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Posted 20 Feb 2022 11:11 by | Cats | No comments

Dialectic and Drama in Compendio

“Raphael, Plato and Aristotle” by profzucker is licensed under CC BY-NC-SA 2.0

Even though I’m only a quarter of the way through Dialogue 2, In Pacheco’s Compendio, his very heavy redaction of Carranza’s Philosophy of Arms, the contrast between it and Dialogue 1 is stark. I kind of feel a kinship with Carranza, because as formal as he is in the First Dialogue, he lets his inner playwright run rampant in the second. (As much as I do research and fact-based work, my true love lies with fiction and dialogue.)

This is just an early analysis, a sort of feeling things out about the book itself, but I think there’s much to be learned from the differences in these two sections. The first hews pretty closely to dialectic teaching structures. The second, however, is much more dramatic, much more like what you might see on stage. Why would Carranza do that? Was it caprice? What might it achieve? Let’s look at dialectics first, then dramatic text, and see what we find.

Dialectics

Despite the kind of university degrees I attained, I hadn’t really tackled a dialectic text before, not formally. Pacheco’s edit of Carranza’s work is my first.
Briefly, the dialectic method is a conversation with each participant having their own point of view, but with a mind to establish the truth through reason and argument. The Socratic Method is one example, but by no means the only one.

Medieval logicians, relying strongly on Aristotle, built a framework for formal dialectics:

  • Set out the question
  • Set out a tentative answer
  • Declare the arguments for that answer
  • Declare one or more arguments against that answer
  • Resolve the question after synthesizing the arguments and evidence
  • Reply to the initial objections (folks who read Rada — this look familiar?)

So, to give a quick and dirty example:

  • Are cup hilts a form of cheating (as compared to sidesword guards or swept hilts)?
  • No.
  • Cup hilts:
    • are a structural response to evolving technique and technology
    • are a natural evolution of hand protection on the sword
  • Oh yes they are a form of cheating. Cup hilts:
    • weaken the fencer’s strategic thinking by obviating a target requiring defense
    • are no more protective than shell or lobed guards or Pappenheimers
  • Resolved: Cup hilts are not a form of cheating
  • Replies to objections:
    • A fencer must still defend against strikes to the forearm, so avoiding hand snipes through a guard is a bit of a specious argument
    • If shell, lobed, and Pappenheimer guards protect the hand as well as a cup hilt, are they not “cheating” as well? Either all of these guards, cups included, are cheating, or they’re not.

If you’ve read the First Dialogue, this will feel eerily familiar.

First Dialogue

In a later post, I may take a much closer look at how Carranza follows dialectic structure in the first part of his work, but for now, we only have to consider that he has subsumed the personalities into the service of getting ideas across. It’s clear that C(h)arilao (Carranza calls him Charilao, but Pacheco kills the |h| for some reason) is the actual diestro, and, I posit, Carranza’s self-insert. The other characters, with their own vocational backgrounds, serve to ask questions relevant to their points of view.

The conversation is courteous, as one might expect of well-born men chatting in the courtyard of their benefactor’s estate. But the conversation, except in brief bursts, is pretty mechanical. He’s working hard to convey these fairly Aristotelian arguments across. Here’s the first exchange, which features some of that artistic spark — but note that spark is quickly suborned into being the impetus for the start of the dialectic.

Eudemio
It’s been well said, Carilao, that the imagination is powerful, and with great violence can overcome all of the faculties of man. You’ve been quiet, and haven’t heard us, as we’ve spoken of the greatness of this house.

Carilao
It shouldn’t surprise you that I haven’t heard you, because I’ve been consumed by an unhappy memory of past events.

Polemarco
In that sense, your imagination is very different from what Eudemio thought, because seeing you so absorbed in thought, I feel like you were more considering arms and destreza, than in anything else.

Carilao
You abuse what’s owed to a good friendship, because why would you want me to put thoughts into what I deal with least, and hate the most: because the skill at arms is nothing more than a vanity ignorant men give themselves to, heavy with leaves but without hope of fruit, like the árbol loco. But once the tree falls to the ground, whoever comes by makes firewood of it, like ignorant people have made of poor destreza. I can’t take it anymore.

