AMY GOODMAN: This is Democracy Now!, democracynow.org, The War and Peace Report. I’m Amy Goodman. We’re joined now by one of Mexico’s most acclaimed singer-songwriters, the Grammy-winning Lila Downs. She just released her 10th album. It’s called Salón, Lágrimas y Deseo. She dedicated it to strong women everywhere.

Lila Downs is preparing for some of her first concerts in the United States since the election of President Donald Trump. Last year, she dedicated a new song, titled “The Demagogue,” to Trump. Part of the lyrics include the lines “He’s a bully, a salesman / Selling fear and hate / Who do you think you are? … No to that wall / I’m cutting all the hate / And planting love.”

For Lila Downs, singing about politics is nothing new. She was born in Oaxaca in 1968. Her music has long been inspired by the sounds and struggles of indigenous people in Mexico.

Lila Downs, it’s an honor to have you hear at Democracy Now!

LILA DOWNS: It’s an honor to be here. Thank you.

AMY GOODMAN: So, can you start off by talking about what inspired you to write a song about the U.S. president, Donald Trump?

LILA DOWNS: Oh, my goodness. Well, a lot of emotions. I think I was mainly concerned about Mexican Americans and also Latin people going out and voting. And I think I was also—I was also aware of the fact that there was—the KKK was in the picture somehow, and it really scared me. And I guess that I also felt fear, the same way that I imagine a lot of racist people feel fear towards us. So, I would say that it was a kind of a natural, instinctual response to hate, to insults towards, you know, beautiful cultures in Latin America that survive. And also I felt really disappointed with—with people who are very ignorant about who we are and our beautiful history and rich cultures, because we are quite diverse past the border, down south.

AMY GOODMAN: You know, not a lot of people thought he would win when he first announced two years ago, in 2015, that he was running for president, when he came down the escalator. And in that first presidential, you know, announcement, he talked about Mexicans as rapists. Do you remember where you were when you first became aware of him as a presidential candidate and what he was saying—

LILA DOWNS: Oh, my goodness.

AMY GOODMAN: —not only about Mexicans as rapists—

LILA DOWNS: Yeah.

AMY GOODMAN: —but about building the wall that Mexico would pay for?

LILA DOWNS: Yeah. Well, I think that it was kind of like a monster creeping up—I mean, that’s why I think I put that lyric in there—a monster creeping up from my deepest fears. I think I have devoted my life to write songs about very dark situations sometimes, about maquiladora women who work at the border, which is a pretty serious subject. I think that I was very insulted and—but I wasn’t surprised, maybe because, you know, I grew up in Minnesota part of my life, and I was aware of the fact there were a lot of people feeling a lot of things, that I could see through their eyes, but never dared say anything. So I guess it is like coming out of the closet, in a way, you know, all this hate—fear mainly, I think, and ignorance, of course.

AMY GOODMAN: Oh, by the way, President Trump just went to Iowa, where he did another campaign-style rally. Interestingly, the local paper, which is quite conservative, urged him not to be in Iowa but to go back to Washington to govern, not to do campaigns. But in that speech that he gave this week, he talked about the wall, building it, again, but he said he’d put solar panels on the wall, so Mexico would have to pay less for it, because they could generate electricity.

LILA DOWNS: Oh, wow! Interesting addition.

AMY GOODMAN: So, why don’t we go to you performing “The Demagogue”?

LILA DOWNS: [singing] At the edge of the world
Where the factories are
There’s a burning of hatred
That’s crossing the lines

There’s a blue-eyed devil man,
Thinks he’s king of the world
He’s a bully, a salesman
Selling fear and hate

Who do you think you are?
He plays us with his hate
Turns man against man
But it’s really not a game

And I pray to the ancestors’ love
Do not be fooled by this man’s foolish talk
The serpent woke again
In different times and places
There’s a burning cross
Leading the mob
People in chains
He’s a quack circus act creeping from the past
He’s the symbol of the monster we no longer want to be (what we used to be…)
The earth trembles with these names
Mussolini, Adolp Hitler, Pinochet
No respect for woman, no respect for race
No respect for anything that lives, the human race
But he cannot buy our soul

NO A ESE MURO
Voy cortando el odio
Voy sembrando amor

NO A ESE MURO
De la explotación
Pero es mi casa
La luz de la mañana
El lugar de mis ancestros
Las flores del desierto

Gonna show that my love
Is much stronger than hate
I’m gonna call on the four winds
I’m gonna change my fate
Gonna rise up singing
Gonna stand for this place
It’s a long time, Mi Gente
And there’s no turning back
There’s no turning back
There’s no turning back

AMY GOODMAN: That’s “The Demagogue,” performed by Lila Downs, the many-time Grammy Award-winning Mexican singer, who’s performing in the United States and has just released her 10th album. So, let’s talk about your growing up, because you grew up both in the United States and in Mexico. You were born in Oaxaca. Talk about your family—

LILA DOWNS: Yeah.

