Andri R asked:


cultures of South and Central America and the Caribbean islands blend American Indian, African and European (particularly Spanish and Portuguese) traditions. In folk music, the particular combination of elements varies from region to region, from the purely Indian forms of highland Bolivia and Amazon rain forests peoples to the mestizo (‘mixed’) music of Bolivia, Peru and Ecuador, the largely Hispanic music of Argentina, and the distinctive style of Brazil, which blends African and Portuguese forms. Minorities such as the East Indians of Trinidad and Guyana, the Javanese of Surinam and the Japanese of Brazil complete this rich musical scenario.

Less Iberian heritage has in general been preserved in Latin America than British in North America; many areas are devoid of Latin influence. But some Hispanic poetic forms dating from the Middle Ages and Renaissance (for example the romance) are performed in a variety of forms throughout the continent, such as the copla of Colombia, the Andean countries and Argentina. Other folksongs, such as the Argentinian and Chilean Tonadas and Tonos, also preserve old Spanish literary forms. In contrast to the thriving Anglo-American tune repertory of the USA, however, few extant Iberian melodies are current in Latin America except the Hispanic children’s repertory, which is similar in its Old and New World settings. In the Andean region of Bolivia, Peru and Ecuador, indigenous Indian music has absorbed Spanish elements, a process that began under the influence of 16th-century Christian missionaries. Andean tunes are essentially European, but often have much repetition and use tetratonic and pentatonic scales. This blend stands in contrast with the marked lack of acculturation between Anglo and Indian style in North America.

Music has played an important part recently in Latin America’s politics, the nueva canción movement being a prime example. Latin music is very diverse, with the only truly unifying thread being the use of Latin-derived languages, predominately the Spanish language, the Portuguese language in Brazil, and to a lesser extent, Latin-derived creole languages such as those found in Haiti.

Although Spain and Portugal are not part of Latin America, Spanish music and Portuguese music are strongly cross-influenced with Latin music.

Latino music now become famous in the world you can see Jennifer Lopez, a Popular Latin American singer or Shakira, a famous Colombian Latin pop singer and dancer, both of them now introduce modern Latin music and many people like their song. Other singers are Gloria Estefan and Marc Anthony. They have the best seller album in this period. Latin music with modern style is more interested than older one. It’s all because people and audiences like listening to music which has different style and several music instruments.

Now, you can read and download freebies of Latin music on musiclatino.com, one of latin music website review. It features daily updated free Latino music videos, photos, news, and everything about Spanish and Latin music. If Latin music is going to be more developed, it’s possible that Latin music in a few next years will get higher rating than now.

You can find all information about latin music in http://www.musiclatino.com/ find latino tracks at http://musiclatino.com/?page_id=34 and latino album in http://musiclatino.com/?page_id=33

Treasure Hunting

MedellinStyle asked:

Miniset of AlexiDelano at an After Hours in Cartagena Colombia … medellinstyle alexi delano 2008 summer dance festival sdf armin colombia girls cartagena

Life of Adventure

Howard G Charing asked:


The Shamans of Peru – Ceremonial Chants, Icaros, and Music

This unique set of recordings documents a collection of ceremonial chants and Ayahuasca icaros on CD.

Tracks 1-3 San Pedro ceremony held in Puruchucu, at the head of the Rimac valley. The ruins of this sacred site or huaca date back to pre-Inca times and have been accurately reconstructed. Setting the scene for the ceremony, three musicians play replicas of pre-Hispanic instruments. Alonso del Rio says: ‘while keeping to their original tuning, we have explored the instruments musical possibilities to give an idea of what the music could have been like in pre-Colombian times. The melodies came to us through the ancestral memory evoked through medicinal plants like San Pedro and Ayahuasca’. Instruments: the ceramic notch flutes of the Chincha civilization, Nazca panpipes or ‘antaras’ with their special tuning similar to Oriental scales, and Nazca drums.

The Mesa Nortena is a particular ceremonial tradition best conserved in the region of ‘Las Huaringas’, high and remote sacred lakes in the northern Department of Piura.

There are probably only a few good maestros who continue this ancient tradition in Peru today. The rest simply work with the externalities of the mesa, while giving their clients minimal doses of the visionary San Pedro cactus. Originally more importance was given to the medicine, which must be in the organism of the participants as well as the maestro for the power to flow. The mesa then served to intensify the power of the plant.

