it is as if, contained in this moment, in this space, in this chapel, if you will, is everything that it means to be alive.

When I have felt elevated enough to want to and actually utter tongues that are incomprehensible to the mind, it has often happened when the body and mind seem to have found themselves at this crossroads where it seems possible to conceive of the world in one moment and space. Yes, it is an impossibility, I know, but it is also a genuine sensation; and to walk, to skank, to move in that space is perhaps what I hoped to capture in those lines. What did Derek Walcott say? “There are things that my craft cannot wield.” Poetry is a constant failing for me. But as I have said earlier, sometimes there are good failures, and the rest is not our business.

As editor of Prairie Schooner and co-editor of New-Generation African Poets, thousands of poems come across your desk each year. What is the biggest mistake writers make in regard to sound?

I limit my ideas of “mistakes” to rather small and arguably broader categories like lack of originality; cliché of idea, rhetoric, and language; overwriting; pretentiousness; mishandling of sentiment; clarity of thought and language; inconsistency of form; and incomplete thought. Are these mistakes? No, these are just the failings of poems we all write, and often they show up quickly. I say this to say that “mistakes of sound,” which I am not sure I could identify consistently, would have to do with the problems that come with unnecessary distractions that certain gestures can cause in a poem. If rhymes are overly predictable, then they suggest a lack of judiciousness in their use and a misunderstanding of what delight original and surprising rhymes can generate. Sometimes incongruity in sounds — assonance and discordant sounds — can be a good thing for a poem, so such “mistakes” are really not mistakes, are they? I believe that everything in a poem must serve the poem in some centralized way.

There has to be some kind of rupture, intentional in its place and presence, when the pattern established early in the poem is broken because of this matter of anticipation, which you mention. So, Walcott said, we should be truly careful about our first lines, and if they are good, we should trust their guidance. And if we choose to change the pattern, we should know that the reader is still carrying those first lines and will have a visceral reaction to the shift which, he argued, we should regard with the kind of reverence and respect that covenants demand. I mention Walcott here because I think he is talking about matters that connect with sound and music in poems as well. Of course, we all know that song (which is one way to think of poetry that goes back deep into our history as humans) is built on repetition and change — anticipation and what follows that, either disappointment or satisfaction. So poetry is no different in that regard.

Are there new choices poets are making in their work that excite you? Who are you looking forward to reading in the coming year?

I am a friend of poets. I am someone who works with poets. But I am deeply involved with curating the poetry that is coming out of Africa these days. And every time we publish a new collection by an African poet, it feels as if something remarkable and transformative is happening. So I am looking forward to all the new books of poetry by African poets being published by the African Poetry Book Fund. I will name three poets who, I believe, we should pay careful attention to whenever their new work appears. Mahtem Shiferraw from Ethiopia, Tanella Boni from the Ivory Coast, whose work has been translated elegantly by Todd Fredson, and TJ Dema from Botswana. Chris Abani is about to wrap up a new collection that is stunning, and Graywolf Press will be releasing Ilya Kaminsky’s long-awaited second collection this year. Striking work. The list could go on and on, but I will stop there.

¤

Emily Sernaker is a writer and human rights professional. Her work has appeared in the Los Angeles Times, Ms. magazine, McSweeney’s, The Sun, Rattle, New Ohio Review, GOOD Media, The Rumpus, and more.

The post Poetry and Song: The Sublime Spirituals of Kwame Dawes appeared first on Los Angeles Review of Books.

