#Bongo Dancer

[thanatosaria]

sath dancer glam complete! 💗

[kimludcom]

PORTUGAL TRAVEL VLOG: GIRLS TRIP TO AFRONATION 2024,ALBUFEIRA & PORTIMÃO ‪@WhitneyEscobar1‬

[bonefall]

Do you have any ideas for Owlnose, the least qualified dude to be leader and the first one to immediately say "Fuck it, I can't do this." And refuse the lives?

For one, I want the dude to be consistently kind of a silly loser. I don't rewrite arcs until they're done, but it's always a good time to start doing setup for the future!

Him and his brother Jayclaw had a bit of a clique with Podlight. The three of them were a little group of party boys.

Owlnose developed an interest in drums (Owlfaces) from a young age, partially because of his name.

And, partially, because Jayclaw was a FANTASTIC dancer. Jay became proficient in playing Jingleshells (a full body instrument made of netting and clicking shells) but he loved practicing with a drumbeat behind him.

Podlight is pretty good at improv and singing. Cat band.

Jayclaw fell hard for Curlfeather and Owlnose was a great wingman, but Owl's not interested in romance himself.

He just wants to drum

I need to wait for ASC to wrap up before deciding on if he was in cahoots with Curlfeather's plot, but I'm leaning towards no.

I CANNOT stress enough. He just wants to drum.

Lazy boy who does his jobs and catches enough fish. But you know what's better than fishing? Sleeping

Fish have no reason to fear me. Women are generally ambivalent towards me.

His name in Clanmew is Weearchoop. Barn Owl Button.

"Choop" is the fleshy part of the snout. Clanmew has a lot more words for various parts of the muzzle, but Owlnose's name translates to what a human usually thinks of when you hear the word "nose."

It's a pretty cutesy name, which is fitting for him. He likes the name a lot, actually.

You could translate it as "Hootboop" and you'd get a good idea of how it sounds to a Clanmew speaker.

That's him so far. Guy who Frostpaw is fond of, as her goofy uncle, but absolutely wanted no part of power. Boy on the bongo.

[kemetic-dreams]

House is a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute as a re-emergence of 1970's disco. It was created by DJs and music producers from Chicago's underground club culture and evolved slowly in the early/mid 1980s, and as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat

House was created and pioneered by DJs and producers in Chicago such as Frankie Knuckles, Ron Hardy, Jesse Saunders, Chip E., Joe Smooth, Steve "Silk" Hurley, Farley "Jackmaster" Funk, Marshall Jefferson, Phuture, and others. House music initially expanded internationally, to London, then to other American cities, such as New York City, and ultimately a worldwide phenomenon.

In its most typical form, the genre is characterized by repetitive 4/4rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo of between 120 and 130 beats per minute (bpm); synthesizerriffs; deep basslines; and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually sounded on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909, or a TR-707. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation. One of the signature rhythm riffs, especially in early Chicago house, is built on the clave pattern. Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel

One book from 2009 states the name "house music" originated from a Chicago club called the Warehouse that was open from 1977 to 1982. Clubbers to the Warehouse were primarily African, gay men, who came to dance to music played by the club's resident DJ, Frankie Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers. After the Warehouse closed in 1983, eventually the crowds went to Knuckles' new club, The Power House, later to be called The Power Plant, and the club was renamed, yet again, into Music Box with Ron Hardy as the resident DJ. The 1986 documentary, "House Music in Chicago", by filmmaker, Phil Ranstrom, captured opening night at The Power House, and stands as the only film or video to capture a young Frankie Knuckles in this early era, right after his departure from The Warehouse. 

In the Channel 4 documentary Pump Up the Volume, Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car joked, "you know that's the kind of music you play down at the Warehouse!" In self-published statements, South-Side Chicago DJ Leonard "Remix" Rroy claimed he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets

[forgedfromlove]

Traditions of the Trinbagonian Wake

Both text and illustrations taken from Folklore and Legends of Trinidad and Tobago, by Gerard A. Besson. Art by Alfred Codallo, Avril Turner, Peter Shim, Stuart Hahn, and Sue Ann Gomes:

“The wake for a deceased member of the village is a noisy affair and almost not at all sad! Several of the activities of a wake are depicted in the picture above: the "raconteur", who is regaling the children with his stories; the limbo dancers who need strong thigh and back muscles to succeed; and, inside the house, the neighbours, family members and friends who came to sing hymns and mourn the deceased. Below are the bongo dancers, challenging each other with their complicated choreographies.