An altered state is needed to enter the symbolic world of the objects on the mesa (the word refers to the altar as well as the ceremony itself). The abundance of macerated plants, perfumes and smells employed in the mesa function to move the feelings associated with one’s memories. At a deep level, sensations are translated into vibrations which the medicine brings to consciousness so that associated hurt and pain can be ‘re-membered’ again and a new attitude can emerge.

The singado, or absorption of macerated tobacco juice through the nostrils involves another power medicine which is used to intensify the San Pedro at regular intervals. The instruction from the maestro to pour up the left or right nostril reflects the notion of duality found in shamanic disciplines all over the world: masculine and feminine, hot and cold, upper world and earth, expansion and contraction, flowing and stagnant. Illness arises from one of these polarities loosing equilibrium. The word singado comes from the Quechua word singa meaning nose and is perhaps an Andean notion of Pranayama!

Also audible in the following two mesas 4- 5 are the clicking of chontas, or black bamboo sticks used for cleansing people’s auras and the spraying from the maestro and assistants’ mouths, of perfumes and plant macerations over the participants.

The tendency to commercialise a tradition is inherent in urbanization and seeing things for their utility and business. For example mesas are sometimes held so that lawyers win legal battles. Piles of documents are laid on the mesa so that the power works on them and they win their case. In this way a shamanic ceremony is degraded to folklore. We can try to reconstruct the original tradition to how it was in pre-Colombian times and remove the images of Sarita Colonia and the other saints, crucifixes, photos etc., which have accumulated throughout the centuries and evolved the mesa into the mestizo tradition which survives today. Left behind are the ancient stones, magic plant brews and the enchanted waters of the lakes of Las Huaringas, being the original elements, which have survived underneath.

Track 4 Mesa with Alejandro Sanchez. Maestro Sanchez lives in Comas, a distant suburb of Lima which began in the 1960s as a shanty town. It is surrounded by impressive parched stony desert hills. The maestro’s house is at the end of a road near the cemetery and overlooks this immense settlement from where he draws his clients. Sanchez was born in Sondorillo near the legendary sacred lakes of Las Huaringas. At age 11, while still at school, he seemed to have perceptions and to be able foresee things accurately. His astonished teachers thought he was having hallucinations and called for maestro Florentin Garcia. Later Alejandro became his apprentice and learned from him the secrets of plants.

The strangeness of these ceremonies can be seen as part of the ‘trappings’ of rituals in general. Strangeness serves to trick the rational mind so that it will not interfere with the subtle processes taking place in the subconscious. When we are fully awake, things can indeed seem strange… ‘people are strange, when you’re a stranger…’ as the song by The Doors goes. A part of healing is recovering the lost gift of perception, the feeling of being alive again.

Track 5 Mesa with Leopoldo Vilela who was also born near the celebrated Las Huaringas in Radiopampa, an extremely cold place at 3,500 meters altitude. He was 90 years old and in very good health at the time of this mesa which was also held in the ruins of Puruchucu. At three years old he was sent outside to look for herbs for his mother who was suffering from a stomach ache; there he knew he would become a curandero. He used to watch his father who was clairvoyant and assisted people in his community to find their animals when they were lost. He used tarot cards and looked into bottles of aguardiente (firewater) with grains of corn of different colours at the bottom

Don Leopoldo improvises sessions for groups and individuals, which may continue for hours. These are full of idiosyncrasy, and characterized by warmth, dedication and playfulness, which is quite touching at times. The seemingly endless sequence of bottles of tastes and smells and other procedures are often extremely weird while his inadvertent remarks and caresses on his guitar (of his own manufacture) often provoke smiles and laughter in all present.

Human beings have an instinctive awareness of other people’s conscious states of mind. When another person, a shaman, is authentic and spontaneously creative in the moment, this has the power to focus the mind, stopping it from verbalizing and rationalizing. A sense of pure wonder is evoked.

Track 6 Closing calls. The conch shells or pututus, still used in Andean communities today, are handed down from the Incas who obtained them from the Caribbean. They are used for convening meetings and ceremonies.

