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MS-DOS isn't dead, it just smells that way.

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Dos Cosas Ciertas

En la vida hay dos cosas ciertas,
Son la muerte y el cambio,
En la vida hay dos cosas ciertas,
Son la muerte y el cambio
No dejes que tu vida se safe,
Toma tu destino en tus propias manos,
Aveces las espaldas sudosas,
Se confrentan con las palmas sucias...
En la vida hay dos cosas ciertas,
Son la muerte y el cambio,
En la vida hay dos cosas ciertas,
Son la muerte y el cambio,
Handa, handa no pierdas la vista,
Persuige, persuigue tu destino,
Tu destino se decide en tus manos,
No dejes que se escape tu chance...
En la vida hay dos cosas ciertas,
En la vida hay dos cosas ciertas
Handa, handa no pierdas la vista,
En la vida hay dos cosas ciertas
En la vida hay dos cosas ciertas
No dejes que se escape tu chance
It's you they card
It's you they charge
It's you they complain about strollin the boulevard
You the one claimin' and screamin you all hard
Are you in control or is it just a facade
If Uncle Sam wants you it's you
It's you that he'll need
It's you that he'll sacrifice and it's you that'll bleed.
I think you need to reflect on some old Sam Sneed
And recognize in life there's only two guarantees
Some proceed to believe
And thus we gotta discuss
Have we all lost our trust in us,
Cause you and I
We us together we must
Live change and die
Everybody's inlcuded it's up to you to decide
En la vida hay dos cosas ciertas,
Son la muerte y el cambio,
En la vida hay dos cosas ciertas,
Son la muerte y el cambio
En la vida hay dos cosas ciertas,
Son la muerte y el cambio,
En la vida hay dos cosas ciertas,
Son la muerte y el cambio
En la vida hay dos cosas ciertas,
Son la muerte y el cambio,
En la vida hay dos cosas ciertas,

[...] Read more

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Octavio Paz

Piedra de Sol

La treizième revient...c’est encor la première;
et c’est toujours la seule-ou c’est le seul moment;
car es-tu reine, ô toi, la première ou dernière?
es-tu roi, toi le seul ou le dernier amant?
Gérard de Nerval, Arthèmis
Un sauce de cristal, un chopo de agua,
un alto surtidor que el viento arquea,
un árbol bien plantado mas danzante,
un caminar de río que se curva,
avanza, retrocede, da un rodeo
y llega siempre:
un caminar tranquilo
de estrella o primavera sin premura,
agua que con los párpados cerrados
mana toda la noche profecías,
unánime presencia en oleaje,
ola tras ola hasta cubrirlo todo,
verde soberanía sin ocaso
como el deslumbramiento de las alas
cuando se abren en mitad del cielo,
un caminar entre las espesuras
de los días futuros y el aciago
fulgor de la desdicha como un ave
petrificando el bosque con su canto
y las felicidades inminentes
entre las ramas que se desvanecen,
horas de luz que pican ya los pájaros,
presagios que se escapan de la mano,

una presencia como un canto súbito,
como el viento cantando en el incendio,
una mirada que sostiene en vilo
al mundo con sus mares y sus montes,
cuerpo de luz filtrado por un ágata,
piernas de luz, vientre de luz, bahías,
roca solar, cuerpo color de nube,
color de día rápido que salta,
la hora centellea y tiene cuerpo,
el mundo ya es visible por tu cuerpo,
es transparente por tu transparencia,

voy entre galerías de sonidos,
fluyo entre las presencias resonantes,
voy por las transparencias como un ciego,
un reflejo me borra, nazco en otro,
oh bosque de pilares encantados,
bajo los arcos de la luz penetro
los corredores de un otoño diáfano,