Card playing is going on, and kind women have baked cookies, biscuits and other goodies and pass them around with coffee. A wake usually takes place at night, when flambeaux light the yard, making the shadows of the villagers dance upon the bark of the trees.”

Limbo

“Is an athletic ‘dance game’ played at wakes. Its origin is lost in time, but West African visitors seem to recognise a slight resemblance to one of their children's games. In any case, this dance is wholly Trinidadian. Like calypso, it is popular throughout the West Indies.

Limbo is the reverse of the high jump. A stick is held by two men at about three feet high and dancers pass under without touching the bar, to the singing of the chantwell, accompanied by the beating of the qua qua (dried bamboo slits). No part of the body except the sole of the feet should touch the ground. As the stick is lowered after each round, the dancers keep falling back to the ground, leaving only the most supple man or woman to claim championship honours.”

Bongo

“A folk-dance, this complicated, athletic pastime is usually performed at wakes. It relies on the principle that one dancer has to repeat the movement of the other, plus add one of his own. As the bongo goes on, the movements become more and more intricate, as one dance-step, twist or turn is added on top of the other. The winner is the dancer who can repeat the other's movements to perfection and with beauty, and the loser is the one who fails in remembering the string of movements.

The bongo is usually accompanied by handclapping and "qua-qua" - that is, two pieces of bamboo rhythmically beaten together.”

[n64retro]

The Legend of Zelda: Ocarina of Time (Nintendo EAD, 1998) is certainly one of the - if not the - most iconic games of all time. It is for sure one of the most beloved and most commented game from our era. So, maybe I'm being a little bit repetitive with this week's poll. No problem, once nostalgia is about repeating the past and trying to reconnect and re-signify our memories and experiences. There are more than 12 dungeons in TLoZ: OoT if we count the side-dungeons and the final castle. But for this survey purpose I will restrict only the Temples throughout Hyrule that Adult Link had to defeat in order to reach Ganon's Castle. Hope you consider as many aspects of the dungeons as possible, like the general feel or "theme", the puzzles, the battles - especially those with the bosses, and other details.

Forest Temple - here we have four spirits (Sisters Foes), and a labyrinthine dungeon structure. The first sword battle with Stalfos, the Fairy Bow, and the encounter with Phantom Ganon with his black horse.

Fire Temple - here we need to release some Gorons which they're being serving as dinner for Volgagia. Flare Dancer battle is very iconic mini-boss and we have the Megaton Hammer and the before mentioned Lava Dragon boss.

Water Temple - dozens of vertical puzzles involving the water level, a high difficult level and requires much patience with the Iron Boots. But it is very rewarding when everything is put in its right place. Boss is an amoeba called Morpha but it's OK. Can't forget the mythical encounter with Dark Link.

Shadow Temple - the most obscure of them all. It's dark, spooky and everything in this particular dungeon resembles death and doom. Enemies are Dead Hand, Skulltulas, Red Deads, Stalfos... The soundtrack is frightening and the boss, Bongo Bongo is a classic conga player.

Spirit Temple - the only one Link can reach as kid using the Ocarina of Time. It's a dusty place with several architecture references to Arabic culture. There are very interesting battles with and Iron Knuckles and the final boss is an spectacle, the withc sisters Kotake and Koume and their transformation Twinrova.

[sizzlingpatrolfox]

Did you happen to see tae’s debut stages? The guy is barely dancing 😭 his “freestyling” he hyped up is just those weird shoulder moves and faces he always does. He really put the least effort into his album besides *visuals*

Meanwhile can we discuss how much effort jimin put into his album and performances? The intense set me free choreo, the sensual but sophisticated like crazy stages… he really works so hard 😭 seeing how lazy tae is just reminded me of that.

I watched the MV, and I kept thinking "you will never be golden by harry styles". I also never for one second understood if he was singing in Korean or English. Maybe Jungkook should quit as a singing coach because damn... I also already forgot what the song sounds like.

I haven't watched any full stage, just one clip on twitter which was the "freestyling" part. And yeah, it wasn't good. He wasn't synchronized with his background dancers, and I don't think the dance fit the song. Subtlety is also a talent, and trying too hard to look laid back and carefree always ends up looking the opposite.

Around the same time I also watched Bongos MV and I was like "how is cardib, 30 years old, probably has done more drugs in her life than she's had meals, mom of two, outdancing BTS members."