AMY GOODMAN: —and your inspirations and what it meant to live here and how you felt.

LILA DOWNS: Well, I think that one of the issues in my life has always been defining myself. And, you know, some people call me Mexican, but I consider myself Native American, Oaxacan, Mexican American, Chicana and a citizen of the world.

AMY GOODMAN: Your father from here, your mother from Oaxaca?

LILA DOWNS: Yes. My father was Scottish-American, and my mother is a Mixtec Indian from Oaxaca.

AMY GOODMAN: How did they meet?

LILA DOWNS: My mother was singing in a little bar. Or, actually, she says it was a cafetería. And my father’s version was more romantic and bohemian. And, yeah, he was working on a documentary, studying the blue-winged teal—he was also a biologist—that migrates from Canada to the Yucatán Peninsula. And he went through Mexico City and saw this woman singing and dancing. And he—

AMY GOODMAN: In this cafeteria, not to be confused with bar.

LILA DOWNS: Yes, of course. And he fell in love. And he got divorced—I have half-sisters and brother here in the U.S.—and, you know, then continued this story. And finally looked them up later on, you know, in my life.

AMY GOODMAN: 1968, you were born in Oaxaca. When did you move back to the—when did you move to the United States?

LILA DOWNS: I actually was very fortunate and had the privilege of being in the U.S. one year and then another year in Oaxaca, in a little village in Oaxaca called Tlaxiaco, and then going to Minnesota and then coming back, and like that. That was my elementary and also high school. Then I went to L.A., moved to L.A. for a little while. And then, at the university, I returned to University of Minnesota. So I always had that—

AMY GOODMAN: To study anthropology?

LILA DOWNS: Yes, to study, well, first, voice, and then, you know, dropped out, followed the Grateful Dead for a while.

AMY GOODMAN: Why the Grateful Dead?

LILA DOWNS: Well—

AMY GOODMAN: A lot of Deadheads are now saying, “What do you mean, 'Why the Grateful Dead?'” But—

LILA DOWNS: Yeah. Well, you know, I—well, I was attracted to the title of their band, firstly, but then kind of wanted to really drop out of society and figure myself out, like I said, because this has been my journey. And through music, I’ve been able to figure myself out, in some ways, I guess.

AMY GOODMAN: Did you find yourself at a point, growing up, when you were in the United States, of shunning your Mexican culture?

LILA DOWNS: Definitely, definitely. You know, like I said, Minnesota was a very Nordic kind of a place. There were few Latin people in St. Paul, I remember. But definitely people would not talk about the racism, but you felt it there. Of course, this also happens in Mexico, because, as you may know, Mexican nationals, if we have dark skin and black hair, generally, we have Indian or African origin, or a mix in some place. And some of us can trace back our heritage to some Indian group. There are 64 Native American groups in Mexico, and languages. And the Mayan language and the Nahuatl language, or the language of the Aztecs, are spoken by millions of people today.

AMY GOODMAN: And what about Mixtec, your mother’s?

LILA DOWNS: My mother’s language is spoken by probably 400,000 to 500,000 people, many of whom are living in California and Oregon and Washington working the fields.

AMY GOODMAN: Did you reject your mother as you rejected your culture, for a time?

LILA DOWNS: I did. I did. I was studying classical music, and I remember feeling rejected, in a way, by the European tradition, I guess, you know, singing songs in French, in German and Italian. And I thought, “Wait a minute. You know, I’m really—something is going on here.” I would look at myself in the mirror. I used to bleach my hair blonde. And it wasn’t—it wasn’t me. And during the Grateful Dead following, I let my roots come out. And that was the beginning of this—this journey looking for my Native American roots, which are also very much in denial in Mexico, in many parts of Latin America. We’re still working on that one, as well.