voy por tu cuerpo como por el mundo,

[...] Read more

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The Tower Beyond Tragedy

I
You'd never have thought the Queen was Helen's sister- Troy's
burning-flower from Sparta, the beautiful sea-flower
Cut in clear stone, crowned with the fragrant golden mane, she
the ageless, the uncontaminable-
This Clytemnestra was her sister, low-statured, fierce-lipped, not
dark nor blonde, greenish-gray-eyed,
Sinewed with strength, you saw, under the purple folds of the
queen-cloak, but craftier than queenly,
Standing between the gilded wooden porch-pillars, great steps of
stone above the steep street,
Awaiting the King.
Most of his men were quartered on the town;
he, clanking bronze, with fifty
And certain captives, came to the stair. The Queen's men were
a hundred in the street and a hundred
Lining the ramp, eighty on the great flags of the porch; she
raising her white arms the spear-butts
Thundered on the stone, and the shields clashed; eight shining
clarions
Let fly from the wide window over the entrance the wildbirds of
their metal throats, air-cleaving
Over the King come home. He raised his thick burnt-colored
beard and smiled; then Clytemnestra,
Gathering the robe, setting the golden-sandaled feet carefully,
stone by stone, descended
One half the stair. But one of the captives marred the comeliness
of that embrace with a cry
Gull-shrill, blade-sharp, cutting between the purple cloak and
the bronze plates, then Clytemnestra:
Who was it? The King answered: A piece of our goods out of
the snatch of Asia, a daughter of the king,
So treat her kindly and she may come into her wits again. Eh,
you keep state here my queen.
You've not been the poorer for me.- In heart, in the widowed
chamber, dear, she pale replied, though the slaves
Toiled, the spearmen were faithful. What's her name, the slavegirl's?
AGAMEMNON Come up the stair. They tell me my kinsman's
Lodged himself on you.
CLYTEMNESTRA Your cousin Aegisthus? He was out of refuge,
flits between here and Tiryns.
Dear: the girl's name?
AGAMEMNON Cassandra. We've a hundred or so other
captives; besides two hundred
Rotted in the hulls, they tell odd stories about you and your
guest: eh? no matter: the ships
Ooze pitch and the August road smokes dirt, I smell like an
old shepherd's goatskin, you'll have bath-water?
CLYTEMNESTRA
They're making it hot. Come, my lord. My hands will pour it.

[...] Read more

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El Muro

Quisiera acercarme a ti
Y no me atrevo
Y se que tu lo deseas
Igual o mas
Quisiera oirte decir
Estoy temblando
Y yo tambien tengo frio
Y no vendras
Siguen pasando los dias
Y tu en silencio preguntas
Que nos paso
Hay un muro entre tu y yo
Hay un muro en la obscuridad
Caricias rotas
Buscando volver
Y un amor que muere
Y no hay nada que hacer
Hay un muro entre tu y yo
Dos heridas en la soledad
Dos luces blancas
Que el tiempo apago
Y un amor que muere
Lo queramos o no
Quisiera besar de nuevo
Tus manos largas
Tambien ellas lo quisieran
Y yo lo se
Quisiera romper el nudo
De tus secretos
Y abrirte mi alma entera
Ayudame
Sigues mirando en silencio
Y tu tampoco te explicas
Que nos fallo
Hay un muro entre tu y yo
Hay un muro en la obscuridad
Caricias rotas
Buscando volver
Y un amor que muere
Y no hay nada que hacer
Hay un muro entre tu y yo
Dos heridas en la soledad
Dos luces blancas
Que el tiempo apago
Y un amor que muere
Lo queramos o no
Hay un muro entre tu y yo
Hay un muro en la
Obscuridad
Caricias rotas

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Dead End Street

Theres a crack up in the ceiling,
And the kitchen sink is leaking.
Out of work and got no money,
A sunday joint of bread and honey.
What are we living for?
Two-roomed apartment on the second floor.
No money coming in,
The rent collectors knocking, trying to get in.
We are strictly second class,
We dont understand,
(dead end!)
Why we should be on dead end street.
(dead end!)
People are living on dead end street.
(dead end!)
Gonna die on dead end street.
Dead end street (yeah)
Dead end street (yeah)
On a cold and frosty morning,
Wipe my eyes and stop me yawning.
And my feet are nearly frozen,
Boil the tea and put some toast on.
What are we living for?
Two-roomed apartment on the second floor.
No chance to emigrate,
Im deep in debt and now its much too late.
We both want to work so hard,
We cant get the chance,
(dead end!)
People live on dead end street.
(dead end!)
People are dying on dead end street.
(dead end!)
Gonna die on dead end street.
Dead end street (yeah)
Dead end street (yeah)
(dead end!)
People live on dead end street.
(dead end!)
People are dying on dead end street.
(dead end!)
Gonna die on dead end street.
Dead end street (yeah)
Dead end street (yeah)
Dead end street (yeah)
Head to my feet (yeah)
Dead end street (yeah)
Dead end street (yeah)
Dead end street (yeah)
Hows it feel? (yeah)