It's even more insane if you think that Jimin, according to things he's said, he barely tried with face. I mean, he allegedly didn't mean for it to be a life changing project and he was just following his heart, doing music for the sake of emotional release, pushing himself to try out new things and growing as an artist and as a person. If face was him dipping his toes in a solo career, what is he going to do when he puts full, shameless, and selfish intent behind it🫣

[beatleswings]

Some Don and Carmen headcanons

Don's real name is Juan Antonio Donato Escamillo Márquez (Escamillo being his paternal surname, Márquez is his maternal surname). The name Juan, it's both a reference to his VA Juan Amador Pulido and come on, Don really looks like a Juan. And okay, it's somewhat of a play on "Don Juan". Antonio, I just love it and bleands well with Juan (Juan Antonio). Donato, I see this name used a lot as Don's real name and I love it so much so I added it. His surname, a reference to the character from the Carmen opera. Maternal surname Márquez....I just like it.

Carmen's full name is María Carmen de la Rosa Álvarez (de la Rosa is her paternal surname, Álvarez is her maternal surname). I like to think Carmen is her second name and the one she prefers to be called by. She is rarely referred to by her first name María. Her surname "de la Rosa" means "of the rose" in Spanish, which seems fitting. Álvarez...I just like it.

Don and Carmen are both the third of four children in their families. For Don: birth order is his older brother, then older sister, then Don himself and his younger brother. For Carmen: older brother, older sister, Carmen herself, and younger sister. And as you can tell, they each have one sibling of the opposite sex while they have two of the same as them.

Carmen is a natural blonde. She and her siblings all have blonde to light brown hair and they inherit it from their father. Her older siblings were blonde but it turned to a light brown color as they aged. Carmen and her younger sister are still blonde.

Don's father was a Flamenco guitarist while Don's mother was a Flamenco dancer. And they still are. And Don of course inherits those talents from them; being a skilled guitarist and dancer.

In addition to guitar, Don can also play bongos.

Carmen's mother is a beautician/hairdresser. She is where Carmen gets her ideas for makeup and hairstyles. Meanwhile her father is an artist and he could be where Carmen gets her artsy side since she does sketch and draw out her fashion ideas.

[moonlightndaydreams]

So uhmm, regarding the latest VMAs reaction videos..how are we feeling that Jisung is an ass guy? That he had a woman twerking in front of him and he didn't turn his eyes not even once, he didn't even look shy? Minho was nowhere to be seen so I can't guess but I'm pretty sure he wasn't looking away either

Poor things never see these things back home, they barely see thick hot chicks like that and moving like that. They were probably amazed and interested

How could we apply this with our girls Mel and Vivi, I wonder?🫣🤔

(after this I'm going to sleep)

So… before I even saw any footage of their reactions, I saw the magnificent Cardi B/Megan Thee Stallion performance and immediately thought about our little Minsung discussions around what they’d think and feel about a less modest style of performance.

(That was a long sentence, but I am not changing it lol).

With Ji being an ass and thighs guy, well didn’t he have a great time… and he didn’t even have to look away or pretend he hadn’t seen anything provocative - he could just go with it, which made me feel very happy. Plus he LOVES watching performances all kinds.

Minho, nowhere to be seen, he may have been having a low key panic attack for all I know!!! But he’d have been watching. Staring maybe.

On a personal note, I loved how “juicy” the dancers were at the MVA’s. But not just the dancing… the lyrics in some of the songs… Oh boy!!! HOT!!!!

So to the heart of your question: How can we apply this to our girls??

Well I imagine this is exactly how our girls dance when they’re letting their hair down (maybe at that Establishment we made up)… and maybe they pepper it onto their choreography too (just a little bit, but not enough to cause outrage).

But here’s my thought… Minsung return home and approach our girl with a request. A dance cover of Bongos!!! 😳😳😳🫢

What does she say? What does she think? Can Ji and Minho actually handle it?

She knows it’s risky… there’s already so much tension between them (and I’m not sure if this is pre or post dressing room escapades?)… would it be wise? Would hands be kept to themselves?

Or???

Are they requesting the dance after they’ve established some kind of sexual relationship and therefore they’re asking for this to be done in the bedroom? In which case who is the first to lose control? Who can’t keep it in their pants? Is it one of the boys or does our girl take the lead????

I know this was an ask of me and I’ve just made about ten more questions out of this!