Eudemio
Certainly, you have reason to be infuriated by the diestros’ damaged traditions. And leaving that now for another time, tell me something of the true theory, and how it should be applied to the movements of the sword, to be correct in them, and about the things considered in the true skill.

I apologize now, because it’s a wall of text, but let’s take a look at an exchange just a couple of pages later. While you can’t really have Carilao asking questions of himself, you could have any of his companions ask the follow-up questions and have it make sense. And while there is a stilted formality in the previous example that comes from outmoded language being rendered through translation, there’s still an appeal to humanity, a depiction of people who know one another, and are concerned about their well-being, and interested in what they have to say. Compare that with this.

Carilao
The truth is that the things you have doubts about are difficult for people who don’t know the science, which we can undo by understanding the order carried by the universal attacks, because there’s no exception to them between tall or short bodies; between montantes or pikes; swords or montantes; daggers or swords.

The reason for the whole is also the reason for its parts, because the postures of any category of weapon are divided according to the angles (as we’ll talk about further on), among which, according to Euclid, is one that reaches further than the rest, which is the one that corresponds to the firearm, and is between the strong and the weak, because between the increase and the decrease is the mean.

There is also another angle, stronger than all the others, which corresponds to the greatest strength, and another angle, that is weaker, [corresponding] to the weakest strength, in such a way that they suborn and interrelate with each other according to the movements made by the body that produces them.

It’s clear the universal technique is regulated against the strongest posture of the body, and against the longest posture of the sword (which is the one that corresponds to the greatest length of whichever weapon is being used, regardless of the length of the person’s body, but in relation to the disposition of the angle, which is the hardest thing to understand, due to it being the door through which the techniques enter and exit).

It’s also clear that when the body is small, the proportion, angles made of short lines, the posture the body has, will also correspond, if they are to equalize with the disposition of the body.

You would do well to consider that the body will perform a technique more easily when the body is not in the middle, nor when the sword and the arm are in the longest posture; [better to be] in a weak angle, with the body in one of the extremes it can have: because the one who could do the most, will be able to do the least.

And these propositions – know that they’re not particular to the sword alone. They’re universal to all the weapons that exist, decreasing and increasing movement, and moving the end[point]s, according to the measure of proportion that each one has.

Eudemio
This is difficult for me because of how unfamiliar these terms are, in this science. Say something about strength, maybe that will be easier for me to understand.

If you’ve ever taken a creative writing class, or a playwriting/scriptwriting class, this is the opposite of their advice, where the emotional drives of characters inform what they say, and what they say is not often so on-the-nose. And in this case, that’s okay — Carranza was never writing something to be put on stage. He’s establishing theses and supporting them with arguments, and with refutations of arguments against them. There’s conversation, but it’s not necessarily about emotions or narrative in the sense that you get to watch a person develop or a villain get his just desserts.

Dramatic fiction

As much as the First Dialogue has no driving emotional narrative, the Second Dialogue does. How can Aristotelian didacticism possibly be engaging?
By introducing a foil for the characters to play against. A fall guy. In this case, Carranza creates a “vulgar maestro” (who so far is not named) to prove, through his folly, the truths revealed in the First Dialogue.

Now that we have motives (Carilao intentionally invited this vulgar maestro to talk with his friends, and Polemarco, recognizing that the maestro won’t do anything brash or foolish if Carilao’s around, convinces him to leave for a time to let the maestro hoist himself by his own petard), now we see bits of personality coming through.

Polemarco, who seemed a bit restrained before, employs a good bit of sarcasm to defend his friend’s character.

Polemarco
Carilao has won his reputation with the nobility, and with men in the know, and in that, this is not opinion, like with it with other people — instead, it’s truth determined through experience.

Maestro
And wouldn’t it be good (says now the gentleman) that we all could see it, so that we wouldn’t have anything to say against him?

Polemarco
It would be good, if you and those you talk about could understand. And according to your perception, Carilao did wrong, any time that something happened, to not hire a town crier, like a puppet show player, to inform everyone, so they’d know, and they’d see; and they would have confirmed it, because the things that the vulgars or lower classes have done, they wouldn’t have held as impossible.

Maestro
Let’s leave that aside, I was only joking around with you….

Eudemio starts to show some backbone, too.

Eudemio
Tell me first — when will I learn to attack someone cleanly, without getting hit myself?

