Резултати претраге страна 3

Strangers in the day

Strangers in the day,
of course there are.
In the past who would say,
that there had to have them in such quantity,
quantity, quantity, quantity.
 
Strangers in the day,
how strange, I don't know what are they.
If phantasmagorias,
if some plot
of a devilish imagination.
 
Strangers in the day.
Strangers up to date too (too, too),
bad dream of insomnia,
guards for the dream sleeps you standing.
sleeps you with a kick.
 
Strangers in the day
swarm in the firmament.
Let alone in the night.
Sinatra said it and he was right.
and he was, he was right.
 
Strangers of today,
I want to meet them.
The stories of my aunt
aren't enough and from other relativves
I didn't listen all that I wish to know.
 
Strangers in your house,
you were drinking the coffee.
You thought 'what's going on?'
It can't be! But it is.
You didn't eat your marseillan bread.
 
Strangers in the afternoon,
strangers in the evening.
Never come out late.
I prefer to avoid of having to fear
of having, of having to fear.
 
Strangers in the day.
Stars that come to the south sky.
And full of joy,
share their gusts of smoke and light
of smoke and remote light.
 
Strangers in the day.
And I'm not amazed that I,
don't know if I'd miss
the times in which everybody thought
they knew each other and take this, what do you say about him?
 
Strangers in the family.
It could happen to anybody.
The parents already said
that some strangers are sometimes
better than a relative.
 
Strangers at the park,
by the way, they're not shoeless (they're not, they're not),
you should be careful,
if you think of crossing.
If you think of crossing over there.
 
Lacking yearnings.
Strangers move around me
dressed in hope,
dancing the dance of their comptroller.
Dancing to the beat of the drum.
 
1
 
Strangers in the day.
There are, there are/Strangers in the day
there are everywhere./I want you to tell me.
The day is so stange./Strangers in the day and the night.
Say what day./Look at the night, the evening, the noon.
Strangers in the day.
No. Tell me if it's the afternoon./Tell me if it's night or day.
The day that is the day./How late that is the day. The day that didn't die.
That day that wasn't a day/No, yes.
would be a strange noon/Strangers in the noon.
stuck in the day's noon.
That today day./That day from now on
Ahead will be the day ahead./Ahead, good day.
No because is still today./Strangers go through the day today.
Still today. Still today./Still go throught the day.
Strangers in the day.
Strangers in the day.
Strangers in.
Strangers in.
Strangers in.
 

• 1. The following part is sung with intermingled voices. The slash separates the lyrics that are sung simoultaneously. Leo sings the lyrics at the left, and Jorge th lyrics at the right

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Stars

There were five brothers who said I want to go to the stars
and the parents said to them that they will maybe go as long as first
they finish their homework
 
The first didn't want any of that, just the stars
and he saw them very big when the father (pay attention)
gave him a good beating and kicked him out to the street
 
The second went to Hollywood to work as a waiter
in a bar where always were eating many of the greatest movie stars
like Linda Blair and Charles Bronson
 
The third became a sheriff and they placed him
a shining star on the lapel of his classic jacket and with time
he forgot about the stars and the planets
 
The fourth of the brothers studied to be an architect
and thanks to three bottles he achieved to be elected in the tender
for a project of a five stars hotel.
 
The littlest, the fifth was different, he couldn't, he didn't want,
he didn't know to live with false stars and today he just sended
a postcard from the Orion's Belt
 
There were five brothers who said I want to go to the stars
 

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The internal action food processor

I bought a new food processsor. I already had one, but this one is better, because it's of internal action. You have to place it in the stomach. Bah! if you're a doctor and you have some skill you can place it yourself. The good thing about this processor is that you can stop cooking. Instead of preparing the foods, you eat straight up the ingredents. For example, you eat a pack of flour, then a butter bar, you eat half big spoon of baking powder, half glass of milk, a pack of cocoa powder and it feels like you're eating a chocolate cake.
 
At first you don't realize, but when the food reaches the stomach you understand it with full clarity.
 
Of course, you have to put on teeth in the stomach entrance, to be able to chew what is getting inside. That's a bit expensive, but it makes up for what you save in gas and electricity when you stop cooking. As soon as I can, I will do it. The doctor says that swallowing without chewing is not good. He's right, and the opposite is neither recomandable. But, placing a throat in the stomach would cost me an eye of the face, is it's not good for be, becuase I'm gonna need that eye there, close to the stomach, to see what I'm swallowing. That's why, instead of placing inside of me a synthetic throat, I'm going to transfer my stomach to my own throat. This also requires that, they sew my head over the shoulder blades, and that is a lot of stitches. About the aesthetic part, I'm not so worried. Some will say, 'that dude doesn't have a neck', or some will say, 'look, there goes a man with one single eye'.
 
But too bad for them. The ones who see me with an X ray device will realize that it isn't true: I keep all my organs, only that they're arranged in a more functional way.
 
With time, I'm thinking of making more improvements in my organism.
 
For examle, it's a shame that the brain is placed in a very exposed place like the head. I'm thinking of placing it near the stomach, for it to be more protected and also, it will control more efficiently my digestive process because it will be so near. These processes need a good supervision, at least during the first months after being modificated.
 
Besides, it's good that all the organs and the most important functions should be placed in the same zone. Yes, I will do it. It's like a strategic withdrawal of myself inside myself.
 
Some will say that I'm going to reduce myself, because some parts like the head, will remain as an ornament, being able to later become stunted and then to detach and fall like dry leaves, but all that is indifferent to me.
 
I'm not thinking of reducing myself: I'm thinking of compressing myself. I know that in my most intimate heart of hearts I'm irreductible, and any place is good for me to settle down. And if things work better that way, I'll laugh out loud about what people will think, even when that people won't har my laugh, because they will sound more precisely on the oesophagus sector and outskirts. But I don't wish to extend myself more in the description of my modifications program. It's long and besides is too wide and... I just wanted, for now, to recommend the purchase of the internal action food processor.
 

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The twin

1st panel: Even before knowing the meaning of the word hate, I unconditionally hated Franz, my twin brother.
The scene shows two breastfed babies fighting over the mother breast.
 