[...] Read more

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Tamar

I
A night the half-moon was like a dancing-girl,
No, like a drunkard's last half-dollar
Shoved on the polished bar of the eastern hill-range,
Young Cauldwell rode his pony along the sea-cliff;
When she stopped, spurred; when she trembled, drove
The teeth of the little jagged wheels so deep
They tasted blood; the mare with four slim hooves
On a foot of ground pivoted like a top,
Jumped from the crumble of sod, went down, caught, slipped;
Then, the quick frenzy finished, stiffening herself
Slid with her drunken rider down the ledges,
Shot from sheer rock and broke
Her life out on the rounded tidal boulders.

The night you know accepted with no show of emotion the little
accident; grave Orion
Moved northwest from the naked shore, the moon moved to
meridian, the slow pulse of the ocean
Beat, the slow tide came in across the slippery stones; it drowned
the dead mare's muzzle and sluggishly
Felt for the rider; Cauldwell’s sleepy soul came back from the
blind course curious to know
What sea-cold fingers tapped the walls of its deserted ruin.
Pain, pain and faintness, crushing
Weights, and a vain desire to vomit, and soon again
die icy fingers, they had crept over the loose hand and lay in the
hair now. He rolled sidewise
Against mountains of weight and for another half-hour lay still.
With a gush of liquid noises
The wave covered him head and all, his body
Crawled without consciousness and like a creature with no bones,
a seaworm, lifted its face
Above the sea-wrack of a stone; then a white twilight grew about
the moon, and above
The ancient water, the everlasting repetition of the dawn. You
shipwrecked horseman
So many and still so many and now for you the last. But when it
grew daylight
He grew quite conscious; broken ends of bone ground on each
other among the working fibers
While by half-inches he was drawing himself out of the seawrack
up to sandy granite,
Out of the tide's path. Where the thin ledge tailed into flat cliff
he fell asleep. . . .
Far seaward
The daylight moon hung like a slip of cloud against the horizon.
The tide was ebbing
From the dead horse and the black belt of sea-growth. Cauldwell
seemed to have felt her crying beside him,

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Dead Guy Stickers

In the USA,
They want to put dead guy pictures on cigarette packs.
With that brilliant logic in mind, I say put dead guy stickers on:
car windshields(dead guys in wrecks)
pistol and rifle handles (dead guys shot)
marriage licenses (dead spouses)
hamburger and hot dog wrappers (dead fat guys)
pies, cakes (more dead fat guys)
bathroom doors (thousands of dead guys in bathrooms every year)
bicycles (road kill dead guys)
fire places (burnt dead guys)
swimming pools (drown dead guys)
every electrical outlet (fried dead guys)
air plane tickets (dead passenger guys)
the beach (shark bit dead guys)
cities (shot dead guys)
air (blue dead guys)
fish (poisoned dead guys)
motorcycles (more road kill dead guys)
scarfs (strangled dead guys)
football helmets (brain dead guys)
hot tubs (more drowned dead guys)
and so on.
Just about everything can kill you, such as:
Mothers (dead baby guys plus dead fathers)
Fathers (dead baby guys plus dead mothers)
Police(multiple dead guys and chicks)
Drugs (multiple dead guys and chicks)
and so on.
Once everything has a dead guy sticker on it,
You've been warned and the world will be safer, right?
It shows we care, right?