Tracks 7-9 Shipibo icaros of Mateus Castro, a shaman living outside Pucullpa in Yarinacocha. The arts of the Shipibo, especially textile designs, are closely related to ayahuasca icaros. The words of the chants are symbolic stories telling of the ability of nature to heal itself. For example the crystalline waters from a stream wash the unwell person, while coloured flowers attract the hummingbirds whose delicate wings fan healing energies etc. You might see such things in your visions but the essence which cures you is perhaps more likely to be the understanding of what is happening in your life, allowing inner feelings to unblock so that bitterness and anger con change to ecstasy and love. To awaken from the ‘illusion of being alive’ is to experience life itself.

Tracks 10-16 Dona Cotrina Valles was born in Agua Blanca, Department of San Martin. She apprenticed herself to a maestro in 1979 and later came to live in Iquitos with her husband. Today she lives alone with her children. It is very unusual for a woman to be a shaman in urban situations although they do exist amongst indigenous peoples. Amongst other limiting beliefs, it is thought that women break taboos as they are unable to take dieting seriously because of demands from their husbands and that when they go shopping in the market they will have contact with menstruating women or people who are mal dormida, (ie. a person who has been making love all night).

The diet is a vexed question in the city as the temptations of rich spicy food as well as sex are greater than in the rainforest. As all shamans will tell you, Dona too, says that sex is bad. The ‘mother plant’ loves you and if you make love to another person, you are being unfaithful to her. For this reason it is often said that Ayahuasca is jealous, and if you do not respect her, she makes you ill instead of healing you. You will also not be able to see any visions. The ill effects from not respecting the diet are called cutipa and range from a sense of trauma and stress to skin problems.

Dona’s chants are sung in Spanish and Quechua, as also are the chants of Javier Arevalo which follow. Both Dona and Javier are mestizo shamans, that is to say their ancestors moved to the Amazon from the Andes, rather than being indigenous to the Amazon as the Shipibo are. The melodies of mestizo icaros have an Andean structure and are sung partly in Quechua, a language of the Andes.

Track 17Despacho to Pachamama in the ruins of Pisaq. A despacho is an offering to the Earth Goddess, Pachamama, which nurtures all life on earth. The ceremony symbolizes the reciprocity of nature and speaks back to her saying ‘we understand the message and we have the same attitude’. The word despacho was mistakenly translated into Spanish after the Conquest as pago, meaning payment, to imply a satanic pact with dark forces.

As each participant made their contribution to the despacho convened by the Shamaness Doris Rivera Lenz ‘La Gringa’, Kike Pinto, played pre-Colombian instruments. The first piece is a Harawi from the Department of Cusco played on a quena, or notch flute, made from the wing bone of a condor. This little melody has been handed down from Inca times, thanks to its incorporation into Catholic mass in Colonial times. The second piece is a Haylli from San Pedro de Castas, Department of Lima, played on a ch’iriqway, or antara (panpipes), made from condor feathers. The melody also has pre-Hispanic roots and has survived in a form played on the chirisuya, kind of oboe, of probable Moorish origin. This track is ended with some calls on the putu, or conch shell.

Kike Pinto is a lifetime musician and researcher of traditional Andean music. He has recorded several CDs and is curator of his own Museum of Andean Music in Hatunrumiyoq, Cusco.

Tracks 18-26 Javier Arevalo comes from Nuevo Progreso, a community of 50 families on the Rio Napo. Many generations of his family before him were shamans and already at 17 years old he knew this was his future. However when he was 20 his father died from a virote (poisoned dart in the spiritual world), sent by a jealous and malicious brujo (sorcerer) in his community. Soon after he began his two-year retreat in the rainforest with his maestro grandfather, dieting many plants, later to become his ‘doctors’. During his time in the wilderness he realised that it was better to leave God to punish the brujo who killed his father, and he decided to be a healer not a sorcerer.

There are several different kinds of icaros, at the beginning of the session. Their purpose is to provoke the mareacion or effects, and, in the words of Javier, ‘to render the mind susceptible for visions to penetrate, then the curtains can open for the start of the theatre’. Other Icaros call the spirit of Ayahuasca to open visions ‘as though exposing the optic nerve to light’. Alternatively, if the visions are too strong, the same spirit can be made to fly away in order to bring the person back to normality.

There are icaros for calling the ‘doctors’, or plant spirits, for healing, while other icaros call animal spirits, which protect and rid patients of spells. Healing icaros may be for specific conditions like manchare which a child may suffer when it gets a fright. The spirit of a child is not so fixed in its body as that of an adult, therefore a small fall can easily cause it to fly. Manchare is a common reason for taking children to ayahuasca sessions.