2nd panel: When finally I became familiar with reading, the dictionary gave me an adequate denomination for my feelings.
The scene shows the narrator with his index finger pointing at the word Hate, in the middle of a page. At certain distance is seen the shape of Franz, identical to the narrator. Both are scholars.
 
3rd panel: Following studies of grammar, gave me the possibility of articulating the expression of my feelings in complete syntactic units.
The scene shows the narrator saying to his brother 'I hate you'.
 
4th panel: The happiness of my first love experiences, couldn't achieve to eclipse the innate loathing living in me.
The scene shows the narrator embracing his grilfriend in the bench of a plaza. She asks him 'What are you thinking, darling, that you're so quiet?' He answers 'I think a little about the love I have for you, but more than anything, I think of the hate I have for Franz'
 
5th panel: The day Franz married, I had the first chance of exposing my dark affections to the public.
The scene shows Franz's wedding. The priest asks 'Does somebody have something to object to this matrimonial union?'. The narrator replies 'Yes, me. I consider the groom as absolutely rejectable.'
 
6th panel: When I got married, the priest had the papers a bit mixed, and when he adressed to me, he did it calling me Franz. The incident was later very lamented by the irreverent clerygman.
The scene shows the narrator with his bride, slapping the priest and telling him 'What similarity with Franz did you see? Retard'
 
7th panel: I had to reject many chances of employment for not wanting to fill the inscription forms on those parts in which they required a list of close relatives.
The scene shows the narrator provocating the forced ingesion of a crumpled form by mouth to the office worker who attends him.
 
8th panel: My piano professor had to regret of proposing me the performance of Liszt and Schubert pieces, and soothe my anger with a Chopin and Schumann apologia.
The scene shows the narrator strangling the piano professor exclaiming 'What do you want me to play, you dumb horse?' On the floor is seen a score headed with the name of Franz Schubert.
 
9th panel: I found necessary to run away quickly from a bookstore on a certain time in which, while looking distractedly over the content of an offer table, I outrageously vomited over a volume of Kafka.
The scene shows the narrator running upstreet, while the bookstore owner from the door of his business, yells at him 'Come and clean this, you existencialist swine'
 
10th panel: My unmeasurable hatred multiplied by 10, when I discovered that while I was occupying my free time in seducing Farnz's wife, my despicable wife was leaving to make love precisely with him.
The scene shows the narrator laying in bed with his lover in a motel room. While from the adjacent room is heard a voice saying 'Oh Franz'
 
11th panel: A foul-smelling feeling started to darken every moment of my life, since, after having divorced both Franz and me, and having lost both our jobs for poor references crossed and processed from ourselves to our respective bosses in inverse correspondance, we have been forced to occupy again the same bedroom at our parents house.
The scene shows both twins in their respective beds, with pronouncedly warlike faces.
 
12th panel: The night I decided to annihilate Franz once and for all, I discovered that I didn't invent the powder.
The scene shows the twins in their beds, revealing each one from their respective sheets, their respective guns.
 
13th panel: Today however, I'm being treated by a psychologist who tries to convince me that my very name is Franz, and that I never had a twin brother.
The scene shows Franz.
 

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The cigar end collector

I'm a cigar end collector,
I collect the cigar ends thrown by the smokers who don't want anymore.
I'm a cigar end collector,
and I also collect the smoke of what people blew.
I collector rubbish, I collector rubbish,
I collector rubbish, I collector rubbish
 
I'm a cigar end collector,
I collect words after that smokers talked them
and breaking filters
I'm rescuing those things that people didn't blow,
but remained there, without fading like those that they blew
and that I'm gathering with the rest too.
 
I'm a cigar end collector,
but fortunately I am only from an intellectual point of view
I'm a cigar end collector,
in a figurated sense, I don't get hands nor feet dirty
Only the thought, only the thought
Only the thought, only the thought
 
I collect the left-overs,
after somebody thought about something that maybe forgot later.
I'm a cigar end collector,
I smoke the neurons that died and can't think,
I gather the ideas, that remained silenced by lack of voice,
of words or by the censorship of who thought about them.
 
I'm a cigar end collector,
I make songs with leftovers of used chords that are no longer useful.
I'm a cigar end collector,
and those songs that I write with the others ends
Are a good business, are a good business
Are a good business, are a good business
 
Because I register them
to my name and they can't say it's plagiarism for just a beat.
I'm a cigar end collector,
and to whoever blows this song I'll ask you please
if you don't mind, you keep the cigar end for me and so tomorrow it could be
that collecting it with another will outcome in a new song.
 

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The asshole

I sell streetcars, I sell mailboxes,
I announce squirrels and I give mice.
I have a good deal on Paso Carrasco,
I kidnapp the cats and sell steaks.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell illusions and whoever pays me
I leave him alone and rambling.
I sell advices, I rent trust,
Mrs, I sell a Lufthansa plane to you.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell obelisks for beautiful towers,
I announce seafood and I serve slugs.
I sell garbage for good cakes,
I announce culture and I give papers.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell well disguised versicles,
I dress them as verses and they're well placed.
I sell sermons in a thesis suit,
I announce songs and I give cathequesis.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell watermelons, I sell plums,
dentistry and toothaches.
I sell tricks to get rich
and also the Paco and Pico feats
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell someday, I promise promises,
I declare joys and pllug sadness.
I sell future, I sell piggy banks,
I sell kangaroos at Villa García.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I live by the fraud, I'm dishonest,
it doesn't matter, the thing is to move along.
I sell whoever if they pay a dollar,
for two I sell myself and that's why
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell work to the unemployed,
and in turn I take off their earned wage.
I say that I sing the people verses
and if I can I make a deal with the dictatorship
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I say that I rhyme all the stanzas
and sometimes I slip cheating words.
I sell words intead of the things,
words that mean those things.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
Instead of fan palms I give you artichokes,
I preach peace and make missils.
I sell war and buy science,
I preach peace but I instil impatience.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell very pretty mirrors, sirs,
I also have mythis of all colors,
like who proclaims that he never prays
and recits the Trotsky program on the table.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I sell lies in camel trains,
I start the war and say they were.
I sell chickens with golden eggs,
you turn the corner and are bull horns.
I'm an asshole, I'm an asshole, (he's a fucker)
 
I sell civils to the militars,
and napalm and misils to the civilists.
I give epauletts to the dictators,
and then I sell bags to their banks.
I'm an asshole, I'm an asshole, I'm an asshole, I'm an asshole.
 