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Un Dia Sin Ti

qu hora es?,
Bienvenida la manana.
Tan sola yo y el cielo tan azul.
En mi caf, en mi radio y en mi tele
Siempre estas tu.
Para empezar me levanto de la cama
Y voy vistindome asi corno as.
Gracias a dios tu no puedes verme
Llorando por ti.
Un dia sin ti
Es una eternidad, es un adis
Que duele por dos.
Solo esperar, la soledad.
Un dia sin ti.
Busco tu voz y el telfono me lleva
Al puerto gris de tu contestador.
Ayudame, yo no s como pasarme
Un dia sin ti.
Un dia sin ti...
Un dia sin t,
Es una eternidad, es un adis
Que duele por dos
Solo esperar, la soledad..
Un dia sin t,
Es una eternidad, es un adis
Que duele por dos
Es una pena
No tengo amigos
Ni otra cosa que hacer
Solo pienso fuertemente en ti ... oh...
Me niego a ser tu amor
A cambio de un dia sin t.
Un dia sin ti...
Un dia sin t,
Es una eternidad, es un adis
Que duele por dos
Solo esperar, la soledad..
Un dia sin t,
Es una eternidad, es un adis
Que duele por dos
Es una pena
Un dia sin t...
Un dia sin t...
Un dia sin t...

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The Fair of Beauty

I must confess! An angel must hide placidly undermine eyelids, for when I close them I see a word magnanimously delightful, and when I open them I see a pageant as sweet as a garden of sugar. I see the land of Lucien.

With languorous sunsets, charming lakes and emerald grass the land of Lucien is a place of beauty. It is a kingdom where romance lavishes the land. In the heart of Lucien, a small castle stands, ornamented with stained glass, beautiful balustrades and gothic arches. The gray stone which holds it together is forged by the hands of many peasants, but its form was conceived by the mind of one talented artisan. This gives the building a real integrity and a strange personality peculiar to one man. To that man no one knew or knows, no myth even could or can shed light into its mystery. "Mysteries shall be left mysterious, for shall they be discovered they lose their charm, " Madame Rupert once said with the eloquence of an aristocrat.

In this story there is no place for mystery, for beauty is forever revealing itself to us, but here is short history of Lucien. In order to understand this story I must give an account of the castle. The castle is called the house of Rupert, for the Rupert's have reigned over the land of Lucien for many a century. The family is everything royal except their horrible habit of being unconventional. They never marry within royal line, for they suffer from the malady of beauty and love and the lads of the family hold beauty contests to chose the wife they think the most beautiful. Dowries mean nil compared to a charming countenance in this world. They worship love, as other's worship the mammoth, however, they worship love with as much avidity as others worship the latter, that it would be quite pernicious to their name in a practical world, therefore, I thank Venus for making my land of Lucien quite unpractical, for here the Rupert's mania for beauty doesn't seem to affect their status, or their sanity, and more importantly their virtue.

Beauty! Beauty is the way of life here. The Rupert's excessive love of beauty transcends the emotion of admiration and even slips importunately into the realm of Justice. To the Rupert's, justice must follow the law of beauty, hence the inscription engraved in marble adorning the head of the entrance way which reads Beauty is Thine Nature, Justice Must Protect Thine Nature, and Good Shall Prosper Here, For Justice is Not Just Shall It Produce Bad Results.

The Story begins.

On this day, the 11th of August, the patriarch, the king, the majestic lord, King Eric de Rupert, dressed in raiment ebony, laced with gold ruffles, calls into session the Fair of Beauty. The king's brown Moorish eyes overlook the crowd and its meticulous beauty. The praetorian guards stand erect and proud; magenta rubies are sewn into the turbans resting upon their heads; their scarlet cloaks are stained with the blood of dead youth and underneath their pleasant attire lay a well of gold, for their skin appears to be laced with gold.

Dear reader, music always seems to sing from the heart. For musicians play lovely tunes with their skillfully wrought instruments. The ceremony is conducted in a way to infuse a merry emollient on all the hearts of all the spectators'. The scenery is potent in beautiful colors, an elegant display of fashion rests listlessly on all who attend, and an uncanny feast is prepared and served in lovely style, that one didn't notice, if what one is eating, is good or not. That is the charm of beauty here, it has no taste, like water, it is a necessity to live.
A squire whispers to his wanton mistress, "The King appears to be alone, for where is his noble wife and her amorous spirit? "
"The King looks so handsome this evening maybe he'll notice my azure mascara, " said Lyla to her girlfriend Plenie.
"The King sees nothing but beauty, that is what makes him so irresistible, " replied Plenie.
'For twenty years he has ruled with compassion and benevolence, and twenty years more shall he be loved with compassion and benevolence, " said Lorenzo the accountant.