Tracks 18 Llamada de mareacion in which the spirits of various healing plants are called, here the huacapurana, a tall tree with hard wood, whose bark is used for arthritis. Huacapurana is also used as an arcana, or spirit to protect the body. Also the remocaspi whose bark is used to reduce fever and cure malaria.

Gianni Truvianni asked:


I of course am aware that many may not know who Charles Coleman is and it is for those that do not that I have chosen to write this article as he was the man, who in part is responsible for my love of opera and classical music that even lead to the creation of my first book “New York’s Opera Society”. Naturally when referring to Charles Coleman, I do so regarding the New York composer who way back in 1985 was a schoolmate of mine at “The Tutoring School Of New York” and not others with the same name; such as the one who was executed in the state of Oklahoma for murder back in 1990 or the noted English painter.

For the Charles Coleman I make reference to is the one who has given us many compositions among which are included “Deep Woods” and “Redemption” along with orchestrations of songs such as Jimi Hendrix’s “Manic Depressant”, Frank Zappa’s “Uncle Remus”, The Beatles’ “Come Together” and several others. Charles Coleman, apart from displaying talents in both composition and arranging did so as a singer of merit; as he at a very early age sang soprano at the Metropolitan Opera, performing many child roles including the one of “Feodor” in Mussorgsky’s “Boris Godunov”.

As for the friendship which developed between Charles and myself, this started in the fall of 1985 at the start of the school semester, in what was my senior year and Charles’s junior; given that he was and still is one year younger them myself. Charles and I at first did not really have a lot to say to one another, though we knew of each other given the fact that ours was a very small school with only 80 students and we were in the same European history class. History by the way being one of the few subjects in school I was good at as it had always fascinated me and still does to learn of events from the past with effect the reality of today.

It all started one day, and though I recall it being almost at the start of the school year I do not remember precisely if it was in the month of September or October that our history teacher, was speaking very loudly to us during the class. This not being something he usually did, which even he caught himself doing and explained that the reason he was doing so was because there was a girl in one of his classes who was hard of hearing. I jokingly at the time suggested he should get a bullhorn, like Jimmy “the mouth of the south” Hart from the W.W.F. (World Wrestling Federation), who as a manager in professional wrestling would use one to shout instructions to those under his guidance.

It turned out that Charles Coleman, like myself at the time was a fan of the W.W.F., which at the time was going through perhaps its biggest moment with regards to popularity, it even having a cartoon version which featured many of its stars at the time like “Hulk” Hogan, “Rowdy” Roddy Piper, Andre “The Giant”, the Junkyard Dog, Big John Stud and many others. Charles and I, after that class got to talking about wrestling. Something which we would often do when ever time allowed, with him being more a fan of the so called “good guy” wrestlers while I preferred the “bay guys”. The likes Piper (real name Roderick George Toombs) who was hailed as being from Glasgow, Scotland and even wore a kilt in to the ring along with playing the bagpipes. All this in spite of his having been really born in Canada.

Many would be our discussions over wrestling, Piper’s Pit, and who was better or what not and I do even recall, Charles being the nice guy he was lending me a video tape of “WrestleMania I”. This being a kind gesture on his part despite the fact that the tape he gave me was in VHS form and the VCR I had at the time was betamax, which meant that I was not able to watch it but it is the thought that counted. Actually such was our fascination with professional wrestling that I started calling Charles “weasel”. This not due to his personality but his resembling the then W.W.F. manager by the name of Bobby Heenan. Heenan also referred to as such in the world of professional wrestling along with his other often cited name; “the brain”.

It was through our conversations that I would find out that Charles apart from being a fan of professional wrestling and yes, we both knew it was fake but this mattered not as we found it entertaining despite its lack of authenticity which we were constantly reminded of by our fellow schoolmates, was a composer of orchestral music. Charles however was a quit person in those days and probably still is, who did not talk very much about his talent. This being the case though I do remember seeing him one day in the garden, which was located in the back of our school, taking notes. When I approached him on that occasion to see what he was writing, I found out about his love for classical music as it was precisely music which he was putting down on paper almost as easily as one writes down words.

