Sway

 

Sway

 

Es la versión en inglés de la canción «¿Quién será?», interpretada originalmente por el compositor mexicano Luis Demetrio y Pablo Beltrán Ruiz en 1953.

When marimba rhythms start to play Dance with me, make me sway Like a lazy ocean hugs the shore Hold me close, sway me more Like a flower bending in the breeze Bend with me, sway with ease When we dance, you have a way with me Stay with me, sway with me Other dancers may be on the floor Dear, but my eyes will see only you Only you have that magic technique When we sway, I go weak I can hear the sounds of violins Long before it begins Make me thrill as only you know how Sway me smooth, sway me now Other dancers may be on the floor Dear, but my eyes will see only you Only you have that magic technique When we sway, I go weak

I can hear the sounds of violins Long before it begins Make me thrill as only you know how Sway me smooth, sway me now When marimba rhythms start to play Dance with me, make me sway Like a lazy ocean hugs the shore Hold me close, sway me more Like a flower bending in the breeze Bend with me, sway with ease When we dance you have a way with me Stay with me, sway with me When marimbas start to play Hold me close, make me sway Like a lazy ocean hugs the shore Hold me close, sway me more Like a flower bending in the breeze Bend with me, sway with ease When we dance, you have a way with me Stay with me, sway with me

 

VOCABULARY

sway /ˈsweɪ/ mecerse, balancearse, oscilar, bambolearse

ü  There was a strong wind and the trees were swaying.    Había un viento fuerte y los árboles se mecían.

lazy /ˈleɪzi/ adj ([sb]: does little) perezoso

ü  He is smart, but lazy.   Es inteligente, pero perezoso.

hug [sb] /ˈhʌg/ (embrace) abrazar a

ü  She hugged her brother when he returned.    Abrazó a su hermano cuando él volvió.

shore /ˈʃɔːr/ n   costa, orilla, litoral

ü  Karen stood on the shore watching the people swimming in the lake.  Karen se paró en la costa mirando a la gente nadar en el lago.

bend /ˈbɛnd/  inclinarse, doblarse

ü  Shawna bent to pick up the pen on the floor.   Shwana se inclinó para recoger el bolígrafo del piso.

ease /ˈiːz/ n(lack of difficulty) facilidad

ü  The ease with which he learns languages is amazing.  La facilidad con la que aprende idiomas es sorprendente.

go weak at the knees v expr (de atracción)        temblar las piernas loc verb

go weak at the knees v expr  (de emoción o miedo)      temblar las piernas loc verb

thrill /ˈθrɪl/ (feel excitement)   emocionarse, entusiasmarse

ü  The audience thrilled as the illusionist disappeared in a puff of smoke.

smooth /ˈsmuːð/ adj     (gentle)               suave adj mf

ü  The pilot made a smooth landing.  El piloto realizó un aterrizaje suave.

Versión de Michael Bublé

La siguiente versión está interpretada por Anita Kelsey con un matiz que nos lleva al jazz. Al más íntimo.

Esta interpretación de Daniel Boaventura introduce la versión original en español, junto con la versión en lengua inglesa. Como se ve, la letra no tiene nada que ver en ambas versiones.

Si quieres bailar, con el siguiente video puedes aprender.

Como siempre, anoto las direcciones de algunos videos por si no funciona la opción de insertar utilizada arriba.

Sway.   Michael Bublé

https://youtu.be/a90tZJHBklk

https://www.youtube.com/watch?v=a90tZJHBklk

 

Sway - Anita Kelsey

https://youtu.be/T2fPrrkMOZw

https://www.youtube.com/watch?v=T2fPrrkMOZw

 

Daniel Boaventura - Sway (Ao Vivo)

https://youtu.be/FhugrA3Ma5I

https://www.youtube.com/watch?v=FhugrA3Ma5I

 

michael buble - sway lyrics

https://youtu.be/lZM-5SYr2Yk

https://www.youtube.com/watch?v=lZM-5SYr2Yk

CRAZY. Patsy Cline

 

Crazy (Willie Nelson song)  -From Wikipedia, the free encyclopedia

"Crazy" is a song written by Willie Nelson and popularized by country singer Patsy Cline in 1961. Nelson wrote the song while living in Houston, working for Pappy Daily's label D Records. He was also a radio DJ and performed in clubs. Nelson then moved to Nashville, Tennessee, working as a writer for Pamper Music. Through Hank Cochran, the song reached Patsy Cline. After her original recording and release, Cline's version reached number two on Billboard's Hot Country Singles, also crossing to the pop chart as a top 10 single.