AMY GOODMAN: And so, how was that year following the Grateful Dead? In the end, how did you discover yourself?

LILA DOWNS: Well, I wish I could say, you know, it was from one night to the other. But life doesn’t work that way. I think that it’s about lessons and steps, and certainly music, I think, is the kind of magic that opens the soul in a way that you can connect with and have empathy and learn about things that are different to yourself. And in that, I think I have been fortunate to find examples of amazing women in my life.

My mother taught me to sit and observe other women. And this was one of the greatest lessons in my life, I think, because this way I have connected to women from, you know, North America to the tip of Patagonia and found out the beautiful way that we create food out of corn, for example. And this is a uniting symbol. Of course, corn means something very different here in the U.S. in what it has become, which is also a very interesting issue. People have taken control of something that is very sacred to us in Native America—and I mean America, the continent. And I think that my mother would say, “Let’s sit and listen to the women who are with their tenates,” which are these beautiful baskets, and they sit on the floor in the markets of Mexico, “and just watch them.”

And so, I wrote a song about this, and I named my son Xilonen, which is “tender corn,” because the moment of tender corn in the Mixtec language, for example, is the most precious version of beauty. And so, there are these poetic things that we can learn from and that we inherit naturally. It’s all a matter of, you know, reading a little bit about our stories and, hopefully, listening to the music that brings us these stories.

AMY GOODMAN: You talk about being inspired by your mother and her telling you to watch women. Your title song on your latest album is “Peligrosa,” is “Dangerous Woman.”

LILA DOWNS: Yes.

AMY GOODMAN: Talk about this.

LILA DOWNS: You know, it’s very interesting, because when people come up to me and say, “Oh, so now you’re peligrosa? Now you’re dangerous?” the way women ask the question is very different to the way men will ask it. And some men feel the aggression, and they’re like, “Oh, so you’re one of these feminists?” And so, I answer, “Well, if it weren’t for feminism, I would not be here talking to you freely. I could not wear my jeans. I could not come and speak to you freely. I would have to ask permission from my husband. I couldn’t vote.” And, you know, it’s a very good subject to bring up and talk about. So I love that about our music. And I think, generally, I do songs and I write songs based—and I choose classic songs, based on that possibility, in order to discuss these songs, and also perform them and make people—hopefully, make them feel. What does it mean to have a dangerous woman? Is it because she thinks? Is it because she has opinions? Is it because she is independent and beautiful maybe?

AMY GOODMAN: Are there particular women you think of when you sing “Peligrosa”?

LILA DOWNS: Yes. I think of women who are very strong, who have maybe been in violent situations, painful situations. And in spite of this, they get up. And even though they’re limping, they get up, and they love. They love, in spite of all that. And that is just amazing to me.

AMY GOODMAN: Let’s go to Lila Downs, the Grammy Award-winning Mexican singer, singing “Peligrosa,” “Dangerous Woman.”

LILA DOWNS: Dangerous. They say I’m dangerous woman, because I think, I have opinions, I vote. And I’m perceiving something that feels like love. I’m not sure it’s love.

[singing] Dicen que yo soy peligrosa
Que yo soy dolorosa
Porque quiero vivir así
Dicen que yo soy enjundiosa
Caprichosa y hermosa
Que no puedo seguir así

Te digo que si soy peligrosa
Que si soy dolorosa
Porque te quiero para mi
Si soy afanosa
Intrépida, costosa
Que quiero lo bueno para mí.

No sé lo que siento contigo
Pero todo lo quiero contigo
Y todo lo puedo, no sé, no sé qué será
Sin eso que tienes tú
Que parece amor, no sé, no sé si es amor
No sé si es amor.

Te digo que si soy peligrosa
Que si soy dolorosa
Porque te quiero para mi
Si soy afanosa
Intrépida, costosa
Que quiero lo bueno para mí.

No sé lo que siento contigo
Pero todo, todo lo quiero contigo
No sé, no sé qué será sin eso que tienes tú
Que parece amor, no sé si es amor
Que parece amor
Que parece amor
Que parece, que parece, que parece amor.

AMY GOODMAN: “Peligrosa,” “Dangerous Woman,” sung by Lila Downs. It’s the title song of her just-released 10th album, Salón, Lágrimas y Deseo. Talk about that in English, and when you choose to sing songs in English and in Spanish, but what your song—what the record title means.