I offer beauty, I sell surgery
and I leave your face worse than mine.
(I'm very asshole, I'm a little asshole,
I'm very asshole, you're a motherfucker.)
I'm an asshole because I say I am
despite of not being it and therefore I am,
I'm an asshole, I'm an asshole,
I'm an asshole, I'm an asshole.
 

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The fakir

My grandmother told me
that there are guys in India
who can lay
over vertical nails
with the sharp end on top,
fakirs of the back
and besides there are other guys
who can walk
without problem over lots
of burning coals,
fakirs of the feet
 
I guess there are many
fakirs of other things,
I guess that there are
general fakirs
and a full body fakir,
a full body fakir,
you know that exists,
a guy in some lands
who maybe, maybe, maybe,
they leave him on the floor,
even if he doesn't care.
 
The guy I'm talking about
is no other but myself,
I myself am a fakir
but I'm different because
I'm a fakir of the mind,
fakir of the mind,
fakir, fakir of the soul,
I am since the moment
that is possible that next to me
they mess with the people
and I don't feel anything,
 
they can beat a guy,
they can electrocute him,
they can interrupt
everytime his normal
breathing or anything,
that I don't feel a thing,
I don't give three damns,
I can pretend
that it's a lie, that it's a lie
that that guy is on a trip
or that he doesn't exist,
 
maybe some people
will ask me how could I
ever achieved
to display such virtue,
such abilities,
you can believe me or not,
I say however
that I never followed
any special course
I didn't go to any training,
it must be since birth.
 

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The stringer

While the pelican was fishing
while the bee was doing honey,
while the ant was carrying construction materials...
What was going on?
 
The sparrow was singing.
 
While the castor was doing dikes,
while the ox was plowing,
while the ovenbird was making its nest...
What was going on?
 
The sparrow was singing.
 
While the dog was watching,
while the cobra was dancing,
while the bacillus was synthesizing toxins...
What was going on? The sparrow was singing?
 
No. The pelican was fishing.
 
But while the marmot was sleeping
while the weed was growing,
while the spider was weaving...
What was happening? The sparrow was singing? The pelican was fishing?
 
No. The ant was singing and the mosquito was plowing.
 
And while the chicken was incubating,
while the cobra was cashing,
while the bacillus was staggering...
What was going on? The castor was doing dikes?
 
No sir.
 
The ovenbird was making its nest?
 
No. Neither.
 
So.. what was all about?
 
It was about that while the dog was scratching,
while the turkey was hiccupping,
while the cat was crouching,
while the chimp was chatting...
A CNN stringer
(who up to this point was always serious and efficient)
was taking note of everything
and was getting ready to tell it to Patricia Janiot,
that on any moment was going to call him
for him to pass his report
before two hundred millions of viewers.
 

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The manager

He's a manager.
He has people who obey him.
He puts the penalties.
He has people who loathe him.
 
He gives four screams
and the factory shivers.
He sets the jobs.
He has people who suffers them.
 
He looks for who serve.
To more than one he ordered the sacking.
He says to his boss
'I don't want guys like that one'
 
The day they fail him,
he gets desperated and crazy.
He yells at them 'What is this,
a workshop or a kermesse?'
 
He's an employee too.
When he remembers it he gets sad.
He's a subordinate.
He has people who hinder him.
 
He's a manager.
A manager until he gets better.
He's a manager.
and the look is on his side.
 
He works willingly.
How good if the chief knew it.
He dreams to become a boss.
He asks his wife to pray.
 
He who always fought
for the production to come out well,
he of many wealth
thinks that some belongs to him.
 
He's a manager.
A manager though he doesn't look like it.
He serves to be a boss
If the chief could recognize it.
 
He asks to his mirror,
he begs it, to confess him
the destiny, the luck,
the future that he deserves.
 
The mirror says
that if it was who choses,
it would put him
in front for him to direct.
 
He's a manager.
He has people who obey him.
He puts the penalties.
He has people who loathe him.
 
He gives four screams
and the factory shivers.
The boss gives one
and he gets red, of shame.
 

