#seguiriya

[bluehome91]

El baile #flamenco por seguiriya de Patricia Guerrero, en Corral de la Morería #baileflamenco #flamencodance

[trans-luis-serra-navarro]

Hii!!!

Thank you so much for tagging me before, I hope this isn't too late (?) Days are hectic for me but nonetheless, I would very much like to touch up on your tips and advice you have when writing for Luis. I loved him in the remake, and I would very much love to do him justice in some form of written work!

Thank you for reaching out, this really helps me!!

<3

HIHIHI ITS NOT A PROBLEM AT ALL!!!!! And don’t worry it’s NEVER too late!!! I have stuff sitting in my inbox from like. December HCNEHNDJDJJXNS

I Must admit I’m not really an expert nor am I much of a profession fanfic writer or anything- I only do it for fun!!!! So if you want something like, more specific PLEASE pretty please feel free to ask I’d be more than happy to help!!!! But in terms of general tips and tricks??? Here’s a few that I have under the cut!!!

As weird as this is gonna sound a lot of time I’ll just go and watch Luis’ voice actor André Peña’s streams on Twitch to try and pick up on lil mannerisms or speech quirks that get shown in-game!!!! If I can find an example I’ll put it here, but just generally picking up on what Luis would theoretically sound like if he were talking in a casual conversation helps me out!!!!! (Also he’s just in general a very lovely guy and his twitch streams are always fun so I reccomended them if you’re able to catch one!!!)

On a similar note, if you’re watching any cutscenes and any small characteristic sticks out to you- use that to your advantage!!!! I’ve always noticed how he kinda smiles differently when in different situations/levels of stress/talking to different people so I use that to my advantage when writing scenes with him!!!!

OR OR EVEN, if you’re able to and have the time, go look at older livestreams where the cast talk about their roles in RE4R and see what André has to say about Luis!!!!!! I’m more than happy to link the streams once I can find them again if you want!!!!!!!!! Seeing the actors be so genuine and passionate about the characters and putting their whole selves into the role truly does make them feel just so,,,, h u m a n <<<<33

Also, I know everyone and their mother says this, but research truly does help!!!!! There’s a LOT of things people miss about his character if you only view him on a surface-level or go into his character assuming he’s just a cardboard cutout ‘bad-guy-turned-good’ Typa character, so reading analysis posts on him to get a better idea of why he does what he does and how he is as a person will really help!!!! (Obviously I’ve got my own posts under the tag #luisposting or #othersposts, but the lovely @blveherb has some amazing posts of their own I can’t recommend enough!!!!)

There’s a LOOOOOOT of just. Very incorrect misinformation out there HXNSUSJ (staring at you resident evil fan wiki. Staring at you. VERY HARD) so if you ever come across a post that seems to only lean towards a negative view of Luis as a character or never gives him the benefit of the doubt,,,, it most likely won’t have been made with good taste in mind or properly researched HCNEHENDUDJ

Also also also, looking for things that he was directly inspired by!!!!!! I C A N N O T make this post without mentioning the 1957 Don Quixote film- it’s free on YouTube and it is SOOOOOO SOSOSOSOSOSOSO GOOD!!!!! Capcom TRULY put their all into the Don Quixote symbolism in his character and if you’re able to get your hands on a copy of the book, it’s well worth the read!!!

AGAIN on a similar note- looking at his culture and history is SOOOOOOOO important!!!! For example, the beginning of Seperate Ways features Luis doing a style of Flamenco called ‘Seguiriyas’- and once I’m awake in the morning and fully able to navigate the horror of the tumblr tagging system I’ll look for a post that goes deeper into this HCNEHWNEUDJDIS but Indigenous and Spanish culture are full of such rich and beautiful history you can pull from it is SO worth taking a look!!! Not to mention, you can play around with the fact that Luis was raised pretty Hardcore Catholic or the fact that it’s implied his Grandfather fought in/would have survived the Spanish Civil war as concepts a ton!!!