@lyramundana im keen on your thoughts 😘

@channieandhisgoonsquad @2chopsticks2eyes we’ve got a whole AU going on here 🫢

[fleurarmor]

Raise and Other Job Action Macros for FFXIV

If you play FFXIV long enough you'll end up seeing a message in chat while running a duty letting folks know someone is getting raised. These are usually done via macro.

Why Do People Use Raise and Other Job Action Macros?

Raise messages basically boil down to "Other healers and raise capable members of the party, I am raising this person so don't waste your Swiftcast."

They can also communicate if this is a hard rez (no Swiftcast) and will therefore take time.

They tell you who scraped you off the floor so you have a suggestion of who to give your commendation. (This is why I appreciate others using them, personally).

They communicate part of a mechanic that another player might not know. The classic example was Paladin's Divine Veil, where they needed to be healed for the action to be completed. Although Divine Veil no longer requires it.

Creating and Editing Macros

Click the System button.

Click User Macros.

Select an empty macro or one you would like to overwrite.

In the opened macro, click the macro icon.

Select an icon to represent this macro. Or, use /micon in the macro itself to use the icon for the action.

Enter a descriptive name in the Name field, like Sage Hard Rez.

In the main body of the macro, you will enter the code of the macro, making sure each line is its own line.

Macro Components

/ac tells the system you are starting a command about an action.

"Action Name" says which action you want to use. This is job specific so you will need to make a rez macro for each job as it is Egeiro vs Raise vs Resurrection vs Ascend etc.

<wait.#> is telling the system to wait before executing the next line. The number tells the system how many seconds to wait. How long you need depends on your computer, internet connection and how congested the immediate area in game is. 2 seconds works for my current machine very well, 3 seconds worked better for my old laptop and if I'm at a world boss Fate or hunt train I don't even try to use the macro due to the long wait time needed.

/party tells the system to send the text that follows to the party chat.

<t> tells the system to substitute the name of who you are currently targeting in whatever message you are sending in chat.

<#> The number will tell the system who to target based on the position in the party list. So a 3 will target the 3rd person on the party list.

/micon "Action Name" will tell the system to give the macro the same icon as the named action.

Optimizing Rez Macro Placement on Your Hotbar

To get the most bang for your buck on your rez macro, I recommend the following order on your hotbar:

[Swiftcast] [Quick Raise Macro] [Raise] [Full Heal Action]

This set up will let you see if Swiftcast is still on cooldown. If it is you can skip your Quick Raise macro and either just click Raise directly or a Long Raise macro (which in that image is the X icon below my Quick Raise macro's icon).

Example Macros

These can all be directly copy and pasted into the body section of the macro editor.

Basic Rez Macro (RDM)

/ac "Swiftcast" <wait.2> /ac "Verraise" <wait.2> /party Raising <t>! Get back in the fight!

Hard (Long) Rez Macro (SGE)

/party Swiftcast is down! Hard rez-ing <t>! <wait.3> /ac "Egeiro"

Rez Macro with Swiftcast and Thin Air (WHM)

This is specific to WHM level 58+ and will allow you to instantly cast Raise with no MP cost to help make the most of your resources.

/ac "Swiftcast" <wait.2> /ac "Thin Air" <wait.2> /ac "Raise" <wait.2> /party Raising <t>! Get back in the fight!

Improvisation Macro (DNC)

Unless your team has played a lot of Dancer themselves they likely won't understand how Improv works. Macro messages are great for telling other people in your party what they need to do to benefit from things like DNC's Improvisation or PLD's Passage of Arms.

/micon "Improvisation" /ac "Improvisation" /party Stand near me until you hear the bongos for healing!

Aetherial Manipulation (for the BLM Who Can't Target Party Members to Literally Save Their Own Lives)

Its me, I'm that black mage. This automatically targets the third person in the party's list which will be the healer in a Light Party or the second tank in a Full Party. You will aether skate over to whoever that is.

/ac "Aetherial Manipulation" <3>

Living Dead Macro (DRK)

This is no longer required as Living Dead has been updated. But it is a good example of making a macro message fun while giving a needed instruction.

/micon "Living Dead" /ac "Living Dead" <wait.2> /party Whether by accident or purpose, I have used Living Dead. Please heal me to full or else I will soon be Dead Dead. :')

[vixlenxe]

I believe Ivy's dancing troupe would have been something like this:

Ivy(of course)

2 Miqo'tes, 1 female & 1 male(Keepers of the Moon)

1 Male Viera(Rava)

1 Female Au Ra(Raen)

5 other members of undisclosed race & gender(as of now)

They were called The Ten Feathers, obviously referring too the amount of people in the troupe. Originally founded by the female Au Ra & the two Miqo'tes. Others would join the ranks slowly over time, which would later include Ivy, & the Viera would join at the same time Ivy would.

