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Erica Diamonds - True Love Lyrics
Erica Diamonds Lyrics - True Love
How does it feel To know that he would die for you
How does it feel To know he gave his life for you
How does it feel To know that he would fight for you
To prove his Love he became a Sacrifice for you..
True Love is willing to die
How does it feel To know he thinks the world of you
You're on his mind, all day and yes he cares for you
How does it feel To know to know he'll never say goodbye to you
He'll keep his promise He'll never ever lie to you
Your love has taught me Anything is possible
Your love has shown me, I can be invincible
Even in this world, I still believe in Miracles
Even in this world, I still believe in love
Other Lyrics
Post on: Friday, June 22, 2012Category: Lyrics
Maroon 5 – Wipe Your Eyes Lyrics
Maroon 5 – Wipe Your Eyes Lyrics
Browse: / Lagu Barat / Wipe Your Eyes
I’m afraid that I gotta do what I gotta do
But if I let you go, where you gonna go?
We gotta make a change, time to turn the page
Something isn’t right, I don’t wanna fight you
We’ve been through tougher times, you know it gets worse
We can turn this around please let me be first
And as I feel your tears spilling on my shirt
Something isn’t right I don’t wanna fight you
Hey you, come over and let me embrace you
I know that I’m causing you pain too
But remember if you need to cry
I’m here to wipe your eyes
Tonight before you fall asleep
I run my thumb across your cheek (across your cheek)
Cry ’cause I’m here to wipe your eyes
I know I made you feel this way
You gotta breathe, we’ll be okay (be okay)
Cry ’cause I’m here to wipe your eyes
Oh nah nah oh nah nah nah nah
’cause I’m here to wipe your eyes
Oh nah nah oh nah nah nah nah
When did we cross the line?
How could we forget?
Why do we let the pressure get into our heads?
Your broken heart requires all of my attention
’cause something isn’t right, I don’t wanna fight you
Hey you, come over and let me embrace you
I know that I’m causing you pain too
But remember if you need to cry
I’m here to wipe your eyes
Tonight before you fall asleep
I run my thumb across your cheek (across your cheek)
Cry ’cause I’m here to wipe your eyes
I know I made you feel this way
You gotta breathe, we’ll be okay (be okay)
Cry ’cause I’m here to wipe your eyes
Please don’t lose your faith
Don’t worry ’cause I’m here to keep you safe
I promise if you let me see your face
That I won’t let you down
I won’t let you down
I’m here to wipe your eyes
Tonight before you fall asleep
I run my thumb across your cheek (across your cheek)
Cry ’cause I’m here to wipe your eyes
I know I made you feel this way
You gotta breathe, we’ll be okay (be okay)
Cry ’cause I’m here to wipe your eyes
Other Lyrics
Post on: Friday, June 22, 2012Category: Lyrics
Justin Bieber : Catching Feelings Lyrics
Catching Feelings Lyrics - Justin Bieber
The sun comes up on another morning
My mind never wakes up without you on it
And it's crazy to me, I even see you in my dreams
Is this meant to be? Could this be happening to me?
We were best of friends since we were this high
So why do I get nervous every time you walk by
We would be on the phone all day
Now I can't find the words to say to you
Now what am I supposed to do?
Could there be a possibility
I'm trying to say what's up
'Cause I'm made for you, and you for me
Baby now its time for us
Tryna keep it all together
But enough is enough
They say we're too young for love
But I'm catching feelings, catching feelings
In my head we're already together
I'm good alone but with you I'm better
I just wanna see you smile
You say the word and I'll be right there
I ain't never going nowhere
I'm just tryna see where this can take us
'Cause everything about you girl is so contagious
I think I finally got it done
Now all that's left to do now, it's get out the mirror
And say it to her
Could there be a possibility
I'm trying to say what's up
'Cause I'm made for you, and you for me
Baby now it's time for us
Tryna keep it all together
But enough is enough
They say we're too young for love
But I'm catching feelings, catching feelings
Should I tell her how I really feel
Or should I move in close or just be still?
How will I know?
'Cause if I take a chance and I touch her hand
Will everything change?
How do I know if she feels the same?