Maestro
When? When you hit him from behind, and understand, that these techniques we’ve just done, are of the unbeatable kind, rich, examine them well, because with any of these, if there were any of those diestros who wanted to fight me over a couple of reales, throw them into my hands because I’ll make their reputation drop hard to the blade and the right hand.

And while before, in the prior dialogue, we had no implied action, it happens twice in the second (so far).

Maestro
…
Do you know who learns from me the rodela, which I know extremely well, and the punch thrust, fingernails down? But they have to learn in secret, because if they know it, they wouldn’t use it often, and no one would dare [attack them] in their lives.

—Poorly done, sir, that hurt, that cut to the maestro! Not so long [on the reach]!

Eudemio
My apologies, I didn’t think I’d get so close.

Maestro
It’s all right, [because it shows] you’re improving. I believe it….

That em-dash is my addition, to help get the idea across that Eudemio’s just smacked the maestro, who wasn’t expecting it because he’d pulled Eudemio aside to try to get him to buy some rodela lessons. There is nothing in the text saying Eudemio struck the maestro, not even narrator text, which does exist in other parts of the dialogues.

Why would Carranza do this?

A part of me believes it’s because one soul can only write so much Aristotelian argumentation before they wither into dust, and a bit of a creative break was needed. I mean, dramas of that era often contain small comedic scenes to break things up (any Shakespearean tragedy, for example). But consider what Carranza and Pacheco and other later verdadera destreza authors have maintained about the practice: that it’s a science and an art.

As much as Carilao talks about relying on reason to determine truth, and to not let emotion be in the driver’s seat, emotion exists and will try to do at least some of the navigating. That’s part of what it means to be human. So, following up a very formal dialogue that builds an iterative argument for treating swordplay as a science with a scene that shows a science-convinced student “learning” from an emotionally driven master of the vulgar style makes the same argument from the emotional side.

Seriously, the Maestro’s a jerk. There’s plenty more jerk-ness in the Second Dialogue.

Why I think it’s genius

From biographical information on Carranza, we get a picture of someone who understands people. This is meaningful on two levels. You can’t write good dialogue until you start getting a better sense of people, and why they do things, and it takes this kind of understanding to consider that a comedic scene is just the thing to help the crunchy ideas settle in, and give the reader a break.

Also, I cannot tell you how many times I’ve responded to a term paper assignment with “lemme write you a play/short story” and have gotten away with it. I understand the need to just write something without hewing to formalities.

Why I think it’s a pain, but love it anyway

The First Dialogue was difficult to translate, but once I understood it was soaking in Aristotelian frameworks, I had a key to follow in figuring out Spanish that wasn’t quite making sense. The formality, initially an obstacle, ended up giving me a set of rules I could rely on. But in the Second Dialogue, there’s a lot of idioms there, and there’s a lot of natural speech — self interruptions, statements that aren’t full formal sentences.

This leads to … complications. But I’m fortunate that I grew up in a bilingual household, on the US border with Mexico. Sure, it’s not the same in terms of region or time frame, but being accustomed to hearing spoken Spanish absolutely helps untangle the turns of phrase and understood bits of sentences that never quite get uttered. It’s been a long time since I’ve had a chance to work with my playwright’s ear, and it’s the first time I get to do it in Spanish. So as difficult as it can be, it’s also enormously rewarding.

A few last words

If you’re one of my Patreon subscribers, thank you for your support! If you’re not, and you’d like to read more of the translation whose excerpts pepper this post, you can find me here.

Posted 20 Feb 2022 10:31 by | News | No comments

Cop26: World leaders’ electric cars could be powered up by vegetable oil-fed generators because of charger shortage

The UK Government has confirmed the plan despite insisting that “sustainability will be at the core of Cop26”.

The fleet of some 240 Jaguar Land Rover vehicles including its I-PACE SUVs will be provided to ferry the 120 visiting heads of state and their entourages between their hotels and the SEC venue in Glasgow next month.

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A Cop26 spokesperson said where generators were required for charging the vehicles, they would run on hydrogenated vegetable oil – recycled cooking oil – derived from waste products.

I-PACE SUVs will be among some 240 Jaguar Land Rover electric cars taking world leaders to the Cop26 conference. Picture: Jaguar Land Rover

The number of generators being provided and their locations have still to be finalised, but there is speculation they could include the Gleneagles Hotel, 47 miles from Glasgow.