(The King rises from a throne made of Persian Wood)

The King: "Tis my favorite time of all my life. The Fair of Beauty is born again. My apologies, my fellow citizens, for my wife's heart is empty of jealously; for it flows through her purple veins. I am sorry for time has wrinkled her very forehead and shriveled her very hands. She will not attend this lovely noble ceremony because she is conceived herself not beautiful enough. I, myself, could not convince her, that she herself, is still beautiful in body and soul. For she is a woman and gentleman we know how women can be. I give thee my humble apologies for her absence. My people, dear citizens of Lucien, thou shall receive a barrel of honey for such a grievous loss. For I know how thee cherish her beauty as a school of fish cherish the sea. Therefore let us partake of the glorious ceremony. Shall it begin! "

Here is the Ode of Beauty that my ancestors have passed to me by way of memory and mouth.

Sympathy is in thy sigh,
Kindness blessed thy hand
Beauty is in thy eye
Love looks on thy land
Live and be Free
And thou will See
What is Noble
In You and Me.

King: "Beauty shall triumph! As you know, my son Menillo Rupert, has been courting five exquisite women for the last year. Tonight he shall chose the love of his life, and forever live in happiness, because love is the panacea to all our sorrows. For to have love means to never die, to know nothing of vulgarity, to dwell lazily under the eyes of another, and to never know of loneliness. For your beloved knows thee without inquiry and loves thee without scruples."

(Menillo enters escorted by five guardsmen of refined physical features and envious beauty.)

King: "For my son to see true beauty and know real truth his eyes shall be covered by the cloth of Tangerine."

(A Guard places a vermillion blindfold over the eyes of Menillo)

King: Call on the beauties of earth so they can test their heart to the heart of mine son.

(Enter the Five Beauties of Earth)

King: "Shatalana, the first beauty, who comes from the Ivory Coast, whose skin smells of coconuts, whose vigorous eyes stir my lands imagination. How lovely are thee."

King: "Carmelita, the second beauty, who comes from South America, the Incan sun light rests inside thine skin, and your thick strands of hair flow like a gentle spring wind. How lovely are thee."

King: "Unchi, the third beauty, who comes from the Korean peninsula, your skin is a like a doll's skin, and your heart burns with the intensity of a hot spring which colors thy cheek. How lovely are thee."

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Dead Or Alive

Well the new sheriff sent me a letter
Yes the new sheriff sent me a letter
He said, come up and see me dead or alive,
Come up and see me dead or alive.
Well its a hard road dead or alive
Its a hard road dead or alive
Well its a hard road dead or alive
Its a hard road dead or alive
Well I really dont like your hard rock hotel (yeah) sheriff
Well I really dont like your hard rock hotel, sheriff
Dead or alive, no sheriff
Dead or alive, no sheriff
Well its a hard road dead or alive
And its a hard road dead or alive
And its a hard road dead or alive
And its a hard road dead or alive
Well he even sent me my picture
(oh yeah, and hello)
He even sent me my picture
(yeah yeah)
Hey, how do I look boy (wonderful)
Dead or alive?
How do I look boy (sweet) dead or alive?
Its a hard road dead or alive
Its a hard road dead or alive
Well, its a hard road dead or alive
And its a hard road dead or alive
Dead or alive
Dead or alive
Dead or alive
Dead or alive
Dead or alive
Dead or alive

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Stop Dead

Stop!
Stop!
Stop dead,
Stop stop stop stop stop stop
I pulled up at a west end junction (seeker of attention)
A full body kit and bass bins pumping (size up competition)
Come on red light, get into green,
I hit the brake, I must be dreaming..
Im stop! (stop), dead! (dead), in my tracks (in my tracks)
Got to fix on you.
Dont wanna loose you, from my sight
Where ya going to?
Gotta know now..
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Got to fix on you.
Dont wanna loose, you from my sight
Where ya going to?
Oh-oh-oh
Ive got my eyes on the action (killer reputation)
Heat crazed in full satisfaction (become a phaser? )
Do what you do and do it to me,
Body in motion, now you see me
(chorus)
Gotta know know.. stop!
Come on now, come on now
Come on now, come on now
Wise up to remain young victim (come on, ways of attraction)
A full scale attack on the system (come on, no one visor? )
Do what you do and do it to me,
Im into red line territory
And im..
(chorus)
Stop!, dead in my tracks again,
Im stop dead in my tracks
Stop!, in my tracks (yeah)
Im stop dead in my tracks
(oh-oh) gotta know know..
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Stop! (stop), dead! (dead), in my tracks (in my tracks)
Stop! (stop), dead! (dead), in my tracks (in my tracks)