Could there be a possibility
I'm trying to say what's up
'Cause I'm made for you, and you for me
Baby now it's time for us
Tryna to keep it all together
But enough is enough
They say we're too young for love
But I'm catching feelings, catching feelings
Catching feelings, catching feelings....
Other Justin Bieber
Post on: Saturday, June 23, 2012Category: Justin Bieber
AMERICAN HUNGER: Richard Wright's Revolutionary Legacy
American Hunger: Richard Wright
This talk will attempt to tell Wright’s powerful story in the context of the political dynamics of the tumultuous era through which he lived. Wright’s politics and writing were shaped indelibly by an era marked by economic depression, a resurgent working class movement, and titanic struggles internationally between the forces of the left and those of the right, exemplified by the rise of Fascism in
Wright was born near
In Black Boy, hunger serves as a powerful running metaphor, a literal description of Wright’s condition for much of his childhood, but also a way of describing his own desire to live beyond the boundaries proscribed by Jim Crow segregation in the South.
He writes:
Hunger stole upon me so slowly that at first I was not aware of what hunger really meant. Hunger had always been more or less at my elbow when I played, but now I began to wake up at night to find hunger standing at my bedside, staring at me gauntly… Whenever I begged for food now my mother would pour me a cup of tea which would still the clamor in my stomach for a moment or two; but a little later I would feel hunger nudging my ribs, twisting my empty guts until they ached. (BB: 14-15)
As Wright grew older, he came to love reading and desperately sought whatever literary material he could find. This was quite controversial in the household of his grandmother, who viewed any secular reading as the work of the devil. Wright links his physical hunger to the hunger for knowledge in this moving passage:
School opened and I began the seventh grade. My old hunger was still with me and I lived on what I did not eat. Perhaps the sunshine, the fresh air, and the pot liquor from the greens kept me going. Of an evening I would sit in my room reading, and suddenly I would become aware of the smelling meat frying in a neighbor’s kitchen and I would wonder what it was like to eat as much meat as one wanted. My mind would drift into a fantasy and I would imagine myself a son in a family that had meat on the table at each meal; then I would become disgruntled with my futile daydreams and would rise and shut the window to bar the torturing scent of meat. (BB: 137)
Throughout Wright’s years in the South, the threat of brutal racist violence cast a pall across his life. At the age of eight, Wright and his mother lived with his Aunt Maggie and Uncle Hoskins. Silas Hoskins was a successful store owner, but local whites wanted his store, his land, and his willing subordination to racist authority. One day, his uncle was murdered and the family had to flee town. There was no burial and no question of Maggie claiming any of her husband’s assets. Later Bob Greenley, the brother of a classmate, was taken into a car on a country road and shot. Bob worked in a local hotel and was accused of sleeping with a white prostitute. Memories of these acts of terror would color Wright’s vision of the Jim Crow South and animate his fiction.
In Black Boy, Wright describes the effects of such an atmosphere:
No Negroes in my environment had ever thought of organizing, no matter in how orderly a fashion, and petitioning their white employers for higher wages. The very thought would have been terrifying to them, and they knew that the whites would have retaliated with swift brutality. So, pretending to conform to the laws of the whites, grinning, bowing, they let their fingers stick to what they could touch. And the whites seemed to like it. (BB: 199-200)
Wright was only able to attend school through the ninth grade. He continued his education on his own by reading anything he could get his hands on. While living in
Reading A Book of Prefaces by Menken, Wright was struck by the potency of the written word:
What was this? I stood up trying to realize what reality lay behind the meaning of the words… Yes, this man was fighting, fighting with words. He was using words as a weapon, using them as one would use a club. (BB:248)
In 1927, at the age of 19, Wright was able to move to
My first glimpse of the flat black stretches of
In 1929, the stock market crash and the ensuing depression made Wright’s employment prospects even more grim. He soon found himself at relief agencies looking for money and food for himself and his family. The crisis destroyed whatever transitory hopes he may have had in the American Dream. Wright had always believed that personal talent and effort could eventually bring him out of poverty, but the severity of the crisis forced him towards a new perspective. Wright’s class consciousness was born on the bread lines, as he stood with unemployed workers, white and black. As he put it:
The day I begged bread from the city officials was the day that showed me I was not alone in my loneliness; society had cast millions of others with me… a sense of direction was beginning to emerge from the conditions of my life… My cynicism slid from me. I grew open and questioning. I wanted to know. (Zirin: 48)
Over time, Wright began to take the Communist Party more seriously. His initial reaction to the CP was that they seemed out of touch with reality and excessively bombastic. He wrote,
I saw black men mounted upon soap boxes at street corners, bellowing about bread, rights and revolution. I liked their courage but I doubted their wisdom. The speakers claimed that negroes were angry, that they were ready to rise and join their white fellow workers to make a revolution. I was in and out of many Negro homes each day and I knew that the Negroes were lost, ignorant, sick in mind and body… the agitators did not know how to appeal to the people they sought to lead. (citation: ??)