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The duo

We're a duo.
Yes. We're a duo.
We're a duo.
We are two.
Yes. And we make a duo.
We're two who make a duo.
It's an instrumental and vocal duo.
Yes. It's a dual duo.
We're a dual duo.
We sing and play equally.
For us tt's all equal.
Anyway.
In my particular case, I make up the duo.
I happily make up the duo too.
We both make up the duo.
Yes. We make it up in a duo.
Yes. Our duo makes up a duo.
If we were a trio...
We two?
Yes. If we two were a trio, I myself would be the duo and between the two we would be a trio.
If we were a quartet, I myself would be a trio who with him we would complete the quartet.
But we're not a quartet.
No.
We're a trio.
No. Neither.
Right. We're a duo.
Yes.
Our repertory is dual.
Yes. Is ambiguous.
Yes. We play and sing.
Yes, but I'm talking about our repertory.
Yes. To the things that we sing.
Of course.
Yes. They're of four types.
We sing my songs.
Yes. And also my songs.
Yes. We also sing his songs.
And we play his songs.
We have four types of songs.
Yes. Some are better than others.
Yes. And there are better.
Yes. And there others that are even better.
Generally, my songs are better than his songs.
Yes. Mine too.
Sometimes is hard to choose the repertory.
Yes. Sometimes is hard to tell him that his songs are rubbish.
But the dialogue isn't closed between ourselves. Sometimes I criticize a song.
Sometimes I say to him that we can't sing the song that he wrote.
Sometimes I say to him that he must ditch the song that he wrote.
Yes. But I don't tell him where.
No.
I can't reject them all.
About ONE song, I can say it doesn't worth.
Yes. But I can't say to him that none worths.
Yes. I have to leave him at least one.
Yes. Because we're a duo.
We work on team.
Yes. In a duet.
Is that we're a duet.
Of course. My songs are for duet.
I can't sing all alone.
I wish to sing only my songs.
Yes. But in duet.
Of course. If they're for duet.
But I can't say that we don't play any of his songs.
No. Because after all, we're a team.
Yes. A duo.
I try to fight each of his songs separatedly, but I never say that he can't compose.
Yes. I criticize every song of his, like if by mistake it came out bad.
Yes. But it isn't a mistake.
Is that he can't write.
Yes. But I can't tell it to him.
No, because we're a duo.
The public always applauds more when we sing my songs.
When we play his songs, the public applauds only for obligation.
I wish that when we sing his songs, the public doesn't applaud.
Yes. So he finds out that he has to stop composing.
Yes. That way, he would come and say 'Look, from now on man, we will only play your songs.'
Yes. Only my songs.
My songs.
Yes. my songs.
If we were a quartet, I would propose that he leaves and that we make up a trio.
If we were a trio, I would propose that he leaves. And the other too.
Yes. But we're a duo.
Yes. If we were a trio, the other and him could conspire to reject my songs by majority.
Yes. That's why we are a duo.
Yes. It's a matter of strategy.
It's a shame that our publicity is based in the name of the duo.
Yes. If my name had propaganda, even if it was as a member of the duo, one day I could go off as a soloist.
Yes. I'm getting ready for that.
For being soloist.
Yes. I'm taking classes.
Yes.
Yes, but for now, I'm still with the duo.
Yes. When I become known, I'll be soloist and I'll have my own group.
Yes. I'm gonna have a group to sing only my songs.
Yes. And not even the dogs will hear him.
Nobody will want to make a group with him.
Of course. He doesn't know anything.
He doesn't know to compose.
He'll never learn.
He lives thanks to me, thanks to the duo.
One day I will kill him.
Nobody will care, I'll finish him.
Nobody will find out.
He neither because he doesn't know anything. He doesn't even know to compose.
He doesn't even know that he doesn't know to compose.
He knows to sing a little, but he's not going anywhere with that.
For now he's safe thanks to the duo.
Yes. But one day I will leave it. I will leave the duo.
Yes. But not for now.
I must wait for the occasion to be given.
The right moment.
I'm gonna wait until the force correlation is on my side.
Yes.
Meanwhile, I'm making contacts to see if I can record a solo album.
Yes. An album by only me.
Without him.
Alone.
They haven't answered me yet.
I need publicity.
I appear in the photograph of the duo.
Yes. Me too.
For now I have to make use of that.
Yes. I have to stay in the duo.
It's not so bad.
I think that for a little longer I can bear it.
He doesn't know to compose but he's not a bad person.
He's an incompetent but he's not mean.
He's a poor imbecile.
But he's good. We get along.
Yes. We sing in duet.
We're friends after all.
Yes. We need each other.
Yes. We're a duo.
An instrumental and vocal duo.
Yes. A musical duo.
Yes. A perfectly normal duo.
Yes. Luckily we get along.
It's the main thing.
Sometimes we have our little disagreements but it's natural.
When one works on team, it's the most normal.
Yes. Now we have to rehearse.
Yes, let's work.
Yes. Let's rehearse.
Yes.
 

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I say your name to the wind

I say your name to the wind...
And the wind fills my eyes with dirt.
I say your name to the river...
And the river passes by.
I say your name then,
to a box full of eggs.
I say your name then,
to a semaphore.
I say your name anyway, to many things.
But none of theese actions represent for me,
any significant advantage and all that seems dumb for me.
So instead of keep saying your name,
I go from door to door with a suitcase,
selling encyclopedias, and I become a millionaire,
and then I die...
Like everybody.
 

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The low

When I left the workplace on monday,
I wondered, where do I go? what do I do?
And as I was just with the payment
of two months ago that came delayed,
I said 'I'll go to the cinema', because if not,
The low, the low, I'd have the low.
The low, the low, I'd have the low. The low.
 
When the screen light died
and was reborn the real size
of the real world that was beside me.
Oh! I'm surrounded. I'm cornered.
I thought and thought of the green places
of the film. I was having a trip.
I was thinking, making believe. Because if not,
The low, the low, I'd have the low.
The low, the low, I'd have the low. The low.
 
I came upon while reaching the bus stop
with a guy who was a childhood friend.
'How do you do? How you're going?'
and we were walking, we're hanging on.
And the talking is over. Because if not,
The low, the low, I'd have the low.
The low, the low, I'd have the low. The low.
 
When I got home (and it's a saying
because in fact, it's more a niche),
I turned on the TV and if I didn't do it,
I would see it coming to me
the great dark stain, depression,
The low, the low, I call it the low.
The low, the low, I call it the low. The low.
 
A while after, tired and saturated,
I disconnected the junk devil
and I grabbed my old guitar.
I want a song to come out of my soul.
A song that says what I feel.
My suffering turned into a thought.
A song that transmits desolation.
The song of the low, the low of the song.
The song of the low, the low of the song. The low.
 
I tried and tried with notes, with chords.
I developed words, phrases, verses.
But it was all very lazy and dispersed.
It was a babble, more than sad, ugly.
So I threw the guitar because if not,
The low, the low, I'd be attacked by the low.
The low, the low, I'd be swalloed by the low. The low.
 
And this song that now I'm singing
I maybe better finish it.
Because I feel burning in my head
the thick smoke of this great sadness.
Sticky, heavy, oversweet, static and viscous sadness.
The pale, boys. The pale.
The low, the low, I call it the low.
The low, the low, here comes the low.
The low, the low, here buries me the low.
The low, the low, it looks like a coffin.
 

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Sleep foal

The song I'll sing
is a simple lullaby
because it's not for a baby,
it's just for a foal.
 
Because the foals
like the children
have the right
that we express to them
our feelings.
 
Sleep foal because
I spend the night awake
and I'll bring you tomorrow
sixteen kilos of oats.
 