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This artist made it clear in his lyrics that a better future is possible. In this article, we collect the 70 best phrases of Canserbero, a deceased Venezuelan artist and rapper, who composed mostly vindictive songs, social and also romantic. As we will see, most of these phrases can be found in their letters. Many of them also have a poetic character. They deal with issues of love, oblivion, lack of love, emotions, social demands, death, injustices, religion ... Who was Canserbero? phrases of Canserbero Canserbero was born in Caracas, Venezuela, on March 11, 1988, and died with only 27 years, on January 20, 2015, in Maracay, also Venezuela. Canserbero was a rapper, composer and Venezuelan activist. Its original name is Tirone José González Orama. Through his lyrics, he composed rap songs of a vindictive and independent nature. His music became famous especially for Latin America and Venezuela. Without further delay, we will know the best rhymes of this ill-fated artist. The 70 best phrases of Canserbero We will see the 70 best phrases of Canserbero, most of them present in their rap songs and in their combative lyrics. 1. I am not a gold coin, they taught me to be honest to believe me when the wolf comes out. If we lie to those who love us, the day we need to be truly believed they will not. 2. And who does not die, only the one who forgets dies. The people we forget are those who die, according to him, metaphorically speaking. 3. Love is that gun with which we all shoot at some time. It alludes to love, which also makes us suffer, like a bullet. 4. Time heals wounds in an obvious way ... although no wound heals without scarring. They say that time heals everything; Even so, the things that hurt us, even if we forget them or forgive them, mark us and define us forever. 5. We know people when we last see them. Sometimes in a farewell, many things of the other person appear; many of them, essential things for oneself (or of vital importance). 6. If you don't sweep the shit today, maybe tomorrow you step on it. Sometimes we must "make clean" with the past, that is, forgive, review, analyze ... to move forward and focus on the present. One of the most remembered phrases of Canserbero. 7. All we need is love The theme of love is recurring in his songs. He speaks of love as a "salvation," or as the only important thing in life, beyond superficial things. 8. I invite you to dance lady loneliness on the planet. And sorry if the floor, but this heart squeezes me. Loneliness is present in our lives; in some more than in others, and/or for longer. When we find someone who makes us happy, in a way, we stop being alone. 9. I kissed your feet to be in your tracks. As a form of compliment. 10. Excuse my rudeness but damn the day when the sensibility came into my life. It makes a pun, since rudeness and sensitivity are antonyms. 11. We walked without looking for each other although knowing that we were walking to meet. Talk, in a way, about destiny. That we wander through life "searching", with our actions and without realizing it, to that person who will make us happy, to end up finding her. 12. Heart and body do not speak the same language. Especially in matters of love, sometimes the heart (emotions) says one thing and what the body wants (physically) is another, and it is not easy to match. 13. I am in those times when drop by drop the mind runs out. The mind (thoughts) also needs to rest. 14. I think it's time to forget your kisses. It is a melancholic phrase, as of sorrow; It's not always easy to forget a person. In this sentence, he tells himself that "it is time" to do it. 15. It is Machiavellian to meditate alone where you lived everything with her. Relationships are not easy, especially when there are third parties, or stories of the past "in between." 16. You are the cause of this feeling that I do not breathe from these cravings for oblivion and at the same time being with you. Talk about the contradictions of love and heartbreak ... of oblivion and love that is desired at the same time. 17. That is why I no longer believe in my pillow, or in my shadow, that is to say anything. I don't even believe in my old man, if one day I tell you that I believe you, don't believe me that I believe you because I don't believe in my reflection anymore. He speaks of disbelief, of not trusting us or of our own shadow. Perhaps for having lived negative or disappointing experiences with oneself and others. 18. Thank you for teaching me what to improve and knowing that not everyone should apologize. We are all imperfect, and we can always improve as people. 19. We laugh and cry, we fall we get up, we enjoy the good, we learn from the bad. In life, there are moments of everything; laughter, crying, pain ... We must learn to move forward and enjoy the good. 20. Try to save what is worth it, and throw away what is no longer useful, throw it away even if it hurts. We must get rid of the things that hurt us and that don't let us move forward, and keep the good things. 21. My mind is my worst enemy .. he said to me: I will tell you what a lie is without thinking about the harm it would do to me. The lies end up damaging in the long run. Of those phrases of Canserbero that make us think. 