There may be a kernel of truth to Wright’s criticism as this was the era of the CP’s so-called “Third Period” in which world revolution was seen as imminent, making it the task of revolutionaries to ruthlessly expose all political forces to the right of them, instead of working to build real coalitions that united the left. Communists denounced reform socialists as social fascists in this era.
As Wright got to know more party members and sympathizers his attitude shifted. Most importantly the conditions of his life were forcing him to become political. His life’s ambition was to be able to live comfortably and to write—and this dream was thwarted at every turn by racism and class oppression. The frustrations of these expectations led Wright towards class politics. Yet there was also a streak of individualism that remained a central strain in his personality for years to come.
Wright’s formal introduction to the CP came through the Chicago John Reed Club, named after a
I opened [the door] and stepped into the strangest room I had ever seen. Paper and cigarette butts lay on the floor. A few benches ran along the walls, above which were vivid colors depicting figures of workers carrying streaming banners. The mouths of the workers gaped in wild cries; their legs were sprawled over cities. (Rowley: 75-76)
Wright enjoyed the company. He was shown copies of the New Masses, the national literary magazine associated with the clubs, and of Left Front, the
Wright began to write poetry for the club and to share his writing. For the first time in his life, he was surrounded by writers and artists who collaborated, shared criticisms, and talked passionately about the relationship between art and social change. In the words of Wright’s biographer Hazel Rowley, “The John Reed Club was Wright’s university.”
A few months after Wright joined the club he was elected as its executive secretary. Soon after, a party member told him that if he wanted to remain the club’s leader, he should join the party. Though this is exactly what Wright had initially feared, by this point he had been won to the idea that Communism was the most effective path to solidarity between black and white workers. Once Wright was assured that his duties as executive secretary would be accepted as his contribution to Party work, he paid his first membership dues.
Wright became part of a generation of writers who dedicated their fiction to portraying the lives and struggles of working people. In 1935, Wright became part of the Illinois Writers Project, funded by the Works Progress Administration established by President Roosevelt. At this moment, the CP moved from the political perspective of the Third Period to a new one called the Popular Front. Shocked by the rise of fascism in Germany, which might have been prevented had Communists united with Socialists and others in the labor movement in a United Front against fascism, the CP swung further to the Right. The popular front advocated unity not only among groups on the working class left, but also with so-called progressive sections of the capitalist class. In the
Later, the South Side Writers group was established in
In A Blueprint for Negro Writing, Richard Wright remarked that some black writers,
may feel that only dupes believe in ‘ism’s, they may feel with some justification that another commitment means only another disillusionment. But anyone destitute of a theory about the meaning structure and direction of modern society is a lost victim in a world he cannot understand or control. (Gates ed.: 1385)
This article, written in 1937, was one of Wright’s most influential statements on the role and purpose of Black writing. It gave full articulation to many of the trends evidenced in the
With the gradual decline of the moral authority of the Negro church, and with the increasing irresolution which is paralyzing Negro middle class leadership, a new role is devolving upon the Negro writer. He being called upon to do no less than create values by which his race is to struggle, live and die… for the Negro writer, Marxism is but the starting point. No theory of life can take the place of life. After Marxism has laid bare the skeleton of society, there remains the task of the writer to plant flesh upon those bones out of his will to live… Every iota of gain in human thought and sensibility should be ready grist for his mill, no matter how far-fetched they may seem in their immediate implications. (Gates ed: 1384-1385)
Wright faced continual frustrations in the South Side units of the Communist Party over the political demands the party made of artists’ time and energy. Wright was bitter about the disparaging comments organizers would make about the time Wright spent researching and writing. In 1936, Wright briefly left the party over these frustrations. The Party quickly shifted and offered Wright a position in
In May of 1937, Wright left for
In spite of Wright’s success in publishing short stories and writing for left publications, his ambition to get a novel in print were thwarted for years. Two books, Lawd Today and Tarbaby’s Dawn were rejected for publication. Editors said that the books were strong and realistic portrayals of black life, but that they could never be commercially viable.