By the end of the year 1985, I could say Charles and I were what could be labeled as school friends though little else; given that we did not have any contact with each other outside of “The Tutoring School”. Personality wise I remember Charles as being soft spoken as opposed to many in our school, perhaps myself included who were anything but as he did not talk much specially in the company of many though he always had an opinion over many an issue on the many times we engaged in discussions. Some of them diverting from the subject of professional wrestling to include politics. This being a subject which we almost never saw matters eye to eye on, as my views on many of the topics we talked about were closer to then president Reagan’s while his given his family tended to be more liberal. In all that we discussed however we did respect each other’s point of view even if we more often the not disagreed, as was the case for the right to burn the flag which strangely enough he was against while I in favor of.

With regards to our connection with opera and classical music, this started one day (in January of 1986), on which Charles mentioned and I do not even remember what brought it up during our history class that he had tickets for that very evening to go see Luciano Pavarotti at The Metropolitan Opera. It was two tickets that Charles had to see Pavarotti in the role of Mario Cavaradossi in the opera “Tosca” by Puccini, with no one to use the second ticket. I, at the moment not really being an opera fan asked him if he would care to let me use the second ticket which he agreed to. For my part though I was not the great opera fan that I am now accepted to go given first that I knew who Pavarotti was as his name and Domingo’s were among the most heard in opera. I also went because many years before during what would be my grandmother’s last visit to the states, I had heard her tell me of the wonderful qualities of Pavarotti’s voice which she had even pointed out to me while he was singing on TV. I even mentioned this particular episode of my life in another article of mine entitled “Pavarotti, You Are Gone But Not Forgotten”, which like this one is also available on the net.

Once settled that Charles and I would go to the opera we agreed to meet at my apartment, for the simple reason that it was closer to the Metropolitan Opera then was his parent’s downtown apartment. Charles, arrived on time as I expected he would that evening and slightly more elegantly dressed then he normally did in school while I wore a jacket and tie though not a suit. Charles on that occasion met a cousin of mine who was very young at the time, nine years old to be precise who found him very friendly who even said so as we departed for the opera.

Once Charles and I were outside my building, Charles suggested we take the subway but I said rather then take the subway we should take a cab. A cab which I gladly paid for since Charles was the one who was providing the tickets for this evenings outing which though never told of their price I could imagine was much higher then the cost of taking a taxi from the Eastside of Manhattan to the Westside. It was actually while in the taxi that Charles took the time to explain to me what the opera was about which we were going to see, telling me its synopsis which seemed interesting. Charles, I could tell had seen this opera many times and yet seemed to want to see it again as he held a true love for opera, which I would eventually acquire though for what concerned that night I was just getting to know.

Charles and I enjoyed the opera, though since I was hearing it for the first time, there were moments which my ear found hard to follow. This being the case though several parts stuck out in my mind like the one in the first act in which Pavarotti sings “Recondita Armonia” or the one in the 4th act in which he sings “E Lucavan Le Stelle”. It was these two arias, which really helped me to notice the true power and grace of the tenor, as notes came so much alive in a way, I had never noticed before. All of which letting me see what opera really was. As for the rest of the opera, I found it nice and looking back on it, more then twenty years later I know it inspired me to listen to more opera. Charles and I after that unfortunately did not go to any more operas together and even lost contact with each other; at least for the next three years.

By then the year was 1989 and a friend of mine by the name Rick Page, who even resembled his more famous and older cousin Jimmy Page (from the rock band “Led Zeppelin”) had invited me to his recital at the New York School of Music. Rick being a piano player who I had met while working at a place called “The Town Club Of New York” located on 85th street between 5th avenue and Madison avenue, who happened to be studying composition in the above mentioned school. This also being the school attended by the fictional characters from both my books “New York’s Opera Society” and “What Should Not Matter”.

With my memory serving me well I recall it was sometime in the month of May when I went to see a performance of Rick’s music in the society of a female German friend of mine, who apart from her nationality and gender I remember very little about other then the fact that ours was what could without doubt be referred to as a plutonic friendship. Upon arrival at the hall were the concert would be I was greeted by my friend Rick, whose German was as fluent as my friend’s, who had come with me. This leading to them starting a conversation in German which I understood very little of but it was while Rick and my friend chatted that I heard someone near me say “I can’t believe Charles Coleman’s piano player didn’t come”. I then suddenly in my mind put what could be consider two and two together thinking in the following manner Charles Coleman was a guy I went to school with, he studied classical music, this is a school for such music so maybe the Charles Coleman this person is referring to is the same one I used to know as weasel from “The Tutoring School of New York”. I quickly after all that had gone through my mind turned to the person who had said this and asked “Did you say Charles Coleman?”. This person, a man looked at me with some surprise and said “Yes, I did” to which I asked him if he could point Charles out for me, which he did and it was at that moment that I saw again after a long time “weasel” from high school.