22. Although I don't believe in love at first sight, I believe in wanting at first night. Love and passion are recurring themes in his songs. 23. Although I can not want to live without you. He speaks of love as something not to be needed, but simply to be wanted, loved. 24. If not for those times when I usually breathe I could swear that I don't remember anything. Also a kind of pun on your songs; Talk about oblivion. 25. And the worst part is that I know so much about you that I could teach intensive classes in your life. Sometimes we know people so much that we could explain practically all their lives to others; Perhaps here it refers to the pain of knowing someone so much that they have failed us or that they have damaged us. 26. If this is not love then I am crazy for no reason. Love often makes us seem "crazy," or act irrationally. 27. Let him who does not believe in anyone raise his hand and if no one raises them, I raise it. Here Canserbero says he doesn't believe in anyone, perhaps because of disappointments. 28. As a paratrooper who forgot the parachute, this love collapsed. Make a metaphor, and compare the parachute landing with a love that breaks. 29. You should close your eyes to a good smell, and slowly enjoy all good taste. It focuses on sensations, smell, the enjoyment of a perfume or a smell. 30. I am already disturbed by the injustice that it causes to suffer, but still, I do not ignore the news before sleeping. It is a claim letter; He speaks of injustices, which although frustrated, must be known and heard. 31. I admit that sometimes I get tired of fighting and would like to sleep to never wake up. Sometimes the fight tires physically and mentally, so we must also rest and disconnect to gain strength. 32. Something as simple as that I go in you and you go in me as two pieces that fit perfectly. It speaks of the perfect union between two people who want each other, and who sometimes feel like "one." 33. When I die, throw a pencil in the wooden box and do not let those in life do not want to. He speaks of his death; He just wants to be visited - or remember, who knows - the people who loved him, not hypocritical people. 34. I am so confused I don't know whether to cry, bother or sit down to think, look for you or just wait. Talk about mixed feelings, confusion and contradictions. 35. And you believing yourself better for having money. Money is another thing, does not define or represent anyone. It takes away importance. 36. My eyes are betrayed when I hear his name. The glances speak, since the eyes are very expressive, and it is difficult to hide from that. A reflection of Canserbero on love. 37. Ants are all just change the anthill. We are all equal (in rights), even if we come from different places, and live in different places. 38. Please tell me you love me or I won't stop tantrums lying on the floor. It is a way of saying that "if you leave me, I will be very sad", but in a bit childish words. 39. It is hard for me to think that there is another living being worth giving my heartbeat to. Talk about the disappointment that people can produce; Surrender to someone to end up hurting. 40. Females like them were born to inspire wars. Talk about the strength of women. 41. A kiss and a caress goodbye routine and thinks that if I leave you you will take his life. The small acts of love from day to day, are what make us have illusion. 42. I am sincere so I don't want to, true things are said lightly even if they are hurt, life goes as it arrives. It encourages sincerity and talks about its importance although it sometimes hurts. 43. We care about stupidities and forget that when we die we only carry what we enjoy. It's another way of saying: Carpe Diem! Enjoy the moment! Well, life is short. 44. Well, my only defense is to explain this misunderstanding, give me another chance and I swear you'll want to grow old with me. Another phrase with rhyme; Here he asks for another opportunity to explain the things that may have affected the relationship and explains his desire to continue. 43. I will not tell you that I believe that I will die without you, because I do not believe... I know that I am a warrior. In this sentence, he speaks of the suffering generated by heartbreak, but of the forces, we draw to pull forward. 44. If with everything you have you are not happy, with everything you lack either. Happiness is not having everything, nor wishing to have everything; It is to be happy with what you have. 45. I felt like butterflies what I know today are worms. Sometimes emotions confuse us, or we realize things long after living them. 46. ​​Hate is sometimes so much that I hide it with a smile. Hate, like another emotion, does not always hide where we usually think, but can be camouflaged in other gestures. 47. I feel like a madman trying to still trust someone on the planet of hypocrisy. Another social claim; He talks about the hypocrisy of society and how difficult it is to trust someone. 48. All the evil in the world is in a man who beats to death with another. Where is all the goodness? Here he indirectly refers to wars and the evil of the people who perpetrate them. 49. I do not know if there is a God but if I exist I am almost certain that he is not a great tiger with mane but rather that voice that most of us ignore and listen when we get into trouble. He speaks of God as a voice that "guides" us and we turn to when we have a problem. 