The spokesperson said: “World leaders will be provided with EVs for the duration of their stay.

“The UK will be offsetting all carbon emissions associated with running the event.

“We are aiming to achieve ISO 20121 certification, which will address all aspects of sustainability of the event including carbon, waste management and supply chain management.

“We are working with sustainability consultants on this effort.”

The experimental use of hydrogenated vegetable oil to power generators during the building of the 21 Moorfields office development in central London two years saved 1 tonne of carbon for every 350 litres of fuel used but also produced 71 per cent of the nitrogen oxide emissions and 23 per cent of the airborne particulates of diesel.

Announcing the Jaguar SUVs’ Cop26 role last month, the UK Government said: “The vehicles have all been sourced from existing fleets in the UK, helping ensure the carbon footprint remains low.”

Jaguar Land Rover said the vehicles, which cost upwards of £62,245, could travel 292 miles on a single charge.

Cop26 President-Designate Alok Sharma said the cars demonstrated the carmaker’s “climate leadership in their field”.

Jaguar Land Rover chief executive Thierry Bolloré said it was delighted to “deliver zero-emission transport at the summit”.

However, sustainable transport campaigners were aghast at the lack of planning to ensure sufficient electric chargers were available.

They said the heads of state should instead make use of the free electric shuttle bus service for Cop26 delegates between Glasgow city centre and the SEC.

Transform Scotland director Colin Howden said: “It’s disgraceful that the UK Government is scrambling to put in chip-fat powered generators at the very last minute.

“Governments are great at pretending to take action on sustainable transport, but this reveals the complete lack of preparedness for the wholesale switch away from fossil fuel cars that we require.

“Of course, what we do have in Glasgow is a fleet of new electric buses.

“So perhaps this should be used as an opportunity to get some of these world leaders out of their cars and on to buses.”

A spokesperson for the Gleneagles Hotel said: “No charging generators have been set up at Gleneagles and we’re not aware of the details of those plans.”

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Posted 20 Feb 2022 10:26 by | Vegetables | No comments

Dancing Birb | Minecraft

Just a short video of me dancing with a birb to some intense music because yes

Posted 20 Feb 2022 10:20 by | Birbs | No comments

Giannis just lifted Korkmaz Into The Air Like Nothing As They Crazy Fight !

Posted 20 Feb 2022 10:11 by | Cats | No comments

Hanover, PA Eagle Cam

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Posted 20 Feb 2022 09:36 by | Birbs | No comments

Colton Joint Unified School Board votes to remain in distance learning through end of school year

The Colton Joint Unified School District Board of Education unanimously voted to remain in distance learning through the end of the 2020/2021 school year during the Feb. 24 meeting.

CJUSD Superintendent Dr. Frank Miranda presented the board with a comprehensive and detailed reopening plan that includes guidelines, COVID-19 statistics, site preparation, and classroom and sanitizing logistics.

According to Miranda, the process, that involved over 200 people comprising teachers, classified employees, and community stakeholders, was approached with the district’s Theory of Action in mind –  the commitment to providing evidence-based recommendation based on data, resources, and supports, ensuring safety remains a priority.

“We were able to provide a recommendation from the Executive Cabinet to our Board and also the greater CJUSD community… we want to provide a recommendation that provides an avenue for safety, efficiency, and the equitable return to schools,” Miranda stated.

State guidelines require 25 and under daily new cases per 100,000 residents for grades K-6 to reopen; 7 cases or less per 100,000 residents for 7th – 12th grade. Each district will decide when they will reopen schools, and when that occurs, it must be conducted in small cohorts while maintaining 6 feet physical distance. The county met that threshold on Feb. 19 when positivity rates fell below 25 per 100,000 cases and school districts received word that schools may reopen. 

Miranda underscored the fact that the community CJUSD serves remains in the purple tier: Daily new case rates/100,000 for Bloomington – 35.9; Colton – 24.6; Fontana – 25.9; Grand Terrace – 16.1. The positivity rates are still high in the district overall, posing a high widespread risk.

Board President Dan Flores noted the county average of 14 new cases per 100,000 includes expansive and remote areas that span to the Arizona border and do not reflect local communities’ statistics.