The Au Ra found was a Thvanairian Raen known Sajayah Darmih, who came to Eorzea seeking opportunity, she was both the true founder & the leader of The Ten Feathers. She was a tanned woman of bright pink hair & striking glowing orange eyes. A master of Thvanairian dances, she thought she could use her exotic talents to hopefully gain herself a decent amount of wealth, however when striking it out alone with foreign dances failed her, she began to learn other methods of dances, as well as recruiting other would-be dancers & bards of varying skill & beauty to increase business. 'Beauty is better in pairs, & unstoppable in a group' was Sajayah's saying, a saying which Ivy keeps close to her even today. She was also the one who inspired Ivy to dye her hair pink, as the bright color was seen as exotic for a hair color. Sajayah age was also not known to anyone in the troupe, as everytime one would ask, she would scold & reprimand them not to ask a lady her age.

Funo Mhosko, Yamuh'ai Mhosko & Zhoie Mkosko are the last members of the Mhosko Tribe, a gathering of 3 Keeper of the Moon Miqo'te Familys. Funo Mhosko was the oldest of 6 full-blood siblings & 24 half-siblings, Yamuh'ai(also called just Yamuh) was one of only 3 sons born in the tribe & the younger full brother of Funo, as such the full blooded sibling share the same light purple hair & yellow eyes, as well as the same forehead marking. Zhoie was one of the younger daughters & half sister to both Funo & Yamuh, while sharing many of the same features, including their forehead marking, Zhoie had longer blonde hair & deeper yellow eyes. During the Seventh Umbral Calamity, the Mkosko Tribe was nearly completely wiped out by Bahamut when he flew over Gardenia, safe for Funo, Yamuh & Zhoie. Their home & family destroyed, they turned to wondering Eorzea looking for work & a new home. When Funo was 27, Yamuh 19, & Zhoie 11(all before the beginning of ARR), they came across Sajayah, who found the older two Keepers very beautiful & offered to create a dancing troupe with them as a means of making gil so they may support their younger sibling. The fiery Funo disliked the idea, as did the more prideful Yamuh, but their desire to provide for the gentle & shy Zhoie won over & they ended up creating The Ten Feathers with Sajayah. Funo & Yamuh both learned a few methods of dance from Sajayah & preformed together, however Yamuh'ai had a strong pull towards playing music, such as the bongo & the flute, so more often served as one of the troupe's bards. Zhoie was never considered a member of the troupe & was not made to learn any skills needed for the troupe, but she still traveled with them wherever they went. It was the relationship between the Mhoskos that made Ivy realize how fleeing from home might have impacted her sister Tiffanie, & want to return home one day to med their relationship.

Jean Brasfort's original name was Bjel Rehw-gilda, before he left his tribe in the Golmore Jungle to seek a better life. Bjel was a rare male Viera that was taller then most of his fellow female tribesfolk. With deep red hair that brighten at the tips, bright lime green eyes that shined in the sun & dark skin with the lightest dusting of freckles on his face. For being an unusually tall male, in a race where normally females are taller, he was typically mocked by his female tribesfolk for his odd feature, & was mocked even more so when he showed skills in wielding an axe, rather then the traditional archery or lancework of the Viera. It was some years after the Seventh Umbral Calamity, & several years of thought, that Bjel decided to leave his tribe, & in doing so making him unable to ever return to it. As is traditional of these acts, Bjel was forced to forfeit his birth name & make himself a new one. For a long while, he was but a nameless Viera, with naught to him name but his axe, until he ran into Ivy, who at the time was commissioning help from adventurers in her latest line of work. Ivy was still 19, but a few months into her run away period from Ishgard, & he was 30. Ivy, of course, pester the viera about life as an adventurer, during which talks she learned he did not have a name. It was Ivy who helped him choose a new one, thus Jean Brasfort was born, 'Jean' being a very Ishgardian inspired name, & 'Brasfort' meaning 'strong arm' for his ability with an axe. Jean spent most of his following years with Ivy, including joining The Ten Feathers when she did, & though he had no dancing skills, he served as good muscle to keep rotary customers in-line, & his rare male vieran beauty attracted the female eye. He also learned to play the lute & the fiddle, so sometimes also served as one of the troupes many bards. He also suck around for a while after The Ten Feathers disbanded, showing Ivy the ropes of an Adventurer's lifestyle, & appearing when Ivy is in need of aid.