Things finally changed with the publication of Uncle Toms’ Children, a collection of short stories, in March 1938. These stories are Wright’s most stridently pro-communist publication. They are bitter recountings of the horror and violence of Southern racism, and of the desperate resistance of black workers. One story, Fire and Cloud, is focused on a preacher, Reverend Taylor, who is unsure of whether to join local communists in calling a march for relief. Eventually he and others are viciously assaulted by local whites, but march anyway. The final story, Bright and Morning Star, is about a communist organizer and his mother who attempt to thwart police infiltration of local organizing meetings.
In Fire and Cloud, Wright gives a moving description of the march that Reverend Taylor helps to lead:
When they reached the park that separated the white district from the black, the poor whites were waiting.
The work was a success. The initial print run was a modest 550 copies. By June 1 it was in its second printing, and by the end of the month 1700 copies had been sold. Most critics raved. Time magazine wrote, “The U.S has never had a first-rate Negro novelist. Last week the promise of one appeared.” Even Eleanor Roosevelt declared the book “beautifully written.”
The stories in Uncle Tom’s Children are powerful, but soaked to the marrow in the brutal violence of the Jim Crow South. Not a story goes by without the gruesome death of at least one black character at the hands of a racist white community. The books are examples of the best of Social Realism, an artistic movement that flourished in the 1930s—which at its worst produced cartoonish depictions of workers as infallible heroes, and capitalists as charicatured villains. In retrospect, Wright’s criticism of his own work was that his black characters were too romantically drawn. In his famous words he had written a book, which even a banker’s daughter could weep over. He would react to this dramatically in his next published work, the famous novel Native Son.
After the success of Uncle Tom’s Children, Wright’s path in the publishing world was made easier. He worked furiously on Native Son for years, finally publishing it in March, 1940. The book was released in collaboration with the Book-of-the-Month club, which had a huge impact on literature sales in this era. This was the first time the club chose a black author, and the selection was done cautiously. The book exceeded all expectations. Harper and Brothers printed 170,000 copies of Native Son, an extraordinary print run for a first novel. Within a few days, they reprinted the book. Within a few weeks, Native Son had sold more copies than any novel Harper had published in the previous twenty years. It is no exaggeration to say that Native Son almost instantly transformed the literary scene in the
What was it that made the book so powerful? Wright delivered an unflinching look at racism and class inequality, not in the rural South but in the heart of
Bigger goes to work as a driver for the rich, liberal
Bigger then is forced on the run and chased throughout the city in a manhunt that takes on the character of a lynch-mob atmosphere. Bigger is falsely charged with rape, which enflames racist white passions to no end.