LILA DOWNS: Well, it refers to a beautiful era in music, I think. Bolero is a musical tradition that comes from Cuba but is shared in all parts of Latin America and has a particular style when it’s performed in Colombia and, of course, in Mexico, as well. The famous trios, like Los Panchos, Los Tres Diamantes, are very beloved from that era. We would say it’s probably the golden era of music. And for dance, you would go to these beautiful salons, salónes, or saloon-type places, where you could have some drinks, but mainly it was about the dance. And the formality of the dance was, women would have their fan and rest in a certain part of the song. The danzón is a very important genre, as well, during this period, and beautiful instrumentation. You know, Afro-Caribbean music makes a very important connection with this music in Mexico. And also the standard, the North American standard, makes an influence. The chords are more sophisticated. It’s more about the people coming to the city and changing in their vision. And I think I always wanted to do these songs, but my mother kind of really was not very, you know, pro-bolero, pro-sophisticated. She was like, “No, Lila. You know, if you want to sing Mexican music, it’s gotta be the rancheras,” which are the country songs of Mexico, and I would say they’re probably the more soulful songs, which I—that was my first influence, of course.

AMY GOODMAN: Speaking of powerful women, one of the ways your music got known in the United States was through a film, through a very difficult time in U.S. history, right around the downing of the towers, September 11, 2001. You were part of the making of the film Frida—

LILA DOWNS: Yes.

AMY GOODMAN: —about Frida Kahlo, the great Mexican artist.

LILA DOWNS: Yes.

AMY GOODMAN: Can you talk about that project?

LILA DOWNS: Yeah. We were very excited to be part of it. Of course, I studied symbolism in anthropology. And that’s why textiles are very important to me. But I did not know about Frida Kahlo, which is an interesting kind of feminist issue, because in school they teach you about Diego Rivera, in my generation, but you never hear—

AMY GOODMAN: The great Mexican muralist.

LILA DOWNS: Yes, the great Mexican muralist, her husband. But they never talk about Frida Kahlo. I mean, I imagine nowadays they do. I hope. But in any case, I discovered her in college. And I thought, “Wow! This is amazing!” You know, my mouth was open. I then discovered she was Zapotec. Her mother was Zapotec, which is—this textile that I’m wearing is from this region of the Zapotec, off the coast of Oaxaca, Mexico. And Julie Taymor invited us. We were living in New York City at that time. And I guess that Elliot Goldenthal, her husband, who was the musical director of the music in the film, walks into Virgin music and discovers our music. And it was quite a gift for us, because, in a way, we kind of didn’t have to, you know, prostitute ourselves that much, you know? Musicians, I think we have that side—I mean, all of us, I guess, in a way, right? When you need a gig, you need to go out and get it. And so, we got lucky, because we get to do music that has conviction and meaning, and also be in the movie about Frida Kahlo.

AMY GOODMAN: Can you introduce this? We’re going to play a clip of the film where you’re singing.

LILA DOWNS: Yes.

AMY GOODMAN: Can you introduce this scene to us?

LILA DOWNS: Sure. There’s a beautiful scene that’s at the end of the film, where she is on her death bed. And I am singing to her. And I remember the—making the scene was really intense, because we were all crying and crying and crying. To see her die was—it was a big one. And the mariachi is singing there with me, and it’s a beautiful scene paying tribute to this great feminist Mexican painter.

AMY GOODMAN: Let’s go to Lila Downs singing in the film Frida.

UNIDENTIFIED: To Frida!

CROWD: Frida!

LILA DOWNS: [singing] Salías del templo un día, llorona
Cuando al pasar yo te vi
Salías del templo un día, llorona
Cuando al pasar yo te vi
Hermoso huipil llevabas, llorona
Que la Virgen te creí

AMY GOODMAN: Lila Downs, singing in the film Frida, about Frida Kahlo, the great Mexican artist. This is Democracy Now! And Lila Downs is our guest. She’s performing throughout the United States, though she lives in Oaxaca with her husband and her child. Speaking of history, you write about history, write about politics, you—your songs. Can you tell us about San Juárez and who Juárez was?