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The Turtle And Sparrow. An Elegiac Tale

Behind an unfrequented glade,
Where yew and myrtle mix their shade,
A widow Turtle pensive sat,
And wept her murder'd lover's fate.
The Sparrow chanced that way to walk,
(A bird that loves to chirp and talk)
Be sure he did the Turtle greet,
She answer'd him as she thought meet.
Sparrows and Turtles, by the bye,
Can think as well as you or I;
But how they did their thoughts express
The margin shows by T. and S.

T. My hopes are lost, my joys are fled,
Alas! I weep Columbo dead:
Come, all ye winged Lovers, come,
Drop pinks and daisies on his tomb;
Sing, Philomel, his funeral verse,
Ye pious Redbreasts deck his hearse;
Fair Swans, extend your dying throats,
Columbo's death requires your notes;
For him, my friend, for him I moan,
My dear Columbo, dead and gone.

Stretch'd on the bier Columbo lies,
Pale are his cheeks, and closed his eyes;
Those eyes, where beauty smiling lay,
Those eyes, where Love was used to play;
Ah! cruel Fate, alas how soon
That beauty and those joys are flown!

Columbo is no more: ye floods,
Bear the sad sound to distant woods;
The sound let echo's voice restore,
And say, Columbo is no more.
Ye floods, ye woods, ye echoes, moan
My dear Columbo, dead and gone.

The Dryads all forsook the wood,
And mournful Naiads round me stood,
The tripping Fawns and Fairies came,
All conscious of our mutual flame,
To sigh for him, with me to moan,
My dear Columbo, dead and gone.

Venus disdain'd not to appear,
To lend my grief a friendly ear;
But what avails her kindness now?
She ne'er shall hear my second vow:
The Loves that round their mother flow

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Rosalind and Helen: a Modern Eclogue

ROSALIND, HELEN, and her Child.

SCENE. The Shore of the Lake of Como.

HELEN
Come hither, my sweet Rosalind.
'T is long since thou and I have met;
And yet methinks it were unkind
Those moments to forget.
Come, sit by me. I see thee stand
By this lone lake, in this far land,
Thy loose hair in the light wind flying,
Thy sweet voice to each tone of even
United, and thine eyes replying
To the hues of yon fair heaven.
Come, gentle friend! wilt sit by me?
And be as thou wert wont to be
Ere we were disunited?
None doth behold us now; the power
That led us forth at this lone hour
Will be but ill requited
If thou depart in scorn. Oh, come,
And talk of our abandoned home!
Remember, this is Italy,
And we are exiles. Talk with me
Of that our land, whose wilds and floods,
Barren and dark although they be,
Were dearer than these chestnut woods;
Those heathy paths, that inland stream,
And the blue mountains, shapes which seem
Like wrecks of childhood's sunny dream;
Which that we have abandoned now,
Weighs on the heart like that remorse
Which altered friendship leaves. I seek
No more our youthful intercourse.
That cannot be! Rosalind, speak,
Speak to me! Leave me not! When morn did come,
When evening fell upon our common home,
When for one hour we parted,--do not frown;
I would not chide thee, though thy faith is broken;
But turn to me. Oh! by this cherished token
Of woven hair, which thou wilt not disown,
Turn, as 't were but the memory of me,
And not my scornèd self who prayed to thee!

