La Bicicleta Song by Carlos Vives and Shakira

Nada voy a hacer
Rebuscando en las heridas del pasado
No voy a perder
Yo no quiero ser un tipo de otro lado

A tu manera, descomplicado
En una bici que te lleve a todos lados
Un vallenato desesperado
Una cartica que yo guardo donde te escribí
Que te sueño y que te quiero tanto
Que hace rato está mi corazón
Latiendo por ti, latiendo por ti
La que yo guardo donde te escribí
Que te sueño y que te quiero tanto
Que hace rato está mi corazón
Latiendo por ti, latiendo por ti

Puedo ser feliz
Caminando relajada entre la gente
Yo te quiero así
Y me gustas porque eres diferente

A mi manera, despelucado
En una bici que me lleva a todos lados
Un vallenato desesperado
Una cartica que yo guardo donde te escribí
Que te sueño y que te quiero tanto
Que hace rato está mi corazón
Latiendo por ti, latiendo por ti
La que yo guardo donde te escribí
Que te sueño y que te quiero tanto
Que hace rato está mi corazón
Latiendo por ti, latiendo por ti

Ella es la favorita, la que canta en la zona
Se mueve en su cadera como un barco en las olas
Tiene los pies descalzos como un niño que adora
Y sus cabellos largos son un sol que te antoja
Le gusta que le digan que es la niña, la lola
Le gusta que la miren cuando ella baila sola
Le gusta más la casa, que no pasen las horas
Le gusta Barranquilla, le gusta Barcelona

Lleva, llévame en tu bicicleta
Óyeme, Carlos, llévame en tu bicicleta
Quiero que recorramos juntos esa zona
Desde Santa Marta hasta La Arenosa
Lleva, llévame en tu bicicleta
Pa’ que juguemos bola ‘e trapo allá en Chancleta
Que si a Pique algún día le muestras el Tayrona
Después no querrá irse pa’ Barcelona

A mi manera, descomplicado
En una bici que me lleva a todos lados
Un vallenato desesperado
Una cartica que yo guardo donde te escribí
Que te sueño y que te quiero tanto
Que hace rato está mi corazón
Latiendo por ti, latiendo por ti
La que yo guardo donde te escribí
Que te sueño y que te quiero tanto
Que hace rato está mi corazón
Latiendo por ti, latiendo por ti

Lleva, llévame en tu bicicleta
Óyeme, Carlos, llévame en tu bicicleta
Que sí a Pique algún día le muestras el Tayrona
Después no querrá irse pa’ Barcelona
Lleva, llévame en tu bicicleta
Óyeme, Carlos, llévame en tu bicicleta
Que si a mi Pique tú le muestras el Tayrona
Después no querrá irse pa’ Barcelona

HAVE SOME LANGUAGE FUN: MALUMA

Corazón
Maluma
Alright, alright baby
Tú me partiste el corazón (Maluma, baby)
Pero mi amor no hay problema, no no (Rudeboyz)
Ahora puedo regalar (qué)
Un pedacito a cada nena, solo un pedacito
Tú me partiste el corazón (ay, mi corazón)
Pero mi amor no hay problema, no no
Ahora puedo regalar (qué)
Un pedacito a cada nena, solo un pedacito
Ya no vengas más con esos cuento, s mami
Si desde el principio siempre estuve pa´ ti
Nunca me avisaron cuál era el problema
Te gusta estar rodando por camas ajena
Ahora me tocó a mí cambiar el sistema
Andar con gatas nuevas, repartir el corazón sin tanta pena
Ahora te digo goodbye
Muito obrigado, pa’ ti ya no hay
Uh woah uh woah uh woah
Uh woah uh woah uh woah
No tengo miedo de decir adiós
Yo quiero repartir meu coração
Uh woah uh woah uh woah
Uh woah uh woah uh woah
Ahora te digo goodbye
Muito obrigado, pa’ ti ya no hay (Maluma, baby)
Você partiu meu coração (ai, meu coração)
Mas meu amor não tem problema, não não
Agora vai sobrar então (o que? O que?)
Un pedacito a cada nena, solo un pedacito
Se eu não guardo nem dinheiro
Que dirá guardar rancor
Você vacilou primeiro
Nosso caso acabou
Uh woah uh woah uh woah
Uh woah uh woah uh woah
No tengo miedo de decir adiós
Yo quiero repartir meu coração
Uh woah, uh woah, uh woah
Uh woah uh woah uh woah
Ahora te digo goodbye
Muito obrigado, pa’ ti ya no hay
Tú me partiste el corazón (ay, mi corazón)
Pero mi amor no hay problema, no no
Ahora puedo regalar (qué)
Un pedacito a cada nena, solo un pedacito
Tchau tchau
Eu não sei falar muito bem Português
Mais quero aprender
Pretty boy baby
Dirty boy baby
Maluma baby
Tú me partiste el corazón (Maluma, baby)
Pero mi amor no hay problema (Rudeboyz)
Solo un pedacito
Songwriters: Aurelio Ribeiro Martins Da Silva / Bryan Snaider Lezcano Chaverra / Jefferson Almeida Dos Santos Junior / Juan Luis Londono Arias / Kevin Mauricio Jimenez Londono / Umberto Da Silva Tavares
Corazón lyrics © Sony/ATV Music Publishing LLC