LILA DOWNS: Yeah. Well, Benito Juárez was the first Native American president, in the 1800s, on this continent, in Mexico. He was a lawyer, and he first became governor of Oaxaca. And then, during Mexico’s independence, he opted to actually befriend the United States, which was kind of in its upheaval at that point in time, and decided to cut off France and Spain. And so, there are a lot of critics of Benito Juárez. But in Oaxaca, he’s kind of a saint. And I think that he—like my mother says, you know, we have to put him on the altar on the Day of the Dead, because he’s—he has to, you know, put in a good word for us with the saints and with the spirits. And he’s also someone who—I think that we see in him ourselves. So, even though he may have critics, as a lawyer, I think that the fact that he is a Zapotec Indian makes him someone that we really relate to. And we think to ourselves, “OK, do we have to really change who we are in order to govern and to become a legitimate and dignified human being?” No, we can coexist with this Western reality.

AMY GOODMAN: Let’s go to “Son de Juárez” from Lila Downs’ latest album, Salón, Lágrimas y Deseo.

LILA DOWNS: [singing] En mi memoria el tiempo corre
Soy el aroma de cedro y de copal
Sagrado mi derecho de pensar

La vida es corta
Ya no me importa
Hay tantas cosas
Que quiero contigo
Que importan más
Mirar al cerro
Con este cielo
Porque las nubes
Son donde sueño para vivir
La vida es bella
Y en mi memoria
Hay tantas cosas
Que cambian todo sabiendo amar
Te busco en todo
Y en cada estrella
Me sabe la vida
Tomar tu mano
Doy vuelta al sol

Es su retrato, Benito Juárez
Es el hermano de Guelatao
Es su retrato, Benito Juárez
Es el hermano de Guelatao

AMY GOODMAN: That’s “Son de Juárez” from Lila Downs’ latest album. You talk about Juárez being an indigenous president.

LILA DOWNS: Yes.

AMY GOODMAN: Now an indigenous woman is running for president of the United—president of Mexico.

LILA DOWNS: That’s right, of Mexico.

AMY GOODMAN: First time in what? A hundred forty-five years, after San Juárez.

LILA DOWNS: Yes, yes.

AMY GOODMAN: Her name is Marichuy, María de Jesús Patricio.

LILA DOWNS: Mm-hmm, mm-hmm, Marichuy. She’s a healer, yeah.

AMY GOODMAN: From Jalisco.

LILA DOWNS: From Jalisco, yeah. And she’s a Native woman. And she’s also—one of the interesting things about her platform and her vision, I think, is that she respects usos y costumbres, which is the Native system of government and politics. And I think—you know, my husband says, “Oh, well, you know, she’s going to divide the left, leftist vote,” which probably is going to happen. But, you know, I do think that it’s important for a woman to speak of and to teach people, because people are very ignorant about what indigenous politics mean.

AMY GOODMAN: Can you talk about your song “Envidia”?

LILA DOWNS: Yes. “Envidia” is a song that we dedicate to the haters. [singing] Envidia/Tú me tienes mucha envidia. “You have so much envy of me, you wish you could be what I am, all of what I am.” I mention Lakota, Mapuche, Azteca, Inca, Maya. Our inheritance is our pride. And, yes, maybe youth might think that the world will end, but we will not permit that to happen. I am the tears in these stones beneath us, and I will continue to sing this rhythm to the Mother Earth.

AMY GOODMAN: Let’s go to “Envidia,” the song on Lila Downs’ 10th album that’s just come out.

LILA DOWNS: So this one is dedicated to the haters.

[singing] Ya no me tapas esta vez
Ya somos muchos;
Porque yo tengo lo que tú quisieras ser
Ya no me tienes ahí debajo y escondida
Ya no me insultas porque tienes el poder

Ya no me
Ya no me escondes en el clóset de tu casa
Que no te debo muchas horas de placer

Es más, tú sí
Tú sí me debes
Todos mis años
Mis mejores me quitaste

¿Dónde se fueron
Dónde se fueron nuestros sueños del ayer?

Envidia
Tú me tienes mucha envidia
Porque soy todas las cosas
Que tú quieres para ti

Envidia
Es que me tienes envidia
Viste, la vida sonríe
Y mi corazón es feliz

Horas y horas acabándome por ti
Ya no seré la que se agacha y se calla
A mí se me respeta
Lakota, Inca, Azteca, Mapuche, Maya; mi herencia es una advertencia
El mundo no se acaba porque yo no lo permito
Yo soy las lágrimas en esta piedra
Y danzaré este ritmo a la madre tierra

Todo lo que hago para ti es una afrenta
Y para nada, yo ya no te debo a ti
Si sabes bien y ya me conoces
¿Pa’ qué me invitas a tu fiesta de infeliz?