ROSALIND
Is it a dream, or do I see
And hear frail Helen? I would flee
Thy tainting touch; but former years
Arise, and bring forbidden tears;

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Aquel Romance

Si una cancin
Habla de amor
Cierto temor me hizo olvidar
El tiempo que fue
La llama que ardi
Fue felicidad que no nos dur
Por eso hoy quiero recordar lo que pas
Quiero revivir aqu en mi corazn
Aquel romance de los
Dos
El dijo que s
Y yo dije no
En contra de mis
Sentimientos de amor
Mi fuerza cedi ante su pasin
Mi mente vol ms alto que el sol
Por eso hoy quiero recordar lo que pas
Quiero revivir aqu en mi corazn
Aquel romance de los dos
Aquel romance de los dos
Mi fuerza cedi ante su pasin
Mi mente vol ms alto que el sol
Ta, na, na, na....
Aquel romance de los dos

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Revolucion

Anoche nos vimos
Otra vez como siempre
En la sombra, en secreto
Escondidos
Como dos disidentes
Conspirando entre besos
Contra un mundo enemigo
Que no quiere aceptar ni
Entendernos
Ni siquiera de amigos
Y he venido a buscarte
Porque ya me canse de callar
Si nos piden la guerra
Se la vamos a dar
Que ya es tiempo de hacer una
Revolucion
A la hora de amar, una
Revolucion
Con tu boca en la mia
En total anarquia
Viviremos los dos
Porque es hora de hacer una
Revolucion
Con el arma y la ley de un
Nuevo corazon
La caricia primera abrira la
Trinchera
Donde triunfe el amor
Decidelo pronto
Que me muero por ti
Abre fuego y derrumba las rejas
Que te alejan de mi
Ven y toma mi mano
Y salgamos al aire y al sol
Que de abrazo en abrazo
Lucharemos tu y yo
Que ya es tiempo de hacer una
Revolucion
A la hora de amar una
Revolucion
Con tu boca en la mia
En total anarquia
Viviremos los dos
Porque es hora de hacer una
Revolucion
Con el arma y la ley de un
Nuevo corazon
La caricia primera abrira la
Trinchera
Donde triunfe el amor

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Quiero Bailar

Seoras y seores
Bienvenidos (welcome) al party
Agarren a su pareja (por la cintura)
y preparencen
Porque lo que viene no esta facil (no esta facil no)
Yo quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy
Yo quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy
Lo que yo quiero es besarte
Papi te lo juro te me acercas y late mi corazon
Si lo q quiero es pegarte yo no tengo problema
en acercarme y bailarte este reggaeton
Que los dos tengamos que sudar que sudar
Que bailemos al ritmo del tra tra
Que me haga fuerte suspirar suspirar
Pero pa la cama digo mira na na na
Porque yo soy la que mando
Soy la que decide cuando vamos al mambo
Y tu lo sabes
El ritmo me esta llevando
Mientras mas te pegas mas te voy azotando y eso esta bien
A mi no me importa lo que muchos digan
Si muevo mi cintura de abajo para arriba
Si soy de barrio o tal vez soy una chica fina
Si en la discoteca te me pegas y te animas
Sabes que los dos tengamos que sudar (a sudar)
Que bailemos al ritmo del tra tra
Que me haga fuerte suspirar suspirar
Pero pa la cama digo mira na na na
Yo quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy
Quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy

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Yo Quiero Bailar

Seoras y seores
Bienvenidos (welcome) al party
Agarren a su pareja (por la cintura)
y preparencen
Porque lo que viene no esta facil (no esta facil no)
Yo quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy
Yo quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy
Lo que yo quiero es besarte
Papi te lo juro te me acercas y late mi corazon
Si lo q quiero es pegarte yo no tengo problema
en acercarme y bailarte este reggaeton
Que los dos tengamos que sudar que sudar
Que bailemos al ritmo del tra tra
Que me haga fuerte suspirar suspirar
Pero pa la cama digo mira na na na
Porque yo soy la que mando
Soy la que decide cuando vamos al mambo
Y tu lo sabes
El ritmo me esta llevando
Mientras mas te pegas mas te voy azotando y eso esta bien
A mi no me importa lo que muchos digan
Si muevo mi cintura de abajo para arriba
Si soy de barrio o tal vez soy una chica fina
Si en la discoteca te me pegas y te animas
Sabes que los dos tengamos que sudar (a sudar)
Que bailemos al ritmo del tra tra
Que me haga fuerte suspirar suspirar
Pero pa la cama digo mira na na na
Yo quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy
Quiero bailar
Tu quieres sudar
Y pegarte a mi
El cuerpo rozar
Yo te digo si tu me puedes provocar
Eso no quiere decir que pa la cama voy

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Un Da Sin Ti (Spending My Time)