And if you’re writing specifically for Serennedy, taking a look at the Queer history of Spain/Europe as a whole is DEFINITELY worth your time!!!!! Looking back and remembering the people who came before us is always important and lends a hand to how we perceive our own funny lil fictional guys BCBEHENEJDNXJ

That being said, I only ever see this with writers who already have bigoted views and you seem like literally the nicest person EVERRRRRR so this TOTALLY isn’t directed at you!!!!!! But it’s super important not to fall into just straight-up racist stereotypes- calling Luis a predator, saying he’s a sex-driven animal, generally referring to him as ‘dirty’ etc is stuff that unfortunately you don’t JUST see with Luis but with many other POC characters too (like Carlos for example- he gets the brunt of it a LOT) so when you see stuff like this, don’t be afraid to call it out!!!!!!

I HOPE THIS LONG ASS POST DIDNT SCARE YOU OFF OR ANYTHING AHDNWHENXUDNXIX I TRIED MY BEST TO COVER ALL OF MY BASES CUZ I WASNT SURE WHAT KIND OF TIPS YOU WANTED!!!!!!!!! Again if you want something more specific feel free to ask!!!!!!!!

[x-heesy]

Deepdarkanddangerous

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

Look into my eyes for miles

Look at this rock how it shines

I leave Saint Laurent on your cheek

If you want to talk to me, sit in the chair

I tag your name on the wall

For that body to burst

My way of dressing left, tea

Spending hours without a license

Turn it down, turn it up, touch yourself

Bite if you have to bite (Or what)

Bite if you have to bite (Eh)

Bite if you have to bite

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

Everything I invent is trite to me

Tracksuit, gold, seal (seal, seal) and mantilla

Remains of caviar on the dishes

My Kawasaki goes for seguiriya (Tiri-tiri)

I tag your name on the wall

So that that body bursts (Okay)

My way of dressing left, tea

Spending hours without a license (Dangerous)

Turn it down, turn it up, touch yourself

Bite if you have to bite (Or what)

Bite if you have to bite (Eh)

Bite if you have to bite (Yum)

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

A Palé - Gesaffelstein Remix by Gesaffelstein @luna---zylum @boanerges20 😘

[jartita-me-teneis]

Los gitanos canasteros tienen todo un romancero a sus espaldas. Los mitificó Lorca, los encumbró Camarón de la Isla, los rimaron los poetas con la orilla de un río cercano y los cantaron sevillanas, fandangos, seguiriyas y soleares. Quizás ni el propio gitano canastero haya sabido nunca de tanta atención por su oficio, o por su imagen, como le profesaban poetas y poetastros. No creo que eso les llamase jamás la atención, si es que verdaderamente conocían tanta literatura alrededor de su figura. En una entrevista radiofónica que hice hace muchos años al jesuita Carlos Muñiz, y ante la pregunta de cuál sería el sentido más claro de la libertad del hombre en el mundo actual, me dijo, más o menos al pie de la letra, que a él le maravillan los gitanos canasteros, que los admiraba de verdad. No tenían preocupaciones, se asentaban a la orilla de un río, que es donde está la vida, tienían la materia prima para sus labores, podían comer de él con cierta habilidad, recibían el sol y el silencio del campo, laboraban con tranquilidad y sin presiones, vendían si podían sus artesanías y dejaban pasar la vida en plena contemplación de la cósmica Naturaleza. No le faltaba ni un ápice de verosimilitud a esta opinión de tan cualificado catedrático.

Durante 30 años, el gran artista sevillano Manolo Caracol regentó en Madrid el tablao flamenco más famoso de su tiempo: "Los Canasteros", aunque de gitano canastero tenía más bien poco su dueño. El apelativo de "canastero" va asociado siempre al mundo gitano, a pesar de que ya son pocos los que quedan por estos lares del país. En mis varias visitas anuales a la Sierra de Cazorla, casi a la altura de Cotorríos, aún existe una casucha amable, chimenea incluída, que habitaba un gitano dedicado a estos menesteres, que un buen día desapareció y del que no me han sabido dar norte los dueños del cercano hotel en el que siempre me hospedo: "El Mirasierra". Son así, y es una felicidad: hoy aquí, mañana allí. Antes, se los encontraba uno por los linderos de Úbeda y Los Villares, por la ribera del Huelma, por Andújar y Jimena, por Galaroza y por Triana, y mientras amaestraban suavemente la mimbre o la fibra vegetal de la anea, estaban rodeados de canastas, bombos, cestas, bandejas y paneras...