Once he is caught, Bigger faces jail where he is defended by a Communist lawyer named Max, who defends Bigger from a kangaroo court. Max’s argument is that the institutions the
I plead with you to see a mode of life in our midst, a mode of life stunted and distorted, but possessing its own laws and claims, an existence of men growing out of the soil prepared by the collective but blind will of a hundred million people. I beg you to recognize human life draped in a form and guise alien to ours, but springing from a soil plowed and sown by all our hands. I ask you to recognize the laws and processes flowing from such a condition, understand them, seek to change them. If we do none of these, then we should not pretend horror or surprise when thwarted life expresses itself in fear and hate and crime. (NS: 388)
Wright’s choices with Bigger’s character stand in stark contrast to those he made in Uncle Tom’s Children. Bigger is drawn without a trace of sentimentality. He is no hero; no martyr. Bigger is a bully among his friends and a petty criminal. Bigger has little emotional connection to his family or to his girlfriend Bessie. In fact he kills Bessie to prevent her blowing his cover as he is on the run. In an essay on the making of Native Son, Wright wrote,
I could not write of Bigger convincingly if I did not depict him as he was: that is, resentful toward whites, sullen, angry, ignorant, emotionally unstable, depressed and unaccountably elated at times, and unable even, because of his own lack of inner organization which American oppression has fostered in him, to unite with members of his own race. (NS: 448)
Wright was making a powerful statement. He wanted to force the reading public to acknowledge the traces of barbarism that oppression and exploitation produce among those at the bottom of
The picture of the Communist Party in this novel is quite complex. Jan is shown to be clumsy and mechanical, expecting Bigger to respond magically to his appeals for class solidarity. Wright shows how he and Mary reinforce Bigger’s feelings of hate and alienation even as they try to demonstrate their desire for black equality. Wright said that he wrote the book in part to show Communists how to better relate to and understand the black workers they aimed to organize. Yet at the end of the book, it is the Communist Max who is the author’s voice, giving meaning to Bigger’s life struggles and explaining the roots of his crime. While some critics have seen Native Son as a preview of Wright’s eventual disillusionment with the CP, it is the theoretical framework of Marxism which animates the book and gives its final section meaning.
That said, Wright’s ambivalence about the CP itself was to grow over the next few years. Wright left the CP in 1942, just two years after Native Son’s publication. To explain this we have to return to an examination of the political trajectory of the Communist Party. Earlier, I discussed the party’s Popular Front era. Those dynamics came to an abrupt halt in 1939, when Hitler and Stalin signed a non-aggression pact. Soon after, Hitler’s armies moved through Eastern Europe, while Stalin claimed half of
Wright had a hard time stomaching this, but publicly toed the party line. What finally pushed him to leave was the CP’s refusal to challenge segregation in the military, which the CP thought would undermine the war effort. This was a tragic moment for the
Wright went on to write:
There are 13,000,000 black people in the United States who practically have no voice in the government that governs them; who must fight in the United States army under Jim Crow conditions of racial humiliation; who literally have the blood, which they so generously offer out of their veins to wounded soldiers, segregated in blood banks of the American Red Cross, as though their blood were the blood of sub-humans. (ISR: 65)
Initially, Wright left the party quietly, but he was to raise his criticisms of the Party publicly in the years to come. Wright published an essay in the anti-communist anthology, The God that Failed. Later he described the pain and confusion that accompanied his decision:
When I was a member of the Communist Party I took that party seriously, and when I discovered that I was holding a tainted instrument in my hands, I dropped that instrument… Communism had not been for me simply a fad, a hobby; it had a deep functional meaning for my life. Therefore when I left the Communist Party I no longer had a protective barrier, no defenses between me and a hostile racial environment that absorbed all of my time emotions and attention.” (ISR:65)
In rejecting the Communist Party, Wright also came to distance himself from Marxism as a method for understanding and changing the world. Unfortunately, the anti-Stalinist revolutionary left was too small and too weak to be a pole of political attraction for someone like Wright disillusioned with the CP’s many unprincipled twists and turns.
Wright’s decision to leave the
Wright’s life as an expatriate routinely gets far less attention than his time in the
Wright’s first published novel abroad was The Outsider, which was released in 1952. The novel is a fascinating and deeply dark portrait of a black man thoroughly alienated from the society around him. Unlike Bigger however, this protagonist, Cross Damon, is an intellectual. The story takes off following a gruesome train accident in which Damon is presumed dead, allowing him to create a new life, breaking completely with his mother, estranged wife, three children, and pregnant girlfriend. The book is a bizarre journey through intensely psychological, existential angst and philosophical speculation. Damon becomes a murderer, first to protect his new identity, and later simply because he can, and because he detests the politically menacing figures who become his victims. The story is intensely anti-communist. Damon encounters the CP after fleeing
“real Communist leaders do not believe in its ideology as an article of faith. Such an ideology is simply in their hands and minds as an instrument for organizing people. A real Communist would have a certain degree of contempt for you if you passionately believed in his ideology. He would accept you as a follower, but not as an equal. The real heart of Communism… is the will to power.” (Outsider: 515)
The novels many twists, turns, and violent murders are impossible to recount here. By the end of the book, we are left with a deeply pessimistic perspective on the potential for any form of progressive organization in modern society. We are also unsure whether the virtually all-knowing protagonist truly represents Wright’s political and social perspective or is that of a psychotic madman.