[the-technicolor-whiscash]

It is so unbelievably funny like I said every time you watch stop making sense picking up on new things and this time I really paid attention to how percussionist Steve Scales (who does some of my favorite instrumentation in the entire show- I adore the bongos in slippery people and the sheer number of instruments he plays is insane) is like the hype man for the entire show and it reaches a point where he's basically running around doing his own thing ranging from just more cowbell to singing with the backup dancers but there's one point where he's walking around with a microphone getting the crowd psyched out of their fucking minds and he's yknow engaging with the band and he points up at Jerry Harrison on keyboard and says "dance for us Jerry!" And the Harvard-educated Jerry is like laser focused on the keyboard so he like barely moves so Steve is like Alright! And then goes right back to getting the crowd fucking pumped

[kemetic-dreams]

William Correa (February 28, 1934 – September 15, 1983),better known by his stage name Willie Bobo, was an American Latin jazzpercussionist of Puerto Rican descent. Bobo rejected the stereotypical expectations of Latino music and was noted for combining elements of jazz, Latin and rhythm and blues music.

Born William Correa to a Puerto Rican family, Bobo grew up in Spanish Harlem, New York City, United States. His father played the cuatro, a ten stringed guitar-like instrument. As a teenager, Bobo taught himself the bongos and later the congas, timbales and drums. In 1947, Bobo started working as a band boy for Machito in order to gain entrance to the band's concerts, sometimes filling in on percussion.

At age 12, he began his professional career as a dancer and two years later made his recording debut as a bongo player

[ivanreydereyes]

He ido a CALLAO para ver si tenían en LA FNAC o en EL CORTE INGLES..el cd AROUND THE SUN de REM en el que colaboro KEN STRINGFELLOW de THE POSIES y que se abre con LEAVING NEW YORK..y en la plaza de CALLAO había testigos de JEHOVA con fasciculos de COMO EMPEZO LA VIDA y QUE SERA DE NUESTRO PLANETA? HAY RAZONES PARA TENER ESPERANZA..y enfrente CHENOA de la q JESUS BENdITO me regalo un RELOJ ROSA x mi año 32 [28_11_03]..luego en la FNAC tenían el nuevo de KYLIE MINOGUE junto al de MUJER de MARTA SANCHEZ q se lio entonces con batería de SOUL ASYLUM o cuando entro a mitad de grabación de GRAVE DANCERS UNION [incluye NEW WORLD]..luego publicaron CD CHANGE OF FORTUNE con un mono con agua al cuello mirando el movil..Así como el debut de KYLIE bajo LA LEYENDA DEL TIEMPO de malogrado CAMARON..

...y sólo lo tenían en VINILO sobre el Lp KING OF BONGO DE MANO NEGRA autor de PUTA'S "FEVER" [=CD de más exito de KYLIE MINOGUE]..pero en EL CORTE INGLES les quedaba UNO..y me fije sobre todo el nuevo cd de COQUE MALLA de LOS RONALDOS [con el q canto VIRGINIA MAESTRO como quería ANTES DE MORIR] titulado AUNQUE ESTEMOS MUERTOS que incluye BAILO CON LOS MUERTOS y BAILA EN LA OSCURIDAD..y estaba sobre el de PROSTITUTE

[musicnaija]

Yemi Alade – Lipeka ft. Innoss’B

Yemi Alade – Lipeka ft. Innoss’B Effyzzie Music Group presented Yemi Alade‘s latest single entitled ‘Lipeka.’   The song ‘Lipeka’ was performed by Yemi Alade and Congolese singer-songwriter, rapper and dancer, Innoss’B. Yemi Alade and Innoss’B’s collaboration adds an extra layer of magic to an already impressive record making it worth a spot on your playlist. Moreover, the impressive record serves as a follow-up to her viral-accepted song, ‘Fear Love.’ Quotable Lyrics; Ekoyinda lelo Je veux pas etre solo Nako bina nayo Bongo bakanga ba photos Like this like this Like that, like this like this like that Comme ci comme ci comme ca Ata ba voisins bake ko funda Ekosala eloko te Ata mopepe mvula to ba kake Ekosala eloko te ooo Toko lala libanda tongosa Toko baye ba chicha ooo To bosani ba soucis Na sima bilengi to tetuki tetuki Lipeka peka peka Up and down Shoulder go up and down Listen below; Read the full article