Because the foals
like the children
have the right
to be feeded
the best as possible.
 
I give you a sawdust,
sweet grass without thistles
for your mane to grow
until covering your eyes.
 
Because the foals
like the children
have the right
to not let be seen
the unpleasent.
 
When you grow more
I'll put you blinders,
with then you'll avoid
to get in the other's business.
 
Because the foals
like the children
have the right
to be educated
properly.
 
A good bit and a muzzle
will complete your etiquette,
when you become ruder:
you'll pull from my cart!
 
Because the foals
like the children
have the right
to be offered
a certain future.
 
Sleep foal because
the night is dark and cold,
sleep foal because
I ordered to do horseshoes.
 
Because the foals
like the children
have the right
to have someone
to take care of them.
 

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The pally

I'm looking for new friendships.
The ones I had, got lost.
I have no friends left
neither in inland nor in Montevideo.
Who is suitable for the job?
 
I'm looking for new friendships.
The ones I had, I don't have anymore.
They went over, they expired,
they had expiring date.
God strike me if I lie.
 
We can be good friends
while it lasts, while we're winded.
Then we will go, you on one side,
me on other and move right along.
Life is long and awful.
 
I'm looking for new friendships.
The ones I had, wasted away.
The time wanted that the shortages
of the two parties prevail.
So, over and out.
 
Who wants it? I have vacancy.
It's very urgent. Life requests
to share what one lives
or the old thread gets rotten.
I look for who doesn't know me.
 
I go by the bars looking for friends.
The pally. The pally.
With the friends I had before,
it all went to waste, it all went to waste,
it all went to waste elbow to elbow.
 

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Careful with the words

I went out for a walk and I entered in some kind of... I don't know how to call it. It wasn't a bar, neither a pub, nor an alehouse, nor a cafe, I don't know how to call it... maybe a tavern. And well, and approaching not to the counter but to the table, I didn't order a scottish but a whisky and I didn't order it on the rocks but with ice. And I remember that without getting close a girl, or I mean a woman, reduced the distance that kept her apart from me and not in the ear but to the ear, she said, or I mean she whispered 'I'm not for sale, but in turn of a certain ammount, not of gold but of its equivalent in money, you could obtain a good service not of myself, but of my body. I'm not asking you to answer but I wish to have a response from you.' 'Well you won't have it, but anyway I will answer. I know that it wouldn't cost me anything, but how much should I pay you?' I said, not in an onstentation mode but for satisfying, not her curiosity but her request. 'Not in this situation, nor in these particular circumstances. But in the present case -she said- you wouldn't have to pay me anything, though of course, it wouldn't be free.' My answer wasn't the following but anyway I said 'I'm not interested then. However I accept. Not with pleasure but willingly.' 'I can't say that I'm happy, though I feel happy' she said, not grabbing me by an arm but by the other arm. And without giving a single step nor going by foot, we didn't leave, but we moved walking until finding, not a hotel nor a motel nor a hostel, but an inn to which of course we never reached. However, without crossing the door we entered, and the manager without directing the word he said to us 'I have nothing to regret but... I'm sorry. There are no chambers available. But I can give you a room.' 'Don't tell us where it is, but indicate us how to get there.' requested, not my partner but the woman who was not with me but by my side. The guy didn't give use any indication but he showed us, not where the room was but in which place. And we didn't stay but we remained there, not all night long but until the next morning, not making love but... well, I hope you understood how is the technique of this.
 

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Alternating current

I don't know why you left nor why
after a shot time you felt like coming back
I don't know why I don't know why
you took that sad decision
of leaving me and which was the reason
of your return and what happened
 
that the next day you left again
you didn't give me time to say
to ask you if that time
you would come back like the previous time
nor if you were leaving looking for love
and if it was like that I suppose that
 
you didn't find it and that's why
you returned but when I held you
and asked you what were your plans
you answered me very like that
with excuses and you almost left
but that time I didn't let you
 
because I held you strong by an arm
but it was useless when I went to sleep
I felt the door and it was you
who were taking off without saying goodbye
maybe it was the best for both
but it was so bad for me
 
that's why I was happy when I saw you
coming back but I didn't understand
why immediately you say
that your intention is still to leave
and without delay you pass to commit
your announcement and you leave me there
 
without a hope about you
but with the surprise that like that
how I saw you parting I also
saw you returning and I heard you well
that you said you would never leave me again
for later to stray
 
from your oath because mercilessly
you left to some corner of the city
that I guess you didn't like
because if else I don't understand what you had
for turning around and ask me forgiveness
but immediately, goddamn!
 
you abandoned me and since that time
you left and came back more than ten
or twenty times is that now
I lost the math and the speed
of your continuous coming and going
is getting higher every time
 
as soon as you left by the elevator
the door opens and you're again
there I don't know if you return
it's impossible to guess what are you doing
if you're leaving or at the same time
youre coming you're not here
 
neither there you come as you go
your face no longer stands out
in the corridor is barely seen
a long stripe of the color
of your dress you're like a cyclone
an aimless hurricane
 
an even faster light beam
nbody can see you you're nothing
but a weak sensation
a subtle, fleeting coloring
on the floor tiles of that corridor
and the manager went up here
 
bringing the bucket with the dryer
I say maam leave it please
and she answers no sir
I need to clean the corridor
and I explain that she'll wipe you
if she passes the mop over there
 
but she thinks I went crazy
she doesn't know at all of what I've seen
and a blow of water with soap
takes you fully with the illusion
of finding out one day in which wagon
travels the secret of your heart.
 

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Animals eviction

Hey man. Do you imagine if the one who invented the animals decided one day that if they want to keep living on the earth, they have to pay the rent?
Yes. It's a good idea. Because there are millions of animals on earth. If they all pay, the inventor can get lot's of money.
Yeah, but the animals don't have money. They won't be able to pay.
So what would happen?
It would happen that they would take them all out. They would give them the eviction.
 
Massive eviction of the animals.
Eviction for not paying the rent.
 