Ya no me
Ya no me compras, porque aquí bonito cuesta
Que no me vendo con infames como tú
Es más tú sí
Tú sí me debes
Todos mis años, mis mejores me robaste
¿Dónde se fueron
Dónde se fueron nuestros sueños del ayer?

Envidia
Tú me tienes mucha envidia;
Porque soy todas las cosas
Que tú quieres para ti
Envidia
Es que me tienes envidia
Viste, la vida sonríe
Y mi corazón es feliz
Viste, la vida sonríe
Y mi corazón es feliz
Viste, la vida sonríe
Y mi corazón es feliz
Feliz

AMY GOODMAN: “Envidia,” from the 10th album of Lila Downs, performed by Lila Downs in the studios of Democracy Now! Lila, can you just comment on music as a form of resistance?

LILA DOWNS: I think that there—I came to a crossroads at one point in my life, when I was—probably like almost 20 years ago. And I do remember, in my previous life as a singer, I invited my mother to my first recital in Mexico, in Oaxaca. And my mom was there, you know, and my dad had just passed. I was 16. And so, we were—we had a broken heart. We were very sad. So, we finished the recital. I sang some Bach. I sang, you know, “Ave Maria.” I sang some arias from—I think it was “La Habanera” from Carmen. And so, my mother says, “Oh, yes, hija, very good. You sing very beautiful. But you know what? You don’t—you’re not feeling your songs. You have to have sentimiento.” Wow! You know, that was my big lesson on delivering—you know, as we say in the U.S., delivering the goods.

And I think that it came at that point in my life, so, later on, even though I kept studying voice, I always loved singing, I thought, “No, it’s not enough to just sing a beautiful song. It has to—it has to connect in here, maybe a little bit up here, and sometimes below the waist, as well,” which is really important. And, you know, I married a circus clown and saxophone player. And so, I love the entertainment side of music, but I really do think it’s about conviction. And I think that I have been saved by certain music—I have been saved by Mercedes Sosa, I have been saved by Lucha Reyes, I have been saved by Chavela Vargas—at very dark moments in my life. So I believe that songs with conviction are necessary, and certainly at certain points in history.

AMY GOODMAN: What was it like to win your first Grammy? You won three Latin American Grammys and a North American Grammy, as well.

LILA DOWNS: Yes.

AMY GOODMAN: What did that mean for your career and for more people knowing your work?

LILA DOWNS: Yeah. Well, you know, I think, at first, when someone honors you, you are grateful. But I think one of the main lessons is, in my life, in my Native or my—yeah, my Native American grandmother always taught me to be humble. And I think there’s a great lesson in that. I think it’s an interesting balance between being humble and being proud. I think you need to get legitimation sometimes from your culture, your people, your musical family. It’s important for our people right now. But I also always stay humble. I always believe I am only an ant in this beautiful anthill called life.

AMY GOODMAN: Lila Downs. Her 10th album is called Salón, Lágrimas y Deseo. This is Democracy Now! The album is dedicated to strong women everywhere. I’m Amy Goodman. Thanks so much for joining us.

LILA DOWNS: [singing] Con mi dolor
Causando penas voy vagando por ahí
No hay una frase de cariño para mí
Todos me miran con desprecio y con rencor

Mi corazón
Está cansado, muy cansado de sufrir
Que muchas veces lo he escuchado repetir
Estas palabras que me llenan de dolor

Urge
Una persona que me arrulle entre sus brazos
A quién contarle de mis triunfos y fracasos
Que me consuele y que me quite de sufrir

Urge
Que me despierten con un beso enamorado
Que me devuelvan el amor que me han negado
Porque también tengo de derecho de vivir

Urge
Una persona que me arrulle entre sus brazos
A quién contarle de mis triunfos y fracasos
Que me consuele to help me stop suffering

Urge
Una persona que me arrulle entre sus brazos
A quién contarle de mis triunfos y fracasos
Que me cosuele y que me quite de sufrir

Urge
Que me despierten con un beso enamorado
Que me devuelvan el amor que me han negado
Porque también tengo de derecho de vivir.