Recuerdo que una vez, estando en El Altozano, en la taberna del gitano José Lérida, en grata compañía con el cantaor Manuel Gerena, entró una gitana canastera vendiendo sus productos, entre ellos aquellos bombos clásicos donde nuestras madres echaban la ropa para el lavado. Tanto él como yo nos creíamos que eso ya no existía, que esos recipientes de caña se habían dejado de hacer. Tanto nos emocionó, que Manolo sacó la cartera, tiró de billetes y compró uno para él y otro para mí, que conservo como una reliquia en mi estudio.

¡Gitanos canasteros, cuántos recuerdos! Ya ni siquiera hay riberas y los ríos son surcos de barro quebrados por el sol! Ya, como me apuntaba el teólogo Muñiz, ni siquiera hay gitanos nómadas que puedan enseñarnos la forma de vivir en plena libertad. Vas a cualquier sitio y lo primero que te preguntan, antes de preguntarte ni siquiera cómo te llamas, es el número del DNI, lo meten en el ordenador y saben hasta cuando diste el último estornudo. Cada banco, cada oficina, cada gran almacén, se ha convertido en una sucursal de la Jefatura Superior de Policía. ¡Y nosotros, tan contentos!

Se han ido perdiendo los gitanos canasteros de la leyenda. ¿Qué escribiría hoy Federico? ¿Qué nombre le pondría a su tablao Caracol? ¿Seguiría cantando Camarón aquello de Flamenquita, tú que haces / tus canastitas en los puentes / siendo tan guapa y graciosa / ¿por qué vives malamente? / Canastera, canastera, canastera...

Final de una raza de sabios bohemios, habilidosos en la fragüa maestra, en el trato y la venta ambulante, pero especialmente geniales en la artesanía de la caña, el mimbre y el esparto. También las máquinas de la modernidad -una de cuyas fábricas gigantescas está en el pueblo jiennense de Arjona-, los apartó de las orillas tranquilas de aguas transparentes, de sus artilugios para la pesca de la trucha y del sol a cuyo calor se sentaban enjaretando piezas hermosas de artesanía como las que sigo contemplando en mi cuarto mientras esto escribo.

Fuente.Oficios y Costumbres perdidos

[itsloriel]

Adela Campallo por Seguiriyas - Jerez 06 - FLAMENCO

[autumncrowcus]

Let us to take a brief look at how Dionysiac religious worship survives in today's world indirectly through Dionysiac art forms and syncretism in Christianity. My interest is to see how the Dionysiac way of life is lived in small communities today, communities in which the psychology of the thiasos is a living reality.

In Andalusia, culturally the oldest part of Spain, the Andalusians live the syncretism of their culture and enrich their lives with two very strong Dionysiac art forms: the refined and emotional art of bullfighting, developed patiently down the centuries from the ancient ritual of killing the bull, and flamenco song, guitar, and dance. Death maintains a strong presence in both.

The thiasos affiliated with bullfighting are called peñas and tertulias (clubs) in which a group of aficionados gather around the name of their favorite bullfighter. One senses that there is a bit of the old worship of the hero as killer of the bull, or of archaic sacrifice, but, at the same time there are a lot of culturally sophisticated conversations, discussions, and lectures concerning the history and art of bullfighting. When the aficionados talk about bullfighting and bullfighters in their peñas and tertulias, they are making an indirect, though very real, connection to the primordial image of sacrificing the bull, with its strong Dionysiac imagery. Through this indirect mode, the members of the peñas and tertulias keep their imaginations alive with the help of a Dionysiac art form: the emotion engendered by the beau. ty of the fighting bull, the constant risks taken by the bullfighter, the memory of great faenas, and the deaths of famous bullfighters.

The historical origin of the present form of flamenco is uncertain. Historians of flamenco cite many strands that went into the making of this art: ancient Greek, Roman, and Jewish laments, Moorish elements, and, most important, the contribution of the gypsies. Flamenco has integrated all these elements and continues to display its Dionysiac capacity to integrate different cultural influences. These varied strands reveal the many levels that compose the Andalusian collective unconscious. J. M. Caballero Bonald notes, "The Andalusian possesses an astonishing capacity to assimilate diverse outside influences, transforming them over time into authentic manifestations of their own ancestral culture.”