Cline's version is considered a country music standard and, in 1996, became the all-time most played song in jukeboxes in the United States. "Crazy" was covered by many artists; different versions reached the charts in a variety of genres. The song was featured in television shows, while many publications have included it in their all-time best songs lists. The Library of Congress inducted Cline's version into the National Recording Registry in 2003.

LYRICS

Crazy, I'm crazy for feeling so lonely
I'm crazy, crazy for feeling so blue
I knew you'd love me as long as you wanted
And then someday you'd leave me for somebody new

Worry, why do I let myself worry?
Wondering what in the world did I do?
Crazy for thinking that my love could hold you
I'm crazy for trying and crazy for crying

And I'm crazy for loving you
Crazy for thinking that my love could hold you
I'm crazy for trying and crazy for crying
And I'm crazy for loving you

COVERS

Patrizio Buanne

Loretta Lynn , 1977

... in 1996, became the all-time most played song in jukeboxes in the United States. Al inicio del video aparece una de esas jukeboxes = a machine that automatically plays a selected musical recording when a coin is inserted.

Patsy Cline (Winchester, Virginia, Estados Unidos, 8 de septiembre de 1932 - Camden, Tennessee, Estados Unidos, 5 de marzo de 1963)¹​ fue una cantante estadounidense de música country. Icono y parte del sonido Nashville de principios de los años 1960, Cline "cruzó" a la música pop y fue una de las más influyentes, exitosas y aclamadas cantantes country del siglo xx.²​ Falleció a la edad de 30 años en un accidente en el avión privado de su mánager, Randy Hugh cuando volaban desde Kansas City (Kansas) y se estrelló en la localidad de Camden, en el estado de Tennessee, falleciendo además los músicos Randy Hughes, Cowboy Copas y Hawkshaw Hawkins.

Su verdadero nombre era Virginia Patterson Hensley. "Cline" era el apellido de su primer marido, Gerald Cline, un magnate de la construcción con quien se casó en 1953 y del que se divorció en 1957.

Cline se hizo famosa por su tono rico, emocionalmente expresivo y voz de contralto y su papel como una pionera de la música country. Junto con Kitty Wells, fueron las primeras en mostrar representación femenina en ese género. Cline ha sido citada como inspiración por cantantes de varios estilos. Libros, películas, documentales, artículos y revistas de música documentan su vida y carrera.

Firmó su primer contrato como cantante en 1953 y a pesar de su muerte prematura, llegó a convertirse en una de las cantantes más influyentes en la música popular de Estados Unidos. Aunque comenzó su carrera interpretando música rockabilly, pronto se hizo evidente que su voz era idónea para interpretar temas country desde una perspectiva pop. Sus hits se inician en 1957 con su primer éxito con la composición de Don Hecht y Alan Block "Walkin' After Midnight", Hank Cochran y Harlan Howard "I Fall to Pieces", Hank Cochran "She's Got You", Willie Nelson "Crazy" y a fines de 1963 con la composición de Don Gibson "Sweet Dreams". Se convirtió en una de las artistas más importantes del Grand Ole Opry en 1960.

En 1985 se estrenó una película sobre su vida, titulada Sweet Dreams, en la que el papel de la cantante fue interpretado por Jessica Lange, quien solo puso su imagen, siendo las canciones grabaciones de la propia Patsy. La actuación de Lange le valió una nominación al premio Oscar en la categoría de mejor actriz protagonista.