“The numbers being thrown around by the state, by the county and the CDC even, are not necessarily indicative of our community, so I think it’s key that we hone in on the numbers and data that affect our community,” Flores remarked.

Significant effort has gone into the preparation of school sites; Lewis Elementary, Ruth O’ Harris Middle School, and Colton High have served as models for the district, featuring different types of desks, formations, and floor plans. 

Accordion to Rick Jensen from Facilities, two committees were involved with the logistical considerations of school sites:

  • Site Layout Committee – logistics of entering, transit, exiting sites (comprised of directors from M&O, IT, Risk, Nutrition, Facilities, Safety, Printshop, Transportation, Purchasing);
  • Classroom Layout Committee – guidelines for desk layout, disinfecting between classes (comprised of teachers, principal, classified, SLC members) 36 people.

The return to in-person instruction would not be full-time, but based on a hybrid model; students would not be in school all day.

Miranda noted that 75% of the academic year is completed; students and teachers have developed their routines, and it would be challenging to retrain routines by bringing students back to school. 

“Still a high risk out there, the new variant out there is a concern. While we see promising trends within our community, however, we need to be cautious,” Miranda remarked. “My strong recommendation is that we continue to stay in distance learning through the end of the 2021 school year.”

In doing so, the district can focus on bringing students back to school for the 2021/2022 academic year.

“I’m confident because we have the mechanism, strategy, and drive to be ready this next school year,” Miranda declared. “We will be ready, there’s no doubt. I wanted to reassure the board of that.”

Association of Colton Educators President Cristina Puraci repudiated the notion teachers are resistant to returning to the classroom.

“We support the recommendation to remain in distance learning,” she stated. “We are ready and willing to work with the district to return to in-person when it’s deemed safe.”

California School Employees Association (CSEA) Colton Chapter 244 President Louis Pacheco indicated classified employees want nothing more to be back in physical classrooms and school sites, but their formal stance on students returning to in-person learning for the 2020/2021 school year is “ill advisable and currently unsafe,” citing surges among classified employees in a “rash” decision to bring them back to school sites in June and October forced the reduction of staffing in July and December, respectively, due to coronavirus exposure.

“It would be unwise and unproductive of CJUSD to attempt in-person learning at the risk of exposing students, staff, families, and the community at large,” Pacheco said. “There are only three months left and an insufficient amount of time to feasibly transition students from distance learning to in-person learning.” 

Pacheco noted his concern lies with the mental and emotional wellbeing of classified employees; without sufficient time to fully prepare classrooms and school sites will cause unprecedented stress on all employees. 

“We firmly advise board members to reopen schools at a later time,” Pacheco concluded.

Board member Frank Ibarra made a motion to approve to remain in distance learning through June 4, 2021; Board Clerk Joanne Thoring-Ojeda seconded the motion.

Flores acknowledged the decision may not be good for every student, as some have struggled and others thrived in distance learning, but noted it was incumbent on board members to make the best decision possible with the presented information, while taking into consideration student, teacher and community safety, insufficient time remaining to retrain students for hybrid education, and the need to focus resources to fully being prepared to bring students back in the fall.

“As difficult as it is, I believe the right thing to do in this situation is to support staff’s recommendation to take time that’s needed to do this right, and ultimately keep everybody safe because one grandparent, one parent, one family member lost to this virus when it is preventable is one too many,” Flores concluded.

The post Colton Joint Unified School Board votes to remain in distance learning through end of school year appeared first on Inland Empire Community News.

Posted 20 Feb 2022 09:31 by | News | No comments

Expanding the fleet – Darcy Pacheco takes delivery of Liebherr LTM 1500-8.1 – Liebherr

This is not the first Liebherr 500 tonnes of Darcy Pacheco. The company has experienced other LTM 1500-8.1, which were providing sterling service in its fleet. “We are very happy with our LTM 1500-8.1 cranes”, says Eduardo Silva, Maintenance Director at the company. “As we are receiving increasing demand for this lifting capacity class, we made enquiries about another 500 tonne model. When it came to choosing the machine, in addition to capacity, the delivery time that Liebherr was able to offer was another positive.”

The new LTM 1500-8.1 arrived in Brazil in November 2020. Its first job was at a major building site, involving expansion work at a paper factory. After completing this work, the 500-tonne crane is going to work in wind turbine assembly.