The juerga is the most Dionysiac expression of all. It consists of a group (a thiasos) of flamenco singers and aficionados singing for days, waiting for the duende to appear, waiting for the emotion propitiated by the music. It happens when some mysterious quality in the song strikes the group simultaneously. One can say it is an emotion that arises out of the mystery of Dionysiac aesthetics.

The emotions expressed in all flamenco songs range from the most apparently superficial to the most complex and profound. The catalogue of different styles displayed in this genre of music is impressive, ranging from the light sevillanas, to the very dark tonás, martinetes, seguiriyas, and peteneras. The wide range contained within flamenco shows the wealth of Dionysus's possibilities and points to a Corybantic differentiation in which one finds the music akin to one's own psychology.

 The same communal Dionysiac feeling can be found in the cofradias (confraternities, associations). These associations are attached to the parish churches in Andalusia and devoted to a specific image, especially one of the many Virgins created by the Andalusian imagination, as well as to images of the Passion and Crucifixion of Christ. Such images are central to the processional rituals of the Catholic Church during Easter, but in Andalusia one can perceive the Christian tradition combined with the unique flamenco ingredient of the saeta, an unaccompanied voice singing to an image while the procession halts until the song is finished. One can see here a syncretism in which a strong Dionysiac emotion prevails. This syncretism with Christianity goes even further: in relatively recent times, the Rociera Mass has gained popularity in Spain. It comprises a style of flamenco singing attached to the worship of the Virgin of Rocio. The singing of the Rociera gives to the ritual of the Mass an emotion, reminding us of the use of spirituals in the religious practices of the North American black community.

In flamenco and bullfighting, we can perceive the presence of strong Dionysiac forms of art.  However. t am aware that such art forms may be difficult for some of my readers to accept. Not everyone can endure the unaccompanied flamenco song called the martinete, an experience which, incidentally, makes me think of the mythological contest between the Dionysiac musician Marsias and Apollo, exemplifying two different ways of feeling and expressing music. Likewise, in the color and beauty of the bullfight, not everyone can endure the killing of the bull. It can provoke repulsion, but repulsion, too, is part of the Dionysiac experience.

There is more to say in relation to Dionysus and music. The Greeks praised the choral music of the tragic plays as the greatest form of their art, but unfortunately we know next to nothing about this Dionysiac music. In the ample iconography of the satyrs, those strange creatures with animal characteristics, the members of a Satiric chorus wore masks and played musical instruments such as the lyre, the pipe, and the flute. One wonders what sort of music they played; it probably roused the same sort of emotion we experience when hearing the Mediterranean pipes and flutes played in today's festivals.

Here jazz, another Dionysiac form of music, comes to mind. Jazz began as the musical expression of an oppressed minority, the descendants of the American black slaves, and developed its basic form in New Orleans. It was an improvised music, played after funerals, with a strong rhythm, expressing emotion and creating a Dionysiac consciousness of death. Modern jazz was born from this Dionysiac beginning; it developed and went on to achieve universal recognition. For me, jazz has been a great epiphany of Dionysus in this century. Its early beginnings evoke an image of a modern expression of the Dionysiac satyrical music of ancient times.

-From Dionysus in Exile: On the Repression of the Body and Emotion by Rafael Lopez-Pedraza

[tldr-toolongdontread]

VALDELOMAR

Dentro de pocos meses se cumplirán treinta años desde el lanzamiento de "Omega", un disco tan arriesgado como brillante.

Obra gigantesca  e innovadora en la que se cruzan lo universos de Lorca, Cohen, Morente y Lagartija Nick para arrojar un resultado demoledor e irrepetible.

Morente y Lagartija Nick , más que colaborar, colisionaron en Omega y de toda la energía desprendida en ese BigBang se compone un disco que inicialmente se vió como una anomalía en sus carreras para con posterioridad prevalecer como obra capital dentro de la música española de final de siglo.

Una vez que Lagartija Nick lanzaron "Omega", podían pasar dos cosas: dejarse vencer por la sensación de que no volverían a hacer un trabajo de esa altura o aprovechar los conocimientos adquiridos, el viento a favor, para abordar un proyecto tan arriesgado y ambicioso como el anterior.  