Cicely Tyson to Receive Honorary Oscar – EBONY

Stage and screen actress Cicely Tyson, 93, has been wowing audiences for over 50 years, and will soon be awarded an Oscar for her talent and longevity. Playbill reports Tyson will receive an honorary Academy Award during the 10th annual Governors Awards on November 18. She will be recognized alongside publicist Marvin Levy and composer …

Source: Cicely Tyson to Receive Honorary Oscar – EBONY

Did you know the tambourine originates from Egypt, Africa?

WikiQuickie Facts: Riq (Tambourine)

Tambourines originated in Egypt, where they were known as the tof to the Hebrews, in which the instrument was mainly used in religious contexts.[1] The word tambourine finds its origins in French tambourin, which referred to a long narrow drum used in Provence, the word being a diminutive of tambour “drum,” altered by influence of Arabic tunbur “drum”.[2] from the Middle Persian word tambūr “lute, drum”

The riq (Arabic: رق‎) (also spelled riqq or rik) is a type of tambourine used as a traditional instrument in Arabic music. It is an important instrument in both folk and classical music throughout the Arabic-speaking world. It traditionally has a wooden frame (although in the modern era it may also be made of metal), jingles, and a thin, translucent head made of fish or goat skin (or, more recently, a synthetic material).

It is between 20 and 25 cm in diameter. Descended from the daf, like the tar, the riq acquired its name in the 19th century so that it could be differentiated.

The riq is played in takht ensembles (Egypt, Syria) or chalghi ensembles (Iraq) where it has a particularly clearcut role, going beyond the simple rhythmic requirements of the daf, tar, or mazhar. In Sudan, where it seems to have been introduced recently, the riq is also related to worship, as in upper Egypt.

The frame of the riq can be covered on both the inner and outer sides with inlay such as mother-of-pearl, ivory or decorative wood, like apricot or lemon. It has ten pairs of small cymbals (about 6 cm in diameter), mounted in five pairs of slits. The skin of a fish or young goat is glued on and tightened over the frame, which is about 6 cm deep. In Egypt the riq is usually 20 cm wide; in Iraq it is slightly larger.

Traditionally, frame drums have been used to support the voices of singers, who manipulate them themselves; but the player of the riq, like that of the doira of Uzbekistan, plays without singing. While the daff and the mazhar are held relatively still, at chest or face height, with the player seated, the riq, because of the use of different tone-colours, may be violently shaken above the head, then roughly lowered to the knee, and played vertically as well as horizontally. The player alternates between striking the membrane and shaking the jingles, and his need for freedom of movement necessitates that he stand up. Students of the instrument are required to master the technical problems imposed by the timbre of the membrane and the jingles, both separately and in combination; aside from developing a virtuoso technique they also need to learn the many rhythmic cycles and the techniques of modifying them through creative invention.