A turtle without a shell.
A turtle without a shell.
And a snail on the street unprotected in the night,
and a slug tells him 'come with me to find a place
where we can get in until the sun comes up.'
 
Hey lizard. Did you pay your rent for being laid there having a sunbathe?
No. I didn't pay anything.
Well. Then you go somewhere that is night.
Have a moonbathe.
 
That lion didn't pay this month.
That lion didn't pay this month.
And from the court came the order of being moved
from his native praire to a spaceship going to Saturn
where there are no gazelles to dinner.
 
Hey, man. Tell me one thing. These ants, how many they pay us monthly for that anthill?
I think the don't pay us anything.
Ah no. Send them to make holes to the Keops pyramids.
 
That whale that you see in the sea,
That whale that you see in the sea,
seems to be so smart. Pretending to live from the others.
But the eviction came to it too and it will have to go to Mercury
where there are no oceans to swim.
 
Let's see fish. How much you are you paying us for making bubbles in our waters?
Ah no. The bubbles are priceless.
Priceless? Then go make glass bubbles.
 
Only the cows in the pasture,
Only the cows in the pasture
weren't evictioned, because the field owners
told them 'Hey cow, swallow this grass and take it easy.
So I can eat you better.'
 

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Conversation prior to a possible transformation of Julio

Julio: I'm completely sick of working in an office.
Another: What you're gonna do? I'd like to know. What you're gonna do? What you're gonna do?
J: I think of becoming a craftsman, a craftsman.
A: And what kind of craftsman will you be?
J: I'm gonna make bracelets. And don't criticize me.
My mother believes that craftsmen are a bunch of lazies without exception.
A: That's what they are. Your mother is right.
J: You're wrong from A to Z. What happens is that the craftsman works with another freedom.
A: Which?
J: He doesn't have the obligation of getting up everyday at the same hour,
and facing the same papers like the office worker.
A: But hey, tell me one thing. Is perhaps
the only choice to be a craftsman or to be an office worker?
J: For who needs, for who requires to work,
I swear that I can't think, I can't imagine another option?
A: But tell me another thing. These trousers that you wear
weren't made perhaps on the basis of work?
J: Of course. Why? Of course. Why?
A: Is the one who made them perhaps an office worker?
J: No, of course not. No, I know they're not.
A: Don't go tell me that they were made by a craftsman.
J: No, no, they were not made by a craftsman.
A: Well tell me who, tell me who made them.
J: I don't know. How do you want me to know it?
A: And those shoes you wear. Were made by a craftsman?
J: No, there wasn't such craftsman.
A: Was perhaps an office worker the one who made them?
J: No. I swear not. I swear for God that no. They weren't made in an office.
A: Then, where. Tell me where.
J: I'm not a guesser. I'm not a guesser.
A: My X-ray vision shows me that you have in the stomach
a significant quantity of ex-sweet cookies.
J: Yes, so what?
A: Were these perhaps made by a craftsman?
J: No, they weren't. I have to recognize that no, they weren't.
A: Don't go tell me that an office worker was the creator.
J: I won't tell you, because if I do it, I'd stray from being right. Right?
A: Then who made them?
J: I don't know, Tell me you. Tell me you who made them?
A: I don't know either.
J: I don't know either.
A: I don't know.
J: Me neither.
A: I don't know.
J: I don't know.
Both: I don't know.
 

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Bachelor party

Bachelor party of a fellow
Tango goes bottle comes. Wear poorly that is good for you.
We have the egg box in the fridge,
a bucket of fine blend and two jars of vaseline.
The students were singing and looking at him
'just with Magdalena, the one who was so good looking.'
 
Here comes the snack, something simple.
The food is not interesting, we're all in the table.
The honoured spoke excited.
More than one was laughing and more than two were interrupting him.
The students were singing and ragging on him.
They got him wet with paste and treated him as cuckold.
 
Some were getting drunk. Others were dancing.
And he was begging to God to not let them cut his hair.
The more they got drunk, the more they messed him.
And on the suit they were writing any kind of rude words.
The students were singing and taking him
outside by force for the people to see him.
 
He beared the shots, like nothing.
It was clear that someone would have it another day.
They hit him against the floo and though he didn't want it,
they left him without clothes and yelled 'Opa, Opa'.
The students were singing and beating him.
'If you thought of getting married, then you can't complain.'
 
They filled his head with coarse sand
they threw cold water at him and kick the hell out of him.
Paco thought 'Let's give him hard'.
And though he heard him yell 'help', he gave him a good beating.
The students were singing and killing him.
'If you want it, get married now. Magdalena is crying.'
 

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Desperanto

You and I we can't talk
there's no conversation
that doesn't end in discussion
and I think, do you remember
all the time that we spent
chatting on the phone
the happy hours
that won't return
until we don't learn
to talk in esperanto.
 
You and I we don't know to say
neither to feel
what I feel that we must say
and I don't know if in the end
many things that we said
just for saying them to us
(happy words)
will make me remember
that they don't sound the same
if they're not in your mouth.
 
I don't know what word to say
to not confuse
nor talking just for talking
with the fatal risk
of saying stupid things that
don't match with the things that
I feel and I think
that you sholdn't say
what you can feel
if it doesn't have sense.
 
You and I we can't talk
there's no conversation
that doesn't end in discussion
and I think, do you remember
all the time that we spent
chatting on the phone
the happy hours
that won't return
until we don't learn
to talk in esperanto.
 

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Unmotivated

During the ending year,
Raimundo Maipú got drunk
four or five times, without having
a motive to do it.
He did a design course,
without having a motive to do it.
He argued with his wife, without having,
without having a motive to do it.
He watched television without having a motive to do it.
He updated his computer,
without a motive to do it.
He lost four kilos of weight,
he shouted thirty goals,
without a motive to do it.
And now that he approaches to the window,
from that twenty first floor office
is heard that Raimundo says that he jumps
and he just jumped.
Many said that he was bored,
Raimundo Maipú, and others have stated
that he couldn't fit with that way of life
and he had given up.
Nobody suspected that, like many other times,
he had acted, and would do it again,
without having, without having
a motive to do it.
 

