Mejores frases de canciones

Mejor párrafo: “Tal vez podríamos hacer que esto funcione / Pero sólo tuve que irme antes de que fuera a peor / No sé por qué viniste aquí / Es casi que me hubiera gustado no habernos conocido”

Mejor párrafo: “¿Cuántas veces tengo que decir / Que te alejes, que te vayas? / Llévate tu mierda a la humilde morada de otra” “¿Cuántas veces tengo que decirlo / Para escaparme, ¿me voy? / Llévate tu mierda a la humilde morada de otra muchacha”.

Frases de barderos para fotos

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Algunas veces cuando escuchamos la radio nos da la sensación de que el artista nos habla directamente. Aquí tienes una lista de canciones, sugeridas por enfermeras, que te inspirarán, consolarán o te harán sonreír. Casi que podrían haber sido escritas por o para el personal de enfermería.

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Phrases of c.r.o for instagram

To make it, we worked with a drum machine in the house, the same one we had made “Eve-Evelyn” with. We were, at the time, fascinated with the drum machine. For the recording session, I took an iron from the Mapocho River to make that metallic noise, but it didn’t work, so in the end we sampled a gas ball, a sound we made in the kitchen of Alejandro “Caco” Lyon, the sound engineer of the album.”

“For me it was a song like any other, I didn’t think what was going to happen with it. As in it, and in the song “Exijo ser un Héroe”, the phrase “Pateando Piedras” appeared, which was an expression that we used with Miguel, and that we used to baptize the album.

I made “El Baile de los que Sobran” with a little beat box, which I borrowed from Miguel Conejeros of the group “Pinochet Boys” (today in Fiat 600). I wanked myself in the rehearsal room with the drum machine and with the Casio keyboard that I had making the basses. I wanted to do a song like the ones Heaven 17 or Depeche Mode did. In the version before the mix it started with a drum machine that we finally removed to leave the guitar alone. And the Casio had an accordion-like sound that I modified a bit.

Love Song Phrases

Tremendously divisive and surprisingly explicit, Gaspar Noé’s ‘Love’ shook up European cinema in 2015 with a tale of love and passion with real sex where ejaculations were experienced in 3D. Pure provocation or a portrait of love in the 21st century? Who knows. What is clear is that its visual and narrative proposal is loaded with eroticism. It tells the story of Murphy, a man who recalls his most torrid romance from the monotony of his new life as a husband and father.

After bringing to the screen one of the best musicals of all time, ‘Hedwig and the Angry Inch’, in what was his debut feature, John Cameron Mitchell returned as director with another daring and sexually charged new proposal. A film which is what differentiates porn cinema from erotic cinema: its intention is not to excite us (although it may succeed), but to use intimate relationships to tell a story and reflect human feelings experienced by its characters. The story follows a group of New Yorkers dealing with their problems in an underground polysexual club called ‘Shortbus’.