Millones de sus discos se han vendido desde su muerte. Ganó premios y reconocimientos, causando que muchos la vean como un ícono al nivel de Jim Reeves, Johnny Cash y Elvis Presley. Diez años después de su muerte, en 1973, fue la primera mujer en ingresar al Country Music Hall of Fame. En 1999, recibió once votos en un especial de VH1's, The 100 Greatest Women in Rock and Roll, por miembros y artistas de la industria del rock. En 2002, artistas de la música country y miembros de la industria votaron por ella como Número Uno en CMT's The 40 Greatest Women of Country Music y quedando en la posición 46° en las "100 Greatest Singers of All Time" patrocinada por la revista Rolling Stone. De acuerdo a dicha publicación se entregó una placa en el Country Music Hall of Fame. "Su herencia de grabaciones a través del tiempo es un testimonio de su capacidad como artista". Fue interpretada dos veces en las principales películas, incluida la película biográfica de 1985 Sweet Dreams protagonizada por Jessica Lange. Durante este tiempo se lanzaron varios documentales y espectáculos, incluido el musical de 1988 Always ... Patsy Cline. Se publicó una caja de discos de 1991 con sus grabaciones que recibió elogios de la crítica. Su álbum de grandes éxitos vendió más de 10 millones de copias en 2005. En 2011, la casa de la infancia de Patsy Cline fue restaurada como un museo para visitantes y fanáticos.

Alguna persona quizá adore a Julio Iglesias. Esta versión no se recomienda si no eres fan.

LET IT SNOW

 

'Let It Snow' is not a Christmas song. The song was written in July, 1945 in Los Angeles by lyricist Sammy Cahn and composer Jule Styne. While it is commonly regarded as a Christmas song the song was written about the hot day it was that day.

A veces nos sorprende la historia de una canción. ¿Cómo es posible que esta canción se escribiera en California un día muy caluroso?

Esta es la versión original interpretada por Vaughn Monroe.

En esta página https://www.songfacts.com/facts/dean-martin/let-it-snow-let-it-snow-let-it-snow he encontrado información sobre la canción, tal como aparece a continuación.

This was written by the lyricist Sammy Cahn and the Broadway songwriter Jule Styne in 1945. It was first recorded by Vaughn Monroe, and has since become a standard, with Patsy Cline, Martina McBride, Garth Brooks, Herb Alpert, Chris Isaak, the Carpenters, Carly Simon and Jessica Simpson just some of the artists to record it. Dean Martin's version is one of the best known, and it fit his image as a swinging member of the Rat Pack without a care in the world. The most popular version on American radio (according to ASCAP), is by Harry Connick Jr. >>

Although this song is associated with Christmas, there is no mention of the holiday in the lyrics. It's about making the most of a snowy day by spending it with a loved one by the fire.

In the book Songwriters on Songwriting by Paul Zollo, Sammy Cahn said: "'Let It Snow' was written on Hollywood and Vine on the hottest day of the year. I said to Jule Stein, 'Why don't we go down to the beach and cool off?' He said, 'Why don't we stay here and write a winter song.' I went to the typewriter. 'Oh the weather outside is frightful, but the fire is so delightful, and since we've got no place to go, let it snow, let it snow, let it snow.' Now why three 'let it snow's'? Why not two or four? Because three is lyric."

A version by Rod Stewart recorded for his 2012 holiday album, Merry Christmas, Baby, reached #1 on Billboard's adult contemporary chart.

On November 13, 2019, an official music video was released. In the animated clip, Dean Martin and his family host a Christmas gathering in their cozy cabin, where Santa shows up to distribute gifts while they're sleeping. Only two children are depicted in the video, but in reality Martin had seven biological children and one adopted daughter.

LYRICS

Let It Snow! Let It Snow! Let It Snow!

Oh, the weather outside is frightful
But the fire is so delightful
And since we've no place to go
Let it snow! Let it snow! Let it snow!

Man it doesn't show signs of stopping
And I brought me some corn for popping
The lights are turned way down low
Let it snow! Let it snow!

When we finally kiss goodnight
How I'll hate going out in the storm
But if you'll really hold me tight
All the way home I'll be warm

And the fire is slowly dying
And, my dear, we're still goodbying
But as long as you'd love me so
Let it snow! Let it snow and snow!

When we finally kiss goodnight
How I'll hate going out in the storm
But if you really grab me tight
All the way home I'll be warm

Oh, the fire is slowly dying
And, my dear, we're still goodbying
But as long as you'd love me so
Let it snow, let it snow, let it snow!

Esta canción es muy pegadiza y la versión siguiente, acompañada por grandes vocalistas y músicos, es muy diferente a las anteriores.

Cómo no presentar las versiones interpretadas por Michael Bublé o Frank Sinatra

También existen versiones interpretadas para estas fechas - Christmas - con la letra para poder practicar.

Y una versión en español/English, que no es una traducción, por supuesto. Esta sólo para los/las fans de Luis Fonsi. 