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Casinos

When I go to the casino I gamble my head and my feet
and if I win they'll have to give me 36 heads and 72 feet. 36 heads and 72 feet.
When I go to the casino I gamble my destiny
and if I win I'll have 36 different ways of running by the roads which I'll have as prize
When I go to the casino I gamble my life
and if I win they'll give me 5,14 cats with 7 lives each which total 36 lives
When I go to the casino I gamble my death
and if I win I'll have 36 deaths with their 35 corresponding resurrections
and if I lose I'll have the eternity
When I go to the casino I gamble my remaining teeth
and if I win I'll complete the set
Question. How many teeth I have in this moment?
The right answer is 0,88.
 
Once I went to the casino and I started to win and win, it was a state-owned casino and I kept winning and winning, and I was gambling all that I was winning and I was winning again, and so the national treasure was reducing and reducing and I kept winning and winning. It came a moment in which they owed less to the World Bank than to me, so they nationalized all the lands of the country, and they gifted them to me, and I gambled them all and I won. Then they got more loans with the World Bank and the IMF and they bought all the industry and the commerce of the country, and they gave it to me, and I gambled it all and I won. Then they borrowed me for a while the radio and television network which was already mine, and they used it to broadcast a message urging the population that for reasons of national interest they must take off their clothes and come to place it with their money their jewels and all their personal stock, including the property titles of all the homes at the casino's door, for paying me with all that, then I ordered a group of men to pick it up, and I gambled it all and I won. Theen the president ordered the army to invade the neighbour countries and he appended them all to give them to me, and I gambled them all and I won. Then I had many countries in my power, and I gambled them all with the objective of taking over the whole planet and then to resign it decreeing the abolition of any kind of private property on the means of production and so to raise the life level of the exploited masses in all the continents, but it happened that the ball fell on another number, and I lost all I had, and all I won, and I was left with nothing and they kicked my ass out of the casino, and all the countries, the lands, the industry and the commerce returned to be of who few minutes ago were their legitimate owners.
 
When I go to the casino I gamble the love I have for you
and if I win you'll see how much I'll love you
we'll never fight again
you'll see, you'll see how all will come out good.
When I go to the casino I gamble my door number
and if I win I'll move to a house that is on the same street 490 blocks closer to the end.
Question. What's my house number? The right answer is 700.
When I go to the casino I gamble myself
and if I win I'll make a company with 35 employees
and if I lose I'll go to work as a slave in the public share-out which I'll have as prize.
When I go to the casino I gamble my voice
and if I win I'll immediately make a choir
and get a job in weddings or in religious festivities.
When I go to the casino I gamble the human rights violators
and if I win they'll give me a number
of people that equal the population of Uruguay.
The question is. How many human right violators are in Uruguay?
The right answer will appear on the next number.
 

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Canon 2

(Part sung by Sandra)
 
A little canon over the slipping
of what every feeling sings
A voice sings on one side
and the other wants to reach it
but it can't
One is always one beat ahead
Pa Pará Parara
The distance is always kept
It's all useless
Whoever tries to pass it
can't win time
If it's a second voice
running behind the singing of the first
without being able to reach the times
where the other stops
How much I wish to be by your side
A beat is what always keep us apart
This disagreement
will keep us apart forever
There's no need to try to run
One always loses by a head
of foal
For a head it arrived.
 
(Part sung by Leo)
 
Asecond voice
running behind the singing of the first
without being able to reach the times
where the other stops
How much I wish to be by your side
A beat is what always keep us apart
This disagreement
will keep us apart forever
It's outrageous
the time wasted
in the effort of earning it
For a little canon over the slipping
of what every feeling sings
A voice sings on one side
and the other wants to reach it
but it can't
One is always one beat ahead
Pa Pará Parara
The distance is always kept
It's all useless
The foal doesn't have a chance
for this race.
Motherfucker.
 

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Ghetto lullaby

Sleep child, sleep whistling
That the wind blowing through the sheets goes with you
Sleep child, sleep dancing
That the ants are helping you in the beat
 
Sleep child, sleep scratching
That the mosquito bites are motivating you
Sleep child, with newspapers
That they don't keep you warm but they teach you the alphabet
 
Sleep, ghetto child. Sleep a while,
Ghetto child. Sleep a while.
 
Sleep child, sleep praying
That God is watching you through the roof holes
Sleep child, sleep jumping
Don't you know that the frongs are singing at you
 
Sleep, don't do more jokes
That when the night comes
we have to come out to look over the garbage cans
 
Child, sleep flying
Attached to one of the flies that are eating you up
Sleep child, sleep knowing
That if you don't use that box to sleep I'll sell it
 
Sleep, ghetto child. Sleep a while,
Ghetto child. Sleep a while.
 
Sleep child, sleep calm
That if you don't sleep I leave you in the asylum door
Sleep child, sleep snoring
To scare away the rats with the noise
 
Sleep child, sleep changing the side so
meanwhile I can take of your hair lice
Sleep on the earth, you piece of heaven.
 
Sleep, ghetto child. Sleep a while,
Ghetto child. Sleep a while.
 

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Song of the total poors

We don't have a job, we don't have a house,
we don't have money to live
we don't have care, we don't have motorbike,
we don't have a skate either.
We don't have stories to tell,
we don't have guts to steal.
 
We don't have future, we don't have past,
we're stuck in the present,
we don't have sense, we don't have case,
we don't have a yield due date.
We don't have a mutualist card,
we don't have social insurance.
 
We don't have experience, good appearence,
nor references to leave,
we don't have anybody to serve us
as a guarantee to rent.
We don't have issues to deal with,
we don't have verses to sell,
we don't have a project
nor anything to propose.
 
We don't have a line to twist
we don't have the strength nor the reason,
we don't have principles, we don't have goals,
we don't have prophet, nor religion.
We don't have places to go,
we don't have schedules to meet.
 
We don't have necktie, we don't have ribbon,
we don't have a girlfriend in the hallway.
we don't have a nickel, we don't have the thick,
we don't have the thin, nor the between
We don't have grace to fool,
we don't have look to swindle.
 