Qu hora es?, bienvenida la maana. Tan sola yo y el cielo tanazul. En mi caf, en mi radio y en mi tele siempre ests t. Paraempezar me levanto de la cama y voy vistindome as como as.Gracias a Dios t no puedes verme llorando por t / Un da sin t esuna eternidad, es un adis que duele por dos. Solo esperar, lasoledad. Un da sin t / Busco tu voz y telfono me lleva al puerogris de tu contestador. Aydame, yo no s cmo pasarme un da sin t/ Un da sin t ... / Un da sin t es una eternidad, es un adisque duele por dos. Es una pena. Un da sin t / No tengo amigos niotra cosa que hacer solo pienso fuertemente en t ... Oh ... meniego a ser tu amor a cambio de un da sin t / Un da sin t, sint, es una eternidad, es un adis que duele por dos. Solo esperar unda sin t / Un da sin t es una eternidad, es un adis que duelepor dos. Es una pena. Un da sin t.

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905

Mother was an incubator
Mother was an incubator
Father was the contents
Father was the contents
Of a test tube in the ice box
Of a test tube in the ice box
In the factory of birth
In the factory of birth
My name is 905,
My name is 905,
And Ive just become alive
And Ive just become alive
Im the newest populator
Im the newest populator
Of the planet we call earth
Of the planet we call earth
In suspended animation
In suspended animation
My childhood passed me by
My childhood passed me by
If I speak without emotion
If I speak without emotion
Then you know the reason why
Then you know the reason why
Knowledge of the universe
Knowledge of the universe
Was fed into my mind
Was fed into my mind
As my adolescent body
As my adolescent body
Left its puberty behind
Left its puberty behind
And everything I know is what I need to know
And everything I know is what I need to know
And everything I dos been done before
And everything I dos been done before
Every sentence in my head
Every sentence in my head
Someone else has said
Someone else has said
At each end of my life is an open door
At each end of my life is an open door
Automatically defrosted
Automatically defrosted
When manhood came on time
When manhood came on time
I became a man
I became a man
I left the ice school behind
I left the ice school behind

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XI. Guido

You are the Cardinal Acciaiuoli, and you,
Abate Panciatichi—two good Tuscan names:
Acciaiuoli—ah, your ancestor it was
Built the huge battlemented convent-block
Over the little forky flashing Greve
That takes the quick turn at the foot o' the hill
Just as one first sees Florence: oh those days!
'T is Ema, though, the other rivulet,
The one-arched brown brick bridge yawns over,—yes,
Gallop and go five minutes, and you gain
The Roman Gate from where the Ema's bridged:
Kingfishers fly there: how I see the bend
O'erturreted by Certosa which he built,
That Senescal (we styled him) of your House!
I do adjure you, help me, Sirs! My blood
Comes from as far a source: ought it to end
This way, by leakage through their scaffold-planks
Into Rome's sink where her red refuse runs?
Sirs, I beseech you by blood-sympathy,
If there be any vile experiment
In the air,—if this your visit simply prove,
When all's done, just a well-intentioned trick,
That tries for truth truer than truth itself,
By startling up a man, ere break of day,
To tell him he must die at sunset,—pshaw!
That man's a Franceschini; feel his pulse,
Laugh at your folly, and let's all go sleep!
You have my last word,—innocent am I
As Innocent my Pope and murderer,
Innocent as a babe, as Mary's own,
As Mary's self,—I said, say and repeat,—
And why, then, should I die twelve hours hence? I—
Whom, not twelve hours ago, the gaoler bade
Turn to my straw-truss, settle and sleep sound
That I might wake the sooner, promptlier pay
His due of meat-and-drink-indulgence, cross
His palm with fee of the good-hand, beside,
As gallants use who go at large again!
For why? All honest Rome approved my part;
Whoever owned wife, sister, daughter,—nay,
Mistress,—had any shadow of any right
That looks like right, and, all the more resolved,
Held it with tooth and nail,—these manly men
Approved! I being for Rome, Rome was for me.
Then, there's the point reserved, the subterfuge
My lawyers held by, kept for last resource,
Firm should all else,—the impossible fancy!—fail,
And sneaking burgess-spirit win the day.
The knaves! One plea at least would hold,—they laughed,—
One grappling-iron scratch the bottom-rock

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