Y una traducción, para revisar el vocabulario, que suena poco natural y no se imagina en la situación tan romántica que describe la canción pero que, por esta vez, va a servir.

Oh, el clima afuera esta horrible

Pero el fuego es tan delicioso

Y como no tenemos a donde ir

¡Deja que nieve! ¡Deja que nieve! ¡Deja que nieve!

 

Hombre, no muestra signos de detenerse

Y me traje un poco de maíz para hacer estallar

Las luces están apagadas

¡Deja que nieve! ¡Deja que nieve!

 

Cuando finalmente nos damos un beso de buenas noches

Cómo odiaré salir en la tormenta

Pero si realmente me abrazas fuerte

Todo el camino a casa estaré caliente

 

Y el fuego se está muriendo lentamente

Y, querida, todavía nos estamos despidiendo

Pero mientras me ames tanto

¡Deja que nieve! ¡Que nieve y nieve!

 

Cuando finalmente nos damos un beso de buenas noches

Cómo odiaré salir en la tormenta

Pero si realmente me agarras fuerte

Todo el camino a casa estaré caliente

 

Oh, el fuego está muriendo lentamente

Y, querida, todavía nos estamos despidiendo

Pero mientras me ames tanto

¡Que nieve, que nieve, que nieve!

INTERNATIONAL DAY FOR THE ELIMINATION OF VIOLENCE AGAINST WOMEN. 25 NOVEMBER

https://www.un.org/en/observances/ending-violence-against-women-day

La información de esta publicación se ha obtenido de la dirección arriba indicada (Naciones Unidas). Se ha incluido la imagen de la campaña, algunos textos y 5 videos seleccionados entre los que aparecen en la página (Antonio Banderas es el primer seleccionado). La intención de esta publicación es presentar un vocabulario y discurso utilizado por la ONU en la campaña mencionada con motivo del Dia Internacional para la eliminación de la violencia contra las mujeres. En la página de UN tenéis todo el contenido.

Al final disponéis de una canción popularizada por el grupo POLICE y que no es la opción más acertada para expresar y sentir amor ("... you belong to me", " every ...... I'll be watching you").

Every 10 minutes, a woman is killed. #NoExcuse
UNiTE to End Violence against Women

Violence against women and girls remains one of the most prevalent and pervasive human rights violations in the world. Globally, almost one in three women have been subjected to physical and/or sexual intimate partner violence, non-partner sexual violence, or both, at least once in their life.

For at least 51,100 women in 2023, the cycle of gender-based violence ended with one final and brutal act—their murder by partners and family members. That means a woman was killed every 10 minutes.

This scourge has intensified in different settings, including the workplace and online spaces, and has been exacerbated by conflicts, and climate change.

The solution lies in robust responses, holding perpetrators accountable, and accelerating action through well-resourced national strategies and increased funding to women’s rights movements.

Join our 16 days of activism

The International Day for the Elimination of Violence Against Women will mark the launch of the UNiTE campaign (Nov 25- Dec 10) — an initiative of 16 days of activism concluding on the day that commemorates the International Human Rights Day (10 December).

This 2024 campaign Every 10 Minutes, a woman is killed. #NoExcuse. UNiTE to End Violence against Women will draw attention to the alarming escalation of violence against women to revitalize commitments, call for accountability and action from decision-makers.

Did you know?

• Globally, an estimated 736 million women have experienced physical and/or sexual violence. Girls are at particular risk of violence—1 in 4 adolescent girls is abused by their partners.
• 16% to 58% of women globally experience technology-facilitated gender-based violence. Generation Z and Millennials are the most affected.
• 70% of women in conflict, war, and humanitarian crisis, experience gender-based violence.
• Globally, female genital mutilation has increased by 15% compared to data from eight years ago.

Source: More data from UN Women

 

What is considered violence against women

Violence against women and girls (VAWG) remains largely unreported due to the impunity, silence, stigma and shame surrounding it.

It can manifest in physical, sexual and psychological forms, encompassing:

• intimate partner violence (battering, psychological abuse, marital rape, femicide);
• sexual violence and harassment (rape, forced sexual acts, unwanted sexual advances, child sexual abuse, forced marriage, street harassment, stalking, cyber- harassment);
• human trafficking (slavery, sexual exploitation);
• female genital mutilation; and
• child marriage.