Soy de los que piensan que la tarea de una banda posiblemente no sea tanto la de hacer discos como la de construir una trayectoria, buscar su sonido, dejando en el camino testimonios de la evolución. 

Por eso, algo habría de presión interna, ganas de seguir evolucionando en el seno de Lagartija Nick para dar un nuevo salto mortal al tomar la inspiración de otro genio granadino, un visionario injustamente olvidado y sin apenas reconocimiento a sus logros, Jose Val del Omar.

A Val del Omar, se le conoce como inventor de zoom y del sonido diafónico o binaural (anticipación de los sistemas envolventes que trascienden la estereofonía). Reconocido en Festivales como Berlin o Cannes,  sus investigaciones centradas en campos tan diversos como el sonido, el cine, la televisión o la radio,  dieron como resultado una obra gigantesca e integradora. Como visionario y “creyente del cinema” trabajo incansablemente el concepto de Picto-Luminica-Audio-Táctil, un avance de lo multimedia , el “desbordamiento apanorámico de la imagen”, como una forma de superar el medio, los  límites de la pantalla. Hace más de ochenta años, avanzaba la “visión táctil”. Por decirlo de alguna forma, un “Leonardo da Vinci”, nacido en Loja, Granada que soñó con la realidad virtual a principios del siglo XX. 

Un genio de ese calibre, inexplicablemente olvidado fue el camino, el reto que motivó a Antonio Arias a trabajar en su sexto disco de estudio como Lagartija Nick.  Mucho tuvo que encontrar de si mismo Antonio en Val del Omar, para afrontar su enésima mutación en torno a este poeta inventor.

Se cruzó con "Tientos de Erótica Celeste", un libro de poemas que recopila la obra  de ese colosal granadino,  mientras buscaba inspiración para su nueva grabación.Poco a poco, sus poemas en los que el inventor rima seguiriya con láser y mecánica con mística, atrapó al hiperactivo músico y le animó a introducirse en el huracán de creatividad que compone la obra de Val del Omar y que no conocía límites ni fronteras entre ciencia, arte y poesía.Y si Val del Omar era visionario y arriesgado en toda su obra, Arias estuvo a la altura y entregó una obra rupturista como pocas.

 Rupturista es muy buena palabra para este caso: Sony les echó tras seis años y dos discos de éxito, 3 miembros de Lagartija Nick abandonaron y todo su entorno le volvió la espalda al no entender el rumbo que había tomado la banda con esta nueva grabación. Tras publicar“Hipnosis”,  Sony les había dado el privilegio de ser el primer grupo "indie" español en firmar con una multinacional y ellos habían correspondido con dos  trabajos espectaculares: "Inercia" (1992), "Su" (1995), Más tarde llego el turno al inmenso "Omega" (1996).

Para ValdelOmar, Lagartija Nick se reinventaron, mutaron en un nuevo vehículo del mensaje de Val del Omar, dejaron atras el punk rock de los primeros discos, apartaron su pasión por el flamenco para dar un salto al vacío apoyándose en programaciones, loops, metal y apuntes de musica industrial entregando un disco inclasificable, que mostraba la misma falta de respeto a los límites y a las etiquetas que su homenajeado.

En una entrevista en radio, Antonio Arias bromeaba diciendo que todas las críticas de Omega decían que “Morente había traído con Lagartija Nick el TrashMetal al flamenco”

“¿Trash Metal?”, decía Arias.

“Yo pensaba más en Joy Division, en el Post-Punk..”

“¿Vosotros queréis Trash Metal? Ahora os vais a enterar” [en alusión a “Valdelomar”]

Cuando las primeras frases de Noosfera-Sintesis suenan, sale a la luz el brillante trabajo de M.A.R.Pareja en las programaciones, J.A. Quesada en la batería  y Juan Codorniu en las guitarras.Ese corte nos prepara para el tratado de mecánica y mistica que supone este disco. Antonio Arias, entona el estribillo y poco a poco empieza el viaje

Yo-solo-yo-uno-solo-yo.Yo-centro-esfera-yo-solo-yo.Yo-gota eléctrica-solo yo.Yo-todo-yo-uno-solo-yo.

