Anitta wrap lyrics
Despite becoming a member of Mexican royalty, ‘Chente’ was always a country man at heart. His songs about horses (“El Moro de Cumpas”), roosters (“Hoy platiqué con mi gallo” – more on that in a moment), and village life always found him in his most exuberant rural comedies. “La Ley del monte” was included on the soundtrack of the movie “El Hijo del pueblo” and tells the story of a man who had written his name and that of his beloved on a maguey stalk after a night of kissing, only to see her break that branch when they parted. The following spring, all the maguey trees on the hill sprouted with the painted leaf declaring their eternal love, a bit of magical realism that is also one of the great revelations of ranchera history. Los Mandados”, 1977
A slow, sensual ballad that finds ‘Chente’ at his peak. He’s a singer in a cantina whispering songs of lament to the bereaved, backed by muted trumpets and arpeggiated guitars, when a gray-haired gentleman asks him to stop. The two argue over who has been hurt more, and then ‘Chente’ concludes, “Women, oh such divine women/There’s nothing else to do but worship them.” He repeats this at the end, and concludes with a surprising sob: the defeated macho. “Perdón”, 1993
Karol g,
Nos encanta la flexibilidad de la aplicación iTranslate. Tenemos varios amigos y también familiares en varios países europeos y esta aplicación es una herramienta magnífica para ayudar a leer o escribir algunas expresiones sencillas, pero complicadas, del inglés a varios idiomas y viceversa. Ciertamente es muy útil cuando se utilizan algunas expresiones en inglés que no tienen una traducción directa a otros idiomas (o viceversa). Al menos podemos ver los efectos de una expresión en el idioma de destino. Desde que uso la aplicación sólo ocasionalmente estoy muy contento con lo que puede hacer y en nuestra situación la actualización a la versión pro con un coste mensual no sería beneficiosa. Sin embargo, para los estudiantes o las personas que tienen que leer / escribir a menudo en diferentes idiomas esta actualización sería muy beneficioso y sugiero seguir adelante y comprarlo.
Esta aplicación funciona como se espera. De vez en cuando algo está mal traducido, pero la mayor parte del tiempo es bastante bueno, especialmente para una aplicación gratuita. Requiere la versión interior gratuita. A menudo utilizo la conversión de voz a texto para traducir algo rápidamente. No hay anuncios súper molestos, sólo un poco de vez en cuando, pero no tienes que ver ningún vídeo. Por supuesto, la versión de pago es sin anuncios.
Becky g
In this episode with Mexican singer-songwriter and guitarist Joy and Colombian producer Maestro Julio Reyes Copello, we explain the concept of ‘events’ in programming to the beat of ‘Aire’, a song from Jesse y Joy’s new album.
Actress Nashla Aguilar and engineer and Technolochica Ilona Bodnar participate in the first episode of the Hour of Code Live. We learn about algorithms through a fun ‘unplugged’ exercise, followed by live artistic code programming!
Rappi CEO and Co-Founder Simon Borrero and Arukay CEO and Co-Founder Vicky Ricaurte help us explain what digital information is, starting with an ‘unplugged’ activity to learn about pixels, followed by live programming to create your own app.
Daniel Rabinovich, COO of Mercado Libre, and Dr. Yuly Fuentes-Medel, Program Director at the Massachusetts Institute of Technology (MIT), help us explain how the internet works and the importance of protocols.
Anitta youtube
Like a Rolling Stone was born out of revenge and hate… it’s a long “vomit” piece, as the artist himself revealed in an interview with CBC Radio in Montreal: “I wrote this long vomit piece, 20 pages long, and from there I took Like a Rolling Stone and turned it into a single. I had never written anything like it before and suddenly I realized that’s what I had to do… after I wrote it, I was no longer interested in creating a novel, or a play. I had enough, I just wanted to write songs.” In the same interview, Dylan defined Like a Rolling Stone as “revolutionary”, and assured that its composition changed the course of his career.
Once the composition was finished, Dylan recorded it at Columbia Records’ Studio A in New York. It was a two-day session – June 15 and 16, 1965 – with Tom Wilson (production), Mike Bloomfield (guitar), Paul Griffin (piano), Bobby Gregg (drums) and Joseph Macho (bass). On the first day, five takes were done, all different from the one that would eventually be released, including a waltz version, and all discarded. Dylan was having trouble finding what he was looking for.