Darcy Pacheco and Liebherr have a partnership dating back twenty years. Eduardo Silva continues: “We rely on Liebherr as its machines have excellent quality. In addition, Liebherr’s after-sales service here in Brazil is extraordinarily good.” Liebherr has technical-assistance technicians well trained to support customers whenever needed, all over Brazil.

The Darcy Pacheco Group was founded in 1977 and comprises three companies – Darcy Pacheco Soluções de Peso specialises in hoisting work of all kinds, whilst DPS Wind focuses on wind turbines and Pacheco Logística provides heavy and special haulage services. The three brothers and company founders Adauri, Ademilson and Adaureci Silva manage the group which has over 600 employees. In addition to a number of other machines, the Darcy Pacheco Soluções de Peso Fleet includes telescopic mobile cranes with lifting capacities up to 500 tonnes and crawler cranes with lifting capacities up to 750 tonnes. Darcy Pacheco will be receiving a new giant in 2021 – the company has ordered a Liebherr LTM 1750-9.1 with a lifting capacity of 800 tonnes.

Posted 20 Feb 2022 08:52 by | Pachecos | No comments

2021 ASCAP Latin Music Awards: Winners’ List | Billboard

See the complete ASCAP Latin Music Awards winners list below.

ASCAP Composer of the year: Daddy Yankee

Song of the Year: “Tusa”
Composers: Keityn, Juan Camilo Vargas Vásquez
Publishing: Girl Power Publishing, JCV Music, KCMusic, Kobalt, Sony Music Publishing

Publishing of the Year: Sony Music Publishing

ADICTO
Composers: Jhay Cortez
Publishing: A Million Dollar Dream, Warner Chappell

ADMV
Composers: Miky La Sensa, Vibarco
Publishing: Dynasty Publishing Group, Sony Music Publishing, Universal Music Publishing Group, Vibarco Publishing, Warner Chappell

AGUA
Composers: Lex Borrero, Jhay Cortez, Derek Drymon, Mark Harrison, Stephen McDannell Hillenburg, Keityn, Blaise Smith, Juan Camilo Vargas Vásquez
Publishing: 22 Words, A Million Dollar Dream, JCV Music, KCMusic, Sony Music Publishing, Tunes By Nickelodeon, Universal Music Publishing Group, Warner Chappell

AY DIOS MIO!
Composers: Danny Ocean
Publishing: OCNS Publishing, Sony Music Publishing

BLANCO
Composers: Bull Nene
Publishing: Black Koi Entertainment, Warner Chappell

BONITA
Composers: Mauricio Rengifo, Sebastián Yatra
Publishing: Universal Music Publishing Group, Warner Chappell

CABALLERO
Composers: José Luis Roma
Publishing: Sony Music Publishing

CADA VEZ TE EXTRAÑO MÁS
Composers: Miguel Luna
Publishing: Editorial LGA Nueva Generación, Pacific Latin Copyright

CARAMELO
Composers: Gotay El Auténtiko, Yazid Rivera López, Felix Ozuna
Publishing: Gotay Autentik Music Publishing, Kobalt, Los Tesla Publishing, My Money 3

CON TUS BESOS
Compositores: José Ángel Del Villar
Publishing: BMG, Del World Song

DÁKITI
Compositores: Jhay Cortez, Mora
Publishing: A Million Dollar Dream, RSM Publishing, Universal Music Publishing Group, Warner Chappell

DEFINITIVAMENTE
Composers: Daddy Yankee, Nekxum
Publishing: Cangris Publishing, Nerdy Beats Publishing, Sony Music Publishing, Universal Music Publishing Group

EL CIRCO
Composers: El Fantasma
Publishing: Melodies Of Afinarte, Melodies Of Rigoletto Music Publishing

EL ENVIDIOSO
Publishing: Melodies Of Afinarte, Melodies Of Rigoletto Music Publishing

ESCONDIDOS
Composers: Abbel
Publishing: Editora Anval

ESTA VEZ SOY YO
Composers: Mario Ernesto Martínez Cuevas
Publishing: De Calibre Music

FANTASÍA
Composers: Chris Jedi, Luis E. Ortiz Rivera, Nino Karlo Segarra
Publishing: Isla Estrella Publishing, Jedy Squat Music, ORL Music Publishing, Sony Music Publishing, Warner Chappell