A partir de aquí, el viaje al universo lírico de Val del Omar  es una explosión de sensaciones: la aceleración de “Meca-Mistica”, las pistas dobladas de Morente con delay en Celeste en una especie de balada estelar, grabaciones de la voz de Val del Omar se mezclan con loops, cajas de ritmo y guitarras sucias a lo largo de los siguientes cortes.

Intérvalo o Val del Omar: Aceleración-Trance-Expansión…son canciones con mayúsculas creadas para envolver la lírica de esta rara avis, de un poeta que una y otra vez nos recuerda “ El que ama, arde. El que arde, vuela a la velocidad de la luz”

El imaginario de Val del Omar es interiorizado como propio por Lagartija y el resultado que arroja, le obliga a reinventarse, a morir y a renacer, a vivir en definitiva y al final, lo que nos enseña es que lo extraordinario no es este disco, ni el anterior..lo extraordinario son ellos.

Ya en 2010 , con motivo de una exposición en el Museo Reina Sofia, Lagartija Nick representaron en directo el disco. Recrearon el sonido duofónico, el desbordamiento apanorámico de la imagen y la visión táctil como homenaje integral al trabajo de este granadino irrepetible. 

[vidente-tarotista-gratis]

Horóscopo DE HOY GRATIS en mi página web (LA ENCONTRARAS EN MI PÁGINA PRINCIPAL), recuerda al final de la página web encontrarás mis redes sociales para que puedas seguirme gratis, también como hacer gratis tu primera consulta. #flamencosantafe #flamenco #danzaespa #bailaora #flamenca #ola #jotas #seguiriya #seguidilla #danzaespanolasantafe #buleria #tangoflamenco #fandango #eiras #mu #danza #sevillanas #espanadanzas #valencianas #arteflamenco #bailes #compasflamenco #baile #baileflamenco #olas #danzasregionalesespa #escuelabolera #sardanas #laemi #as

[pontmax]

Niño de Elche, ROSALÍA - Seguiriya Madre

[enricomaiorinous]

Teresa Carrasco - "Seguiriyas de Cielo, Tierra y Aire"

[x-heesy]

𝚅𝚒𝚎𝚗𝚗𝚊 𝚌𝚘𝚛𝚘𝚗𝚊 𝚌𝚘𝚞𝚌𝚑 𝚛𝚊𝚟𝚎𝚛

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

Look into my eyes for miles

Look at this rock how it shines

I leave Saint Laurent on your cheek

If you want to talk to me, sit in the chair

I tag your name on the wall

For that body to burst

My way of dressing left, tea

Spending hours without a license

Turn it down, turn it up, touch yourself

Bite if you have to bite (Or what)

Bite if you have to bite (Eh)

Bite if you have to bite

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

Everything I invent is trite to me

Tracksuit, gold, seal (seal, seal) and mantilla

Remains of caviar on the dishes

My Kawasaki goes for seguiriya (Tiri-tiri)

I tag your name on the wall

So that that body bursts (Okay)

My way of dressing left, tea

Spending hours without a license (Dangerous)

Turn it down, turn it up, touch yourself

Bite if you have to bite (Or what)

Bite if you have to bite (Eh)

Bite if you have to bite (Yum)

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, to

To pallet, to pallet, to pallet, to pallet

To pallet, to pallet, to pallet, a-a-a

@luna--zylum @bigbonzo @boanerges20

A Palé - Gesaffelstein Remix by Gesaffelstein

[f0xd13-blog]

Seguiriya - SoundCloud

Ouça Seguiriya de Carlos Montoya no #SoundCloud

Será que siu? 🎃🎃

[smol-boi-poetry]

Seguiriya No. 2

no me he emborrachado

por tus labios suaves

pero permanecen en mi memoria

y me quiero matar

tus besos me faltan

y no hay de sonrisas

y me echa de menos oír tu canción,

tu voz en la brisa

ive not tasted your lips

and gotten drunk on them

and im dying of thirst for your lips on mine

i want to kill myself

im missing your kisses

no smile touches me

and i miss hearing you singing so sweetly,

and your voice on the breeze