Within the UN Declaration on the Elimination of Violence Against Women issued by the UN General Assembly in 1993, defines violence against women as “any act of gender-based violence that results in, or is likely to result in, physical, sexual or psychological harm or suffering to women, including threats of such acts, coercion or arbitrary deprivation of liberty, whether occurring in public or in private life.”

This affects women at all stages of their life, including education, employment, and opportunities.

Some women and girls, such as those in vulnerable situations or humanitarian crises, migrants, LGTBI, indigenous people or those with disabilities, face greater risk.

Violence against women continues to be an obstacle to achieving equality, development, peace as well as to the fulfillment of women and girls’ human rights. All in all, the promise of the Sustainable Development Goals (SDGs) - to leave no one behind - cannot be fulfilled without putting an end to violence against women and girls.

https://www.unwomen.org/en/get-involved/16-days-of-activism

Join our 16 days of activism

The International Day for the Elimination of Violence Against Women will mark the launch of the UNiTE campaign (Nov 25- Dec 10) — an initiative of 16 days of activism concluding on the day that commemorates the International Human Rights Day (10 December).

This 2024 campaign Every 10 Minutes, a woman is killed. #NoExcuse. UNiTE to End Violence against Women will draw attention to the alarming escalation of violence against women to revitalize commitments, call for accountability and action from decision-makers.

A continuación se presentan algunos vídeos incluidos en la sección de vídeos de la página de Naciones Unidas (dirección al inicio de esta publicación). No son producciones actuales.

Film star and United Nations Development Programme (UNDP) Goodwill Ambassador Antonio Banderas launches a global video appeal to end violence against women in recognition of International Day for the Eradication of Violence against Women.

A fact you should know...  (UN Women)  (Podríamos decir "uno de cada tres...." o "un tercio de ...")

WHO - Violence against women: Strengthening the health system response.

World Health Organization (WHO)

One in three women throughout the world will experience physical and/or sexual violence by a partner or sexual violence by a non-partner. This violence has a wide range of short- and long-term health consequences. The health system is a place where women who have experienced violence can go to in order to receive services and support for their physical and mental health needs.

We are all women

UN Women has launched the "We are all women" campaign to raise awareness on the consequences of the violence that takes place every day against women all over the world.

This campaign was planned and developed by UN Women Uruguay office. The strategy seeks to change the perspective on violence against women, placing the issue in a different context to generate a communicational milestone with broad impact.

The video delivers a profound, direct and thoughtful message with high impact and effectiveness: end violence against women around the world, as #weareallwomen

COLLABORATORS:

The piece was planned and created by Amén Comunicación Ciudadana, a Uruguayan agency specializing in non-commercial communication, and it was produced free of charge by Bombay Films and Australia Music.

In the making of the film, they had the support of the Ministry of Health of Uruguay, the Municipality of Montevideo, and the Pereira Rossell Hospital.

Sarah’s Story: Improving essential services for survivors of violence against women and girls.

Despite extensive commitment by women’s organizations, governments and other partners, many women and girls subjected to various forms of violence still lack access to essential services. This lack of access to such services by women and girls means that they continue to suffer from the physical and mental impacts of violence. To improve the quality of and access to essential multi-sectorial services UN Women has partnered with four UN agencies (UNFPA, WHO, UNDP and UNODC) to develop the Joint Global Programme on Essential Services.

Every Breath You Take

LYRICS

Every breath you take
Every move you make
Every bond you break
Every step you take
I'll be watching you

Every single day
Every word you say
Every game you play
Every night you stay
I'll be watching you

Oh, can't you see
You belong to me
How my poor heart aches with every step you take

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you

Since you've gone I've been lost without a trace
I dream at night I can only see your face
I look around but it's you I can't replace
I feel so cold and I long for your embrace
I keep crying baby, baby please

Oh, can't you see
You belong to me
How my poor heart aches with every step you take

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you

Every move you make
Every step you take
I'll be watching you

I'll be watching you

(Every breath you take
Every move you make
Every bond you break)

I'll be watching you

(Every single day
Every word you say
Every game you play)

I'll be watching you

(Every move you make
Every vow you break
Every smile you fake)

I'll be watching you

(Every single day
Every word you say) Ooh
(Every claim you stake)

I'll be watching you