FANTASÍAS
Composers: DJ Urba, Eric Duars, Windel B. Edwards, Farruko, Franklin Martínez, Sharo Towers
Publishing: The Beat Tower Publishing, Duars Music Publishing, Holl Up, Kobalt, Music By STB, Primestar Hits Music Publishing, Sony Music Publishing, Urbani Music Publishing , Warner Chappell

HASTA QUE SALGA EL SOL
Composers: Gotay El Auténtiko, Jamal F. Rashid
Publishing: Gotay Autentik Music Publishing, Los Tesla Publishing, Mally Mall Music

HAWÁI
Composers: Bull Nene, Jowan, Keityn, Miky La Sensa, Andrés Uribe, Juan Camilo Vargas Vásquez
Publishing: Dynasty Publishing Group, JCV Music, KCMusic, Rudeboyz Publishing, Sony Music Publishing, Universal Music Publishing Group, Warner Chappell

KEII
Composers: Chris Jedi, Luis E. Ortiz Rivera,Nino Karlo Segarra
Publishing: Isla Estrella Publishing, Jedy Squat Music, ORL Music Publishing, Sony Music Publishing, Warner Chappell

LA DIFICIL
Composers: Mora
Publishing: RSM Publishing, Universal Music Publishing Group

LA JEEPETA (REMIX)
Composers: Benny Benni, Brray, Flow La Movie, Myke Towers, Nío García, Juanka
Publishing: Ah Ent Music Publishing, Canaliense Music, House Of Haze Music, León Negro Music Publishing, Sony Music Publishing, Warner Chappell, White World Music Publishing

LA MEJOR VERSIÓN DE MI (REMIX)
Composers: Joss Favela, Natti Natasha, Raphy Pina, Romeo Santos
Publishing: Acustic Music, I Love Amiguita, Kobalt, La Dura De Las Duras Publishing, Los Magnífikos Music, Sony Music Publishing, Universal Music Publishing Group

LA SANTA
Composers: Daddy Yankee
Publishing: Cangris Publishing, RSM Publishing, Sony Music Publishing, Universal Music Publishing Group

LA TÓXICA
Composers: Andy Bauza, Everton Bonner, DJ Joe, Farruko, Franklin Martínez, Luis Angel O’Neill, Héctor Pagán, Sharo Towers, John Christopher Taylor, Tempo, Lloyd Oliver Willis
Publishing: Ankk Tempo Music, The Beat Tower Publishing, Carbon Fiber Hits Publishing, Holl Up, Irish Town Songs, Kobalt, No Stop Music Publishing, Primestar Hits Music Publishing, RSM Publishing, Sony Music Publishing, Trebol Clan Official Publishing, Universal Music Publishing Group

LO QUE TE DI
Composers: Marc Anthony
Publishing: Sony Music Publishing

MAMACITA
Composers: Bruce R. Gaitsch, Gotay El Auténtiko, Madonna
Publishing: Gotay Autentik Music Publishing, Los Tesla Publishing, Warner Chappell, Webo Girl Publishing

ME GUSTA
Composers: Joan Antonio González, Chris Jedi
Publishing: Canciones De Caballero Music, Jedy Squat Music, Universal Music Publishing Group Warner Chappell

ME LA AVENTÉ
Composers: Javier González, Carin León
Publishing: Klak Hits

ME QUEDARÉ CONTIGO
Composers: Eliosbel Galarraga “El Brujo”, Jacob Forever, Lenier, El Micha, Ne-Yo
Publishing: Kobalt, Pen In The Ground Publishing, Rottboyz, Rottweilas Miami, Songs 305, Universal Music Publishing Group, Warner Chappell

MUÉVELO
Composers: Daddy Yankee, Kenton Nix
Publishing: BMG, Cangris Publishing, Contenido Auténtico, Play for Play N Skillz Music, Skillz for Skillz N Play Music, Sony Music Publishing, Twenty Fifteen Avenue Music, VMG West End Copyrights

PORFA
Composers: Esteban “Wain” Higuita Estrada, Feid
Publishing: Dynasty Publishing Group, Universal Music Publishing Group

QUE CALOR
Composers: Bull Nene, Diplo, Keityn, Ronald “El Killa” Hernandez T.
Publishing: BMG, I Like Turtles Music, KCMusic, Kobalt, Sony Music Publishing, Warner Chappell