Wright went on to write several important works of non-fiction. In Black Power, Wright tells the story of his trip to
Pagan Spain, is viewed by many as the strongest of Wright’s non-fiction. Wright visited and wrote about
In The Color Curtain, Wright reports on the
I noted earlier Wright’s comment that a writer destitute of a theory about the character of modern society would become lost in a world he cannot understand or control. The comment was poignant, but in many ways, it helps to understand Wright’s own erratic political trajectory in the 1950s, inspired first by existentialism, then by third world nationalism, always engaged in the political challenges confronting his world, but without a political home or foundation. Wright’s life describes a trajectory shared by millions of workers in the 1930s and 40s—inspired by the possibility of socialism, and then betrayed by the reality of Stalinism. After the leaving the CP, Wright continued to produce important work—but his writing never regained the sense of hope and possibility that was linked to his days as a member of the Party. Wright’s legacy is an important one for the Left to understand and recover. While Wright may be read in many a high school, rarely are the politics that guided this man’s work discussed and understood. The entire legacy of the artistic awakening of the 1930s and 40s, of which Wright was a leading figure, is one we need to rediscover and celebrate.
8 Temmuz 2012 Pazar
Swagger Jagger - Cher Lloyd’s Song Swagger Jagger Official Music Video
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| Cher Lloyd |
Her debut album is planned to be released on 7th November 2011. The young singer has been working with songwriter Autumn Rowe and producer RedOne. Here gives vovo video from Youtube of cher lloyd’s song Swagger Jagger.
Waka Waka – Shakira’s Song Waka Waka Official Music Video
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| Shakira |
The theme of the song is based upon traditional African soldiers’ song named Zangalewa. The song was written and produced by Shakira and John Hill. The song represents the vitality and energy of Africa with rhythmic African sounds. The song is composed in the key of D-major with metronome of 128 beats per minute and Shakira’s vocal range spanning from low note of G3 to high note of A5. Some South Africans have complained that they would have liked a local singer to perform instead.
Waka Waka (This Time for Africa) official music video (vevo) from Youtube
The music video of the song was released in 3D as well as standard definition. The video of the song was directed by Marcus Raboy, cinematographed by Christopher Probst, edited by Hal Honigsberg. Besides featuring Shakira wearing an Orange vest top, short black skirt and lots of colorful bracelets and flowers, Football players like Dani Alves, Gerard Pique, Idriss Carlos, Rafael Marquez, and Lionel Messi also appears in the video. Footage from past world cups is also previewed in the video. Diego Maradona, Ronaldo, Pele, Denilson are also highlighted in the video along with the famous penalty miss by Roberto Baggio in 1994 that secured championship to Brazil. The video was ranked #1 at The Guardian Viral video list and had become a worldwide hit with viewership of around three million times a day between June 10 and June 17, taking its total to over 355 million views on YouTube.
One Time - Justin Bieber’s Song One Time Official Music Video
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| Bieber's One Time |
It was released via mainstream & rhythmic airplay in United States on May 18, 2009, than via digital download in Canada on July 7, 2009 including many other countries by Autumn, finally in United Kingdom on January 4, 2010 via digital download.As the song was released and reached to the ears of music lovers it banged the music world, and received positive reviews on chart as well as from critics.
Reviews:Critics appreciated Bieber’s “One Time” on all aspects excluding one or two.A “perfect kickoff” to the career of Justin Bieber said – Bill Lamb. He also commended the production for making the single contemporary & commercial song.Billboard’s Michael Menachem called the song “a hallmark pop song that also taps into a prevalent teen hip – hop aesthetic”The song was named as one of the hottest songs of fall of 2009, Leah Greenblat of Entertainment Weekly also said it was a “pop – soul” which bonafides with this refreshingly age – appropriate chronicle of young love.