Naturally, I went over to Charles and said hello and talked about old times, and I must admit it was nice to see him, not only because he was somebody from my school but I still held found memories of those days when we talked about wrestling. The concert went well though I did not hear any of Charles’s music but I did get a chance to hear Rick’s music after which Rick and I along with several of his friends went over to a bar. Charles and Rick were friends however on that particular evening Charles opted not to join us for a drink; for a reason which I know not of.

The name of the place we went to I do not remember though to be frank I did not pay it any mind as it was a place I was taken to. Many of Rick’s friends were there however the one who made the biggest impact on me was a Colombian who at the time was studying to be a conductor, and though his name I did not pay attention to I did regarding what he had to say about opera. Him telling me that contrary to what I had thought in the United States cultural events such as opera were not exclusive to the rich as one could get a last minute ticket for more or less the same price of going to the movies and getting a greasy burger afterwards. Actually such was the impression this Colombian gentleman made on me that I based my character Arturo Gomez from my book “New York’s Opera Society” on him. As for the rest of the evening, this went by nicely enough as we listened to my friend Rick get up and sing “Wind Beneath My Wings” along with some of his other friends who also interpreted songs.

As for Charles and I; we would continue are friendship though rarely did we meet given our limited time, me with my studies in French and photography while he with his music. Charles would also be the one I would call every time I had made the purchase of either a classical music CD or opera, to ask what his opinion was on the music. I was always astonished how he always managed to know which performers were on the CDs I bought as he knew them all personally. Well what could be expected from a man whose ear was so refined that he could not only recognize every classical piece he heard but which philharmonic was playing it.

I for my part would go on to attend performances of Charles’s music, the following year in 1990 and in 1993, which I found to be more to my taste then Rick’s music though I can not claim to be a particular fan of either one, even if I do admire both of them for being good at what they do. Charles and I, that evening in 1989 were reunited and though we again have lost contact with each other I will never forget the times Charles and I had. For instance their was the time he came over to my place to bake cookies or the times we spend in “The Tutoring School of New York” or specially the night on which Charles helped introduce me to the world of opera.

The last time I saw or spoke to Charles Coleman by telephone was in 1993 as time and travels have separated us though I hope not for good as I would not mind seeing Charles again however for those who wish to know more about Charles I recommend going to www.charlescoleman.com . It is there where they will be able to read more about this most talented composer, though with no offense intended to him not much of a piano player. I in later years would go on to develop a short friendship with the Polish composer Piotr Rubik. Him being my neighbor and student at my English School, whom I would once invite for Thanksgiving dinner at my house with the lady who at the time was his girlfriend though her name escapes me at present.  

moty ricklin asked:

The poem Hips Don’t Lie represents for me some of the highest quality pop poetry:

Hips Don’t Lie

Latin mail order brides up in here tonight

No fighting, no fighting

We got the refugees up in here

No fighting, no fighting

Shakira, Shakira

I never really knew that she could dance like this

She makes a man want to speak Spanish

Como se llama, bonita, mi casa, su casa

Shakira, Shakira

Oh baby when you talk like that

You make a woman go mad

So be wise and keep on

Reading the signs of my body

And I’m on tonight

You know my hips don’t lie

And I’m starting to feel it’s right

All the attraction, the tension

Don’t you see baby, this is perfection

Hey Girl, I can see your body moving

And it’s driving me crazy

And I didn’t have the slightest idea

Until I saw you dancing

And when you walk up on the dance floor

Nobody cannot ignore the way you move

your body, girl

And everything so unexpected – the way

you right and left it

So you can keep on taking it

I never really knew that she could dance like this

She makes a man want to speak Spanish

Como se llama, bonita, mi casa, su casa

Shakira, Shakira

Oh baby when you talk like that

You make a woman go mad

So be wise and keep on

Reading the signs of my body

And I’m on tonight

You know my hips don’t lie

And I am starting to feel you boy

Come on let’s go, real slow

Don’t you see baby asi es perfecto

Oh I know I am on tonight my hips don’t lie

And I’m starting to feel it’s right

All the attraction, the tension

Don’t you see baby, this is perfection

Shakira, Shakira

Oh boy, I can see your body moving

Half animal, half man

I don’t, don’t really know what I’m doing

But you see to have a plan

My will and self restraint

Have come to fail now, fail now

See, I am doing what I can, but I can’t so

you know

That’s a bit too hard to explain

Baila en la calle de noche

Baila en la calle de dia

Baila en la calle de noche

Baila en la calle de dia

I never really knew that she could dance like this

She makes a man want to speak Spanish

Como se llama, bonita, mi casa, su casa

Shakira, Shakira

Oh baby when you talk like that

You know you got me hypnotized

So be wise and keep on

Reading the signs of my body

Seסorita, feel the conga, let me see you

move like you come from Colombia

Mira en Barranquilla se baila asi, say it!

Mira en Barranquilla se baila asi

Yeah

She’s so sexy every man’s fantasy

a refugee like me back with the Fugees

from a 3rd world country

I go back like when ‘pac carried crates for

Humpty Humpty

I need a whole club dizzy

Why the CIA wanna watch us?

Colombians and Haitians

I ain’t guilty, it’s a musical transaction

No more we do snatch ropes

Refugees run the seas ’cause we own our

own boats

I’m on tonight, my hips don’t lie

And I’m starting to feel you boy

Come on let’s go, real slow

Baby, like this is perfecto

Oh, you know I’m on tonight and my

hips don’t lie

And I’m starting to feel it’s right

The attraction, the tension

Baby, like this is perfection

No fighting

No fighting

It is poetry: Even when we hear the poem for the first time, the poetic nature of the title is very clear:

· Not fully understood

· Intriguing

· Unusual

· Metaphoric

· Sensual

· Popistic

The poem seems at a first glance to be a pop song, but actually it is poetry at its best, pop poetry. Shakira did not write a poem full of gaps that is hard to follow. Such a poem would not pass as a pop poem. Shakira’s technique was to plant a key verse that makes it clear that this is poetry, and not a pop song.

If there was only one such verse, it would not have been poetry. Many of the verses are symbolic, even though they seem light. In this essay I will disregard completely Third World elements, such as refugees. I will consider only the dance/show motive. I claim that all dance/show lines have erotic symbolic meaning.

For example the innocent-looking verse: “I’m on tonight”, seemingly meaning “I am performing tonight”, but it might be interpreted as: “I am hot tonight”, or something similar, of an erotic nature. The symbol is not completely clear, but interesting. Again poetry.

Sometimes the erotic nature of the verse is very explicit and clear: “And I’m starting to feel you boy”

The feeling of the poem: The poem constructs a correlative object, which is colorful, popistic, uplifting, stirring, and sensual. A complex feeling, such that exists only in true poetry, and of the utmost quality. Even if we read the poem, without music, it will have a strong impact on us. This special kind of feeling can exist only in pop poetry. Pop poetry can bring into poetry the exciting the rhythmic, the uplifting, and the stirring.

Psychological elements: Shakira is metonymically represented , through the physical: hips, dance, sensuality. Throughout the poem, Shakira does not think. At most: “You make a woman go mad”.

Philosophical elements: The poem praises the physical, the immediate, that is obtained through the senses, rather than through thought. This is exactly how the poem is transferred to the reader, and with it, the feeling.

The poem’s meaning: The poem is Shakira. Shakira singing from her hips. Shakira, physical, and unthinking. Shakira, of dance and sex (and also, Spanish, and Third World).

Shakira was born in Barranquilla, Colombia to a Colombian mother Nidia del Carmen Ripoll Torrado of Spanish descent and an American-born father William Mebarak Chadid of Lebanese descent. Her oldest half-sister Lucy is a surgeon; her half-brother, Alberto, is a lawyer; Moises is the third child; Tonino is the fourth child and the closest to Shakira, having worked many years as her road manager. Then there is Patricia who lives in Spain, she is a special education teacher, and finally there is Antonio and Edward, the youngest who both live in Miami. Shakira began writing and composing music at the age of eight. One of the first songs she wrote was called “Tus Gafas Oscuras” (Your Dark Glasses), whose lyrical message revolved around her father and his grief over a son who had died in a car accident. At the age of ten, Shakira tried out for her school choir, but she was rejected because her voice had been noted as “too strong.” Friends teased her by saying she sounded like a goat. Shakira started looking for other singing opportunities, and competed in a weekly television singing competition for children, Vivan Los Niños (Long Live The Kids).

