Annotations for Genre: Fusion

What a blessing that I'm seeing
It's already dawning
The light on your skin is asking me to take it slow
Baby, you don't understand how much I like you
When you go down, you take me to heaven
I don't want a life without you
Thinking about not having you scares me, eh
Chorus
A little kiss on your forehead
For everything we've experienced
And if this moment never returns I know it wasn't wasted
Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh-oh-oh
We are eternal, you and I Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh-oh-oh
Eternal (Ra-Rauw)
Verse 2
Hey, mami, your soul is free like spring
For our love, there are no borders
Tied to you like leather and wood
The drum sounds, dark-haired girl
Dance, let the heat loosen your clothes
We won't leave until our feet hurt
Dancing in your areito
Promised land, you want me to stay
The water of your flower makes me rise and reach the sky
My chest tightens
The day you're not here, may it never come If you leave, may the fire burn me
May the fire burn me
Baby, you don't understand how much I like you
When you go down, you take me to heaven I don't want a life without you
Thinking about not having you scares me, eh
Chorus
A little kiss on your forehead
For everything we've experienced
And if this moment never returns I know it wasn't wasted
Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh-oh-oh
We are eternal, you and I Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh-oh-oh Eternal

“Estoy buscando un árbol que me dé sombra." This traditional tune opens the film and then transitions into a salsa adaptation signaling musical fusion. The accompanying images of the film depict the following: bomba practitioners or bomberos playing the barriles and dancing, a traditional casita, a tree growing and its roots and seeds fertilizing the earth.

Later, a flamenco singer accompanies images and text that state that "bomba and plena are products of musical fusions of Taíno, Spanish, and African influences—a back-and-forth exchange of influences. This influence would affect all aspects of life on this island.” Musical lyrics are mostly unintelligible during this segment. A Flamenco singer known as Olgan Tanon accompanies images and text that state “La bomba y la plena son productos de fusiones musicales de la taína la española y la africana un ir y venir de influencias. Esta influencia afectaría toda la vida de esta isla.” Musical lyrics are mostly unintelligible during this segment. Then, an electric guitar transitions into “Cuembe na’ma,” a bomba song presented here as a salsa fusion adaptation. Flamenco singer Olga Tañón (A Puerto Rican singer known as the Queen of Merengue performs accompanied by palmas (handclaps) while a bomba dancer is present. Traditional jaleos are heard along with interruptions from the barriles creating a call and response between the palmas and the drums. The clips showcases highly virtuosic singing. The batey (or space in which bomba is performed) is located at an outdoor location and used modern sound equipment. Marc Anthony also has a small solo during this performance segment. Giovanni Hidalgo is on the barriles.

A Flamenco singer known as Olgan Tanon accompanies images and text that state “La bomba y la plena son productos de fusiones musicales de la taína la española y la africana un ir y venir de influencias. Esta influencia afectaría toda la vida de esta isla.” Musical lyrics are mostly unintelligible during this segment. Then, an electric guitar transitions into “Cuembe na’ma,” a bomba song presented here as a salsa fusion adaptation. Flamenco singer Olga Tañón (A Puerto Rican singer known as the Queen of Merengue performs accompanied by palmas (handclaps) while a bomba dancer is present. Traditional jaleos are heard along with interruptions from the barriles creating a call and response between the palmas and the drums. The clips showcases highly virtuosic singing. The batey (or space in which bomba is performed) is located at an outdoor location and used modern sound equipment. Marc Anthony also has a small solo during this performance segment. Giovanni Hidalgo is on the barriles.

"So Much Vanity" (Manati) performed by Plena Libre
Chorus
So much vanity (so much vanity)
So much hypocrisy
If your body after death
Belongs to the cold grave
So much vanity (so much vanity)
So much hypocrisy
If your body after death
Belongs to the cold grave

“Oh Queen Lelé” (Catano) Chorus Oh Queen Lelé, oh queen Oh Queen Lelé If I see her, what will I say Verses If I see her, what will I say If I see her, what will I say

“Estoy buscando un árbol que me dé sombra.” Esta melodía tradicional abre la película y luego pasa a una adaptación en salsa que señala una fusión musical. Las imágenes que acompañan la película muestran lo siguiente: practicantes de bomba o bomberos tocando los barriles y bailando, una casita tradicional, un árbol creciendo y sus raíces y semillas fertilizando la tierra.

Olga Tañón está cantando una canción de bomba en un estilo aflamencado; acompaña imágenes y un texto que afirma: La bomba y la plena son productos de fusiones musicales de la taína, la española y la africana, un ir y venir de influencias. Esta influencia afectaría toda la vida de esta isla. Luego, una guitarra eléctrica da paso a “Cuembe na’ma”, una canción de bomba presentada aquí como una adaptación en fusión con la salsa. Olga Tañón (conocida como la Reina del Merengue) interpreta acompañada por palmas mientras una bailadora de bomba está presente. Se escuchan jaleos tradicionales junto con interrupciones de los barriles. El clip muestra un canto de gran virtuosismo. El batey (o espacio donde se interpreta la bomba) se encuentra en un lugar al aire libre y utiliza equipo de sonido moderno. Marc Anthony también tiene un pequeño solo durante este segmento de la presentación. Giovanni Hidalgo está a cargo de los barriles.

"Tanta Vanidad" (Manati). Interpreta por Plena Libre
Coro Tanta vanidad (tanta vanidad) Tanta hipocresía Si tu cuerpo después de muerto Pertenece a la tumba fría Tanta vanidad (tanta vanidad) Tanta hipocresía Si tu cuerpo después de muerto Pertenece a la tumba fría

“Oh reina lelé” (Catano) Coro Oh reina lelé oh reina Oh reina lelé Si la veo que le diré Versos Si la veo que le diré Si la veo que le diré

Suenan los barriles y posiblemente una corneta o una cuica. Imágenes de hip hop y breakdance aparecen dentro del batey.

“De Carolina” / “Mira, mira, mira tú ves” – Delegación de Carolina People know that we’re from the streets. People know that we’re from the streets. People know that we’re from the streets. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. Carolina, lina, lina. Carolina, lina, lina. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. Carolina has arrived now and we’re not going to stop. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina and we’re coming sharp. We are Carolina, Carolina, Carolina. Chorus Look, look, look, you see. Look, look, look, you see. I brought bomba here for you, from Carolina to Mayagüez.

“De Carolina” “Mira, mira, mira tú ves” - Delegación de Carolina.  
(References "De Carolina” por Rauw Alejandro) 
La gente sabe que somos de la calle. 
La gente sabe que somos de la calle. 
La gente sabe que somos de la calle.  
Somos Carolina y venimos mirao.  
Somos Carolina y venimos mirao. 
Somos Carolina y venimos mirao.  
Somos Carolina y venimos mirao. 
Somos Carolina y venimos mirao   
Somos Carolina y venimos mirao.  
Carolina, Lina, Lina.  
Carolina, Lina, Lina. 
Somos Carolina y venimos mirao.  
Somos Carolina y venimos mirao. 
Somos Carolina y venimos mirao.   
Carolina llegó ahora y no vamos a parar.  
Somos Carolina y venimos mirao.  
Somos Carolina y venimos mirao.  
Somos Carolina y venimos mirao.  
Somos Carolina, Carolina Carolina   
Coro 
Mira, mira, mira tú ves. Mira, mira, mira tú ves. 
Yo te traje aquí la bomba a Carolina a Mayagüez.