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Versiõn actual de Letras de Canciones de Talib Kweli & Hi Tek For Women (http://es.mp3lyrics.org/t/talib-kweli/for/) Versión actual de las letras |
Versiõn 1 de Letras de Canciones de Talib Kweli & Hi Tek For Women (http://es.mp3lyrics.org/t/talib-kweli/for/v1.html) La versión 1 de la letra | |||||||||||||
| 1 | Yeah, so we got this tune called 'For women' right | [Talib Kweli] (Spoken) | 1 | |||||||||||
| 1 | Yea, so we got this tune called "For Women" right | 1 | ||||||||||||
| Originally, it was by Nina Simone | Originally, it was by Nina Simone | |||||||||||||
| 2 | She said, it was inspired by, you know down south | She said it was inspired by, you know | 2 | |||||||||||
| 3 | In the south, they used to call her Mother Antie | Down south. In the south, they used to call her Mother Antie | 3 | |||||||||||
| 4 | She said No Mrs. | 4 | ||||||||||||
| 5 | She said, "No Mrs. just Antie" | Just Antie | 5 | |||||||||||
| 6 | She said, "If anybody ever called her Antie | She said if anybody ever called her Antie | 6 | |||||||||||
| 7 | She'd burn the whole goddamