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Various Artists - Palo Monte - Enigma featuring Chuck D

Enigma (featuring Chuck D) Enigma relates a story that a friend told me about his son's experience in the Army. The lyrics are an indictment of the recruiting tactics and strategies of warfare that land many of our young people on the front lines, in harm's way for the political and monetary gain of the rich and powerful.

Enigma relata un cuento que un amigo me hizo sobre la experiencia de su hijo cuando ingresó al Army. La letra de la canción es una acusación a las tácticas de reclutar y estrategias de guerra que empujan a nuestr@s jóvenes al frente de ataque, en peligro, para el beneficio político y económico de los ricos y poderosos.

LYRICS

Así de repente Un amigo me comentó que Se sentía mal porque su hijo Entró al Army, para ser cocinero profesional. No bien terminó, Lo enviaron a Irak Y él tampoco se sentía bien.

Cómo tú me va' a vender a mi Educación por una pistola

Pa' derramar sangre (coño) De'consoladora

Pa' derramar sangre (pana) De'consoladora

Pre'ten atención

No caigan en gancho

Cómo tú me va' a vender a mi Educación por una pistola

Pa' derramar sangre (coño) De'consoladora

Pa' derramar sangre (pana) De'consoladora

Pre'ten atención

No caigan en gancho

Para el mundo, Chuck D

Chuck D: CAN'T SPELL COMMUNITY WITHOUT NO UNITY SO, STILL MY FAMILY WALKING THE STREETS HUNGRY

THEY SAY GET ALL YOU CAN GET THEY SAY BE ALL YOU CAN BE WHO'S GONNA FEED MY FAM AND ME? THE ARMY OR THE NAVY?

WE FIGHT FOR OUR LIFE AND NO THANKS TO THE SO-CALLED YANKS

CAUSE THE BANKS RUN THE WORLD AND THE PEOPLE WITH TANKS NO THANKS

Y así vengo yo, como 'metralladora

Tiene mi voz el poder El poder

Chuck D: YEAH LISTEN LISTEN LISTEN

LISTEN

THINGS THAT WENT ON STILL BE GOING ON WORLD BANK AND PENTAGON KEEP IT GOING ON LIKE THE LINE BETWEEN WHAT YOU REALLY NEED AND GREED

AGREED AND STILL WE BLEED MIDDLE PASSAGE MIXED THE BREED

COLUMBUS HE WAS LOST MANY LIVES WERE LOST STILL WE PAY THE COST WE ARE FAMILY!

Y así vengo yo como ‘metralladora

Chuck D: YES YES

En el mundo hay trouble Trouble, trouble

Chuck D: IN THE WORLD

Sí Señor

Chuck D: IN THE WORLD THERE IS IN THE WORLD THERE IS IN THE WORLD THIS IS

¿Quién es el culpable? Yo no lo sé

¿Y tú?

Chuck D: IN THE WORLD IN THE WORLD THERE IS IN THE WORLD THERE IS IN THE WORLD IN THE WORLD

TRADUCCION

One day, a friend told me That he was down because his son Went into the Army to learn to become A professional chef He had barely finished And they sent him to Iraq Now he doesn't feel so good either.

How are you going to sell me An education for a gun?

To spill inconsolable blood (damn it) To spill inconsolable blood, my friend

Pay attention

Don't fall for it.

How are you going to sell me An education for a gun?

To spill inconsolable blood (damn it) To spill inconsolable blood, my friend

Pay attention

Don't fall for it

And now introducing, Chuck D!

Chuck D: NO SE ESCRIBE COMUNIDAD SIN LA UNIDAD Y TODAVÃA MI FAMILIA ANDA EN LAS CALLES CON HAMBRE

DICEN COGEN TODO LO QUE TÚ PUEDAS Y SE TODO LO QUE TÚ PUEDAS ¿QUIÉN NOS VA A DAR COMIDA A MI FAMILIA Y YO? EL ARMY O EL NAVY?

LUCHAMOS POR NUESTRAS VIDAS SIN LA AYUDA DE LOS YANQUIS PORQUE LOS BANCOS GUÃAN EL MUNDO Y LA GENTE CON LOS TANQUES NO GRACIAS

Here I come like a machine gun

My voice has the power Power, power, power

Chuck D: SÃ ESCUCHA ESCUCHA ESCUCHA

LAS COSAS QUE PASARON TODAVÃA ESTÃN PASANDO EL BANCO MUNDIAL Y EL PENTÃGONO LO MANTIENEN COMO LA LÃNEA ENTRE LA NECESIDAD Y LA AVARICIA

DE ACUERDO, TODAVIA SANGRAMOS LA TRAVESIA DEL MEDIO MEZCLÓ LAS RAZAS

COLON ESTUVO PERDIDO MUCHAS VIDAS FUERON PERDIDAS TODAVÃA PAGAMOS EL PRECIO ¡QUE SOMOS FAMILIA!

Y así vengo yo como 'metralladora

Chuck D: SÃ SÃ

In the world hay problemas Problemas, problemas

Chuck D: EN EL MUNDO

Yes, sir

Chuck D: EN EL MUNDO HAY EN EL MUNDO HAY EN EL MUNDO HAY

Who is to blame? I don't know Do you know?

Chuck D: EN EL MUNDO EN EL MUNDO HAY EN EL MUNDO HAY EN EL MUNDO EN EL MUNDO

Here I come like a machine gun There is trouble in the world Trouble, trouble Pa'lo Monte is a cultural group that teaches and performs the traditional rhythms and melodies of the Dominican Republic and Haiti. Through the teaching of music, dance and specific political and spiritual traditions, we are keeping alive a whole legacy that has been passed down to us from generation to generation. Our mission is to preserve and popularize the African and Indigenous cultural traditions of the Dominican and Haitian people and strengthen the level of respect for the values and traditions of our ancestors.

HISTORY

Pa'lo Monte celebrates its 12th anniversary teaching and playing Afro-Dominican cultural music, reminding the Dominican community of the legacies of resistance, joy and survival handed down to them, and inspiring others to recover their own cultural heritage. As a young man, Pa'lo Monte's founder, Osvaldo D. Sánchez spent much of his time with his brothers, visiting the elders in the countryside, learning the percussive techniques of the African-based music of the Dominican Republic and Haiti, as well as the stories of their arrival on the island. These experiences and the importance of preserving these traditions stayed with him for many years, and in 1998, he formed Pa'lo Monte.

ROOTS

The group's name speaks to its origins and its purpose. Osvaldo chose the name Pa'lo Monte as a dedication to the elders he learned from, referring to their way of speaking (instead of saying 'voy para los montes' – 'I'm going to the mountains', they would say 'voy pa'lo monte'). This particular way of speaking is part of the legacy of the Africans who were brought to the island by the Spanish and has been integrated into speech patterns to create a distinct Dominican Spanish language. At the same time, the name refers to the Africans and Indigenous people who lived in the mountains, creating communities of resistance, ensuring the survival of their traditions. The name 'Pa'lo Monte' is also a nod to the spiritual-religious traditions of the Dominican and Haitian people who practice Vodoun and Dominican Santería and believe that the mountains are a site of magic and mystery, a place where ritual and healing occur.

THE WORK

Twelve years later, Pa'lo Monte has developed as one of the premiere Afro-Dominican and Haitian traditional groups in New York City, showcasing a model for collaboration between artist and social justice communities, highlighting the importance of these cultural workers in the liberation of their people. Over the last ten years, Pa'lo Monte has responded to the communities' cries for support in organizing around issues of importance, such as justice for immigrants, an end to violence against women, the movement for peace, and the call for unity between Dominicans and Haitians. The political-mystical messages of Pa'lo Monte's songs have often proven to be a force that moves people to action, both literally and figuratively, providing spiritual uplift for troubled times and motivation to join the struggle for a better world.

TRANSFORMATION

Over the past ten years, Pa'lo Monte has transformed from a musical ensemble into an Institution for the teaching and preservation of African and Indigenous cultural traditions from the Dominican Republic and Haiti. It has provided lectures and skill-building workshops in diverse venues from elementary schools to the United Nations. Pa'lo Monte's signature event is the Afro-Caribbean Festival in Honor of Liborio Mateo, which celebrates the life and teachings of one of the cimarrones, or leaders of African and Indigenous resistance in the Dominican Republic. (Liborio Mateo was a spiritual and political leader, who in the early 1900s, defied the Dominican and American governments, as well as the Catholic Church, in developing a community based upon principles of cooperative living and the recognition of traditional values and practices.) The event, which has been celebrated annually since 2003, has been tremendously successful in bringing together the Dominican musical community of New York City. In addition, it has provided an innovative means of educating the communities about Liborio and the legacy of struggle that they have inherited, as well as reframing modern struggles within this context.

THE FUTURE

The survival of the Dominican and Haitian communities into the 21st century and beyond is dependent on the continued expansion of their traditions as well as their integration into the cultural repertoire of the Americas. Osvaldo Sánchez expects that Pa'lo Monte will lead this movement with its music and energy, so that these communities will not only survive, but thrive. Read more: http://www.myspace.com/palomontenyc#ixzz132n6Tbjh