50. After all, death is so sure of winning. That advantage gives you a life. A singing to life; It is a way of saying: "Let us live, since we die surely we die." 51. After all, being happy is what I must demand from you; If you are already happy without me I cannot contradict you. Here Canserbero expresses that what matters is that the other is happy, and that if he is without us we cannot recriminate him anything. 52. Hopefully, those who always lie drown ... and once in hell, they burn forever. Talk, in a way, about revenge. From wishing evil to people who have done evil. 53. I lack the air and the heart tucún, tucún, tucún. Today blood is going to run, I know where that one moves… Today I am going to become a criminal, I don't believe in anyone anymore. Unless I become a dead man. Today I will avenge my brother, as I swore to my father. He speaks of revenge, of "social justice", of a harsh reality he lived ... You can tell he feels frustrated and angry. 54. There is only one thing in you that I admire: and that is how being so two faces, you can sleep so quietly. He talks about hypocrisy and lies, and how sometimes people have two faces and hide it very well (or it seems that they are not affected by the damage they can cause). 55. I hate when this happens, having a dream and feeling that it was true even when you are already awake. Sometimes we dream things that we want very strongly that are true; However, when we wake up, we are disappointed with reality. 56. God cannot duplicate what I think when I observe you because more than once I cannot enter hell. It is another pun, it speaks of God and hell, and of a person ... Perhaps it refers to someone who has caused him harm, because he is in hell. 57. It is not a solution to give education to the poor if you give them a poor education. This phrase reflects on the importance of education being a quality education, not just "education." 58. As time goes by, youth is over and you don't notice it until you lose half of your life without feeling the simple and special things. Like your people you hugged only at Christmas. Talk about the "carpe diem", to seize the moments, because life goes by so fast and we don't realize it. 59. My arm tells me that love will take me away but hate taught me to be a lynx and not a fool. Talk about innocence and mischief; love often makes us "innocent" and vulnerable, but when we live painful experiences we learn not to trust anyone. 60. Trusting who you love does not know if it is virtue or defect, even more knowing that nothing is eternal or perfect. Talk about love, which can sometimes hurt because it can end. 61. And they believe that speaking straw they will silence a movement called sincerity, reality, truth or whatever they want or shooting at me they can make my voice die. Canserbero claims to sing, saying that he will never shut up and that he will always say what he thinks, denouncing the injustices. 62. I would like to be less complicated and more understood, that the public understands more clearly what I write and say. Here Canserbero talks about the desire for others to understand his lyrics and songs. 63. You should never let a comment complicate you because even improving the world someone will have to criticize you. They will always criticize us, whatever we do. So we better do what we are born and what we want. 64. Today I just want to think about things that make me laugh yes. May they make me happy. Stop looking at gray clouds that you will wallow. Root all unhappy memories. Talk about being happy, focus on the good things, enjoy. 65. It was perfect, as if it were a story. I could even create a defect, in case the perfect thing scared me. The fact is that for a moment I entered into reason and I was not dreaming, I was making love to you. It is a quite poetic and rhythmic phrase; It explains what it is like to make love with a certain person. He talks about his feelings, about having the feeling that everything is perfect, about being a dream. 66. Never say "forever", "forever" or "forever" if whenever I turn around you stop being transparent. Talk about hypocrisy, lies, and deception, very common in people, especially in love and relationship issues. Ask them to be honest with him. 67. We live training to make money or studying things that sometimes we don't even want, sculpting our bodies to be good and good because we know that to see hearts all are blind. It is a phrase of vindication and social criticism. It speaks of what they instill in us, of what we reproduce as a society and of what we "pursue", sometimes without even wishing it. 68. I live in fear of doing the right thing with the wrong person or doing the wrong thing with the right person. It is not easy to agree: do the "right thing" with the right person. Sometimes we only get one of the two things. 69. I want to see you shine like the star that made us leave a trace in this vast abstract universe. It is another pun; Talk about the universe and the impact of a person through rhymes. 70. And if we die and go to heaven, I will escape hell and make love to you in a cloud in honor of our memories. Many of Canserbero's phrases, like this one, are poetic; Talk about death, love, and memories. Phrases

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