We don't have hurry, we don't have dates,
we don't have a fuse to fire,
we don't have even what a prisioner has,
we don't have a bone to chew.
We don't have variety shows,
we accept any invitation,
from one to six in the morning,
bench three of the station.
 

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Head trade

X walks, keeps walking. Comes upon Z.
X: Hello.
Z: How you're going?
X: er... so and so, I have issues...
Z: can I help you in something?
X: yes, can you trade heads with me?
Z: yeah.
Both take off their heads. Mutual deliver of heads. X puts on the head that before was of Z and viceversa.
X: well thank you...
Z: you're welcome...
X: keeps walking and comes upon W...
W: Carlos!
X: Andres! it's been a while!
W: a while of what?
X: I don't know...
...
W: would you trade heads with me?
X: no... thank you, I've already traded.
W: why you did it???
X: I like more this head...
W: but if you're wearing it you can't see it, so you can't enjoy it.
X: and what do you suggest?
W: to trade it for mine. So you can gaze freely at your head with all its attributes...
X removes his head saying: OK
Mutual deliver of heads. Placing of them.
W: well, goodbye Andres. It was nice to see you...
X: you misundrestood... I'm Carlos, you're Andres...
W: that was before, now it's the reverse.
X: no way! I won't give you my identity for give you my head. What the hell!
W: you think like if instead of trading heads we have traded bodies.
X: but at least I think! you don't even do that...
W: it's logical because I'm wearing your stupid head!
X: that insult doesn't bother me... becasue that's not my original head, I traded it with someone over there...
W: so you're not Carlos!!!
X: of course not! I'm Andres...
W: I mean what you were before trading heads.
X: I don't remember it... my memory remained in the other head...
W: give me back my head! I'm uncomfortable like that!
X takes off the head saying: yeah! take it! I don't want a head...
X without a head keeps talking and says: you can use both
W says 'thank you' while he leaves...
 
X also leaves walking... and with the stomach he thinks, ANYWAY I'M VENTRILOQUIST
 

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Pens and tissues

In Montevideo there are poets, poets, poets
who without fanfares nor pomps, pomps, pomps
come out from remote lofts, lofts, lofts
of walls of sience of dotted notes.
 
They come out of poorly covered holes, holes, holes
and not achieved projects, projects, projects
who come back like color ghosts, ghosts, ghosts
to paint your eyebags and beg you to not cry.
 
They have shared illusions, illusions, illusions
attached nightmares, nightmares, nightmares
pipes of confused words, words, words
on their sad and slow pass through streets and avenues.
 
They don't pretend fame nor prizes, prizes, prizes
they just move to papers, papers, papers
completely personal experiences, experiences, experiences
very partial experiences that gathered aren't the same.
 
They talk about the dawn until getting tired, tired, tired
without fearing of plagiarize, plagiarize, plagiarize
nothing of that matters while they write, write, write
their mania, their craziness their obsessive neurosis.
 
They walk by the streets the poets, poets, poets
like if they were kites, kites, kites
in a thick sky of melted metal, metal, metal
impregnable, disastrous, terible and boring.
 
In Montevideo there are pens, pens, pens
unbleeded in lines, lines, lines
of words twisting confused, confused, confused
in thin tissues like alcoholic prisioners.
 
They walk by the streets writing and seeing and seeing
what they see they say it and by being and by being
poets while they walk, walk, walk
they tell what they see, and fantasize what they don't.
 
They look at the sky the poets, poets, poets
like if they were arrows, arrows, arrows
thrown at the space that a detour, detour, detour
made them return to nail them in Montevideo.
 

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Canon 1

(Part sung by Leo)
 
It's a canon that we sing together
but with different lyrics
Because even if the notes
are repeating,
the lyrics are changing a little
to give a more refreshing phrasing
to the repetition of the tune
And here we go again that now
begins the second time
and the words are
renewing almost always,
Though there is some repeated
it's changing by the context
the sense of the phrases
that are given place
and that give life
that pass
by the notes of the melody
That opens its harmony bed
for the embrace of the notes
and the sayings that form now on
they won't be illogical
and maybe they won't end.
 
(Part sung by Sandra)
 
It's a canon on two voices
that we sing with different lyrics
Because though the notes
are always the same,
we're changing the lyrics
to give it a different touch
from the other rounds times everytime
And so the ones who listen to you again
can feel pleased
with a message
renewing almost always,
Though some word is repeated
but always changing
the sense of the phrases
that are given place
In the same way
that music gives them a place
in its structure
so wide and open
that allows
the coexistence in harmony
of the sayings
most illogical or maybe not,
I can't guess it.
 

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Appearances

Look at that indigent coming over there.
Just like you see it all ragged,
ill-kempt. I can assure you
that he has, that he has,
that he has all the money in the world.
Look at that girl, look at her well.
That one selling aspirins at the cafe.
Look at the slut face that she has.
Don't go buy her.
The has the premature vice of the alcohol,
of the alcohol and she begs for that.
 
Look at that old crazy woman coming over there.
Just like you see it all filthy,
ill-kempt. I can assure you
that nobody, not even her
knows the money that she has.
Look at the shoeshine boy of that cafe.
That kid with specks. I know well,
that he's from a very wealthy family.
Only that he thought
as a passtime to be all day long,
all day long, like 'Sir, want a shoeshine?'
 
That paper picker coming over there,
I can assure you that he's the manager
or the president of the main house
of a bank, and he owns
four hotel chains.
And that one laying, you know who.
That one asking for an artificial leg.
Don't go give him, he has many.
He's a millionaire who
has fun that way and if they give him,
if they give him, he gambles it in the roulette.
 
When you walk by the street, of what you see,
don't believe even the quarter of it.
To fool you, they all will always be
informed about you, like that feigned beggar.
With this that I said, I maybe was
a bit annoying. I'm sorry if it was like that.
These are just advices I give you.
I'm leaving now, I'll leave you alone.
But before I want to ask you if you give me,
if you give me for the way back bus ticket.
Becasue this fortnight, the payments again
come delayed, and if I go,
if I goo busy, that's saying too much.
 

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