QUÉ PENA
Composers: Wissem Amine Larfaoui
Editoras: Sony Music Publishing

QUE TIRE PA LANTE
Composers: Everton Bonner, Daddy Yankee, DJ Urba, Philip Smart , John Christopher Taylor, Lloyd Oliver Willis
Publishing: BMG, C And I Jah Bless Music, Cangris Publishing, Irish Town Songs, Kobalt, Sony Music Publishing, Universal Music Publishing Group, Urbani Music Publishing

RITMO (BAD BOYS FOR LIFE)
Composers: Francesco Bontempi, Michael Gaffey, Peter Wilfred Glenister, Annerley Gordon, Keith Harris, Giorgio Spagna
Publishing: BMG, Fresh Me Fresh U Music Publishing, Roynet Music, Warner Chappell

ROJO
Composers: Nicolás Ignacio Jana Galleguillos, Luis Angel O’Neill
Publishing: Black Koi Entertainment, Kobalt, No Stop Music Publishing, Warner Chappell

SAFAERA
Composers: DJ Orma, Missy Elliott, Jowell, Bob Marley, Randy Nota Loca, Sting International, Timbaland, Lloyd Oliver Willis
Publishing: Fifty Six Hope Road Music, Irish Town Songs, León Negro Music Publishing, Mass Confusion Productions, ODNIL Music Limited, RSM Publishing, Sony Music Publishing, Sting International Music, Universal Music Publishing Group, Warner Chappell

SI ME DICES QUE SI
Composers: Ricardo Arjona, Camilo, Julio Ramírez Eguía, Farruko, Sharo Towers
Publishing: Arjona Musical, The Beat Tower Publishing, Holl Up, Sony Music Publishing

SI TE VAS
Composers: Simón Restrepo
Publishing: Universal Music Publishing Group

SIGUES CON ÉL (REMIX)
Composers: Arcángel, Keityn, Omar Rivera, Angelo Roca V “Jvy Boy”, Romeo Santos, Juan Camilo Vargas Vásquez
Publishing: I Love Amiguita, JCV Music, Jvy Boy Publishing, KCMusic, Kobalt, La Maravilla Music Publishing, Omi Mgmt Publishing, Sony Music Publishing, Universal Music Publishing Group

TATTOO (REMIX)
Composers: CAMILO, Eric Duars, Rafael Alfonso Rodríguez, Daniel Ignacio Rondón, Elena Rose
Publishing: Daniel Rondón Music, Duars Music Publishing, Rafa Rodríguez, Sony Music Publishing, Warner Chappell

TE QUEMASTE
Composers: Chris Jedi, Luis E. Ortiz Rivera, Nino Karlo Segarra
Publishing: Jedy Squat Music, Isla Estrella Publishing, ORL Music Publishing, Sony Music Publishing, Warner Chappell

TUSA
Composers: Keityn, Juan Camilo Vargas Vásquez
Editoras: Girl Power Publishing, JCV Music, KCMusic, Kobalt, Sony Music Publishing

TUTU (REMIX)
Composers: Camilo, Jon Leone, Richi López
Publishing: Lola Words & Music Publishing, Sony Music Publishing,Trainer Red Publishing, Warner Chappell

UN DÍA (ONE DAY)
Composers: Lex Borrero, Clarence Bernard Coffee, Dua Lipa
Publishing: 22 Words, Best Coffee in Town, Kobalt, RSM Publishing, Universal Music Publishing Group

VETE
Composers: César Batista, Edgar Wilmer Semper Vargas, Xavier Alexis Semper Vargas
Publishing: Best Music by Kartier, Editora De Música Mambo Kingz, RSM Publishing, Sony Music Publishing, Universal Music Publishing Group

YO PERREO SOLA
Composers: Nesi
Publishing: RSM Publishing, Universal Music Publishing Group, White Umbrella

YO YA NO VUELVO CONTIGO
Composers: Fabián Pacheco, José Ángel Del Villar
Publishing: BMG, Del World Son

Posted 20 Feb 2022 08:31 by | News | No comments

Funny Cats 😹 🤣 Funniest Cats Ever

Posted 20 Feb 2022 08:23 by | Cats | No comments

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