Critics Criticism:Aspects which critics thought that Bieber was failed was that the song was too “generic” and also he had little room to show his voice - Bill Lamb.Unlike Lamb, Menachem said the song gave Bieber’s vocals plenty of room to shine as he confidently breaks into the chorus.Bieber’s “One Time” was compared to Brown on the track - Billboard’s Michael Menachem
Justin Bieber’s Song One Time Official Music Video From Youtube
Performance on the Chart:
In several countries like Canada, US, Germany, United Kingdom, France & New Zealand Bieber’s song achieved commercial success. It remained on the chart for more than 6 months before eventually peaking at number 17 on the chart.
Certifications:
The single was certified Platinum in Canada by CRIA in Sept., 2009 than by RIAA in United States in January 2010 than by ARIA in Australia & finally by RIANZ in New Zealand.
As of February 2011 the single was sold 2,132,000 times achieving international success on & on.
So Rock on with “One Time” by Justin Bieber.
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7 Temmuz 2012 Cumartesi
Cikaro Lyrics – Caprice ft Bryan B & Ron E Jones
Cikaro Lyrics – Caprice ft Bryan B & Ron E Jones
Yo C to the P
what’s on
what’s on
Ey yo Ron E Jones,
pull out the safety ooh mann
i don’t know what
she doing cuz she
got me in a trance
way she move and her body and the way
she shake that ass
all i know,
she’s dancing all alone,
i wanna give her something that she never seen before, oowh.
and when i stepped up in the club you know it’s on
that she knows
(that she knows)
that she knows
(that she knows)
i get my gamble with the bottle in my hand,
that she knows,
she’s waiting for me,
oooh, i know i didn’t even know the girl’s name,
yeah yeah, eyy, ooohh..
that didn’t stop is both from doing the dam thing,
yeah yeah, thing, yeah.
yea we gonna hit it of tonight,
hit it of tonight,
hit it of tonight,
hit it of tonight,
get hit it of tonight,
yea we gonna hit it of tonight,
hit it of tonight,
hit it of tonight,
yeah hit it of tonight,
get hit hit hit hit hit,
Gimme that chikaro,
Gimme that chikaro,
Gimme that chikaro,
Gimme that chikaro,
(rororororororo!)
Chikaro,
gimme that chikaro,
Gimme that chikaro,
(rororororororo!)
heyy..
rororororororo!
rororororororo!
heyy..
rororororororo!
rororororororo!
heyy..
C to the P
Aha, okay
i’m gonna lie, i’m going front,
she’s the time take a player go fly,
and i mean fly, higher that the spaceship,
she’s my F1 got me racing,
real real sweet life mozarella,
forget about the bass she’s acappela,
make it rain, any weather,
got her wet can’t find the umbrell, oowww.
Ooh, was that your girlfriend.?
i didn’t even know her name,
my game slick, lepak boyz
he’s my crewz semua sempoi, poi poi,
apa lagi,
highlight girls from Montkiara, Subang Jaya, Damansara,
Ampang girls are so bahayaa,
yea we gonna hit it of tonight,
hit it of tonight,
hit it of tonight,
hit it of tonight,
get hit it of tonight,
yea we gonna hit it of tonight,
hit it of tonight,
hit it of tonight,
yeah hit it of tonight,
get hit hit hit hit hit,
Gimme that chikaro,
Gimme that chikaro,
Gimme that chikaro,
Gimme that chikaro,
(rororororororo!)
Chikaro,
gimme that chikaro,
Gimme that chikaro,
(rororororororo!)
if you don’t know what we know then you don’t know bro,
and if you brawling like we brawling you will know bro,
i got Sophia and i got Mia,
and i got 30 other girls that wanna meet yaa.
cause if you don’t know what we know then you don’t know bro,
cause if we party like we do then you will know bro,
we got Alisya and we got Lisa,
and we got 30 other girls that wanna meet yaa.
Gimme that chikaro,
Gimme that chikaro,
Gimme that chikaro,
Gimme that chikaro,
(rororororororo!)
Chikaro,
gimme that chikaro,
Gimme that chikaro,
(rororororororo!)
(3x)
hey..!!
rororororororo!
rororororororo!
hey..!!
rororororororo!
rororororororo!
hey..!!
rororororororo!
rororororororo!
hey..!!
rororororororo!
rororororororo!
Other Lyrics
Post on: Friday, June 22, 2012Category: Lyrics