Between the ages of ten to thirteen, Shakira was invited to various events in Barranquilla, and became a local celebrity. At that time she met local theatre producer Monica Ariza, who was impressed with Shakira and helped to make her known outside Barranquilla. During a flight from Barranquilla to Bogota, Ariza happened to be sitting next to Sony Colombia executive Ciro Vargas. Vargas agreed to hold an audition for Shakira, which took place a few weeks later in a hotel lobby. Vargas was impressed and returned to the Sony office and gave Shakira’s cassette to the song and artist director, but he was not excited at all, and thought Shakira was “a lost cause.” Vargas was convinced that Shakira had talent, and set up a surprise audition in Bogotá. He tricked the Sony Colombia executives to this bar, and around midnight he announced he had a surprise: Shakira. She sang three songs, and her performance was a hit. Shakira was subsequently signed to write and record three albums.

Magia (Magic) was Shakira’s debut album, recorded with Sony Colombia in 1991, at the age of 15. The songs were penned by her from the time she was eight, however it was hampered by a lack of recording and production cohesion and did not fare well commercially. Less than one thousand copies were sold and the album is now sought after as a collector’s item Peligro. (Danger) was Shakira’s second album. It was released in 1993 through Sony Colombia, when Shakira was just 17. This album fared better than Magia, but Shakira decided to take a break from recording and graduate from high school. The recording itself is a collection of self-penned songs but is once again marred by a lack of cohesive production.

In 2001, upon the success of ¿Dónde Están Los Ladrones?, Shakira began working on a crossover album to the English language. Collaborating with Gloria Estefan, Shakira wrote and recorded English versions of the tracks from ¿Dónde Están Los Ladrones?, and new songs were also composed to create Laundry Service. Although it was aimed at the English language market, the rock and Spanish dance-influenced album also features four Spanish songs, including “Que Me Quedes Tu” (That You Love Me). Some critics claimed that Shakira’s English skills were too weak for her to write in it (she was satirized in a MAD TV sketch), but Laundry Service was a success, selling more than 13 million CDs worldwide, yielding the worldwide hit “Whenever, Whenever” and singles “Underneath Your Clothes” (a Canadian number-one), “Te Dejo Madrid” (I Leave You Madrid), “Objection (Tango) “, and “The One”. The album and its singles established Shakira’s musical presence in the mainstream North American market.

In 2002, Shakira also released the Spanish greatest hits volume Grandes exitos. A DVD and ten-track compilation album called Live & Off the Record, was released in 2004 reaching sales of 3 million CDs worldwide, commemorating Shakira’s 2002-2003 world tour, the “Tour of the Mongoose”. The name of the tour was derived from the fact that mongoose can defeat a cobra without being killed by its poison. The concerts were interspersed with visuals of a mongoose fighting a cobra.

In September 2002, Shakira was one of the last artists to win the now-defunct International Viewer’s Choice Award at the MTV Video Music Awards with Suerte. In October of that year, she won 5 MTV Video Music Awards Latin America for Best Female Artist, Best Pop Artist, Best Artist—North (Region), Video of the Year (for Suerte), and Artist of the Year. At Aerosmith’s MTV Icon in 2002, Shakira performed “Dude (Looks Like A Lady)”. Also in 2002, Shakira joined the likes of Celin Dion, Anastacia, Cher and The Dixie Chicks for VH1 Divas Live Las Vegas.

Many people when thinking about buying Shakira concert tickets put it off, thinking buying tickets is too much work and that they aren’t going to get and good seats. However nothing could be simpler, honestly it is thinking its difficult that leads to procrastinating. The easiest way of purchasing Shakira concert tickets is by searching Ticketmaster for the artist, writing down the purchase date and remembering to log onto your computer to purchase them as soon as they go on sale. Still many people complain about availability, that too many people are buying at once and they can’t get through to purchase a ticket. For many people interested in purchasing Shakira concert tickets after the public sale date discover that the shows are sold out and find themselves enabled from finding tickets. There remains hope for those whom have put it off, there are many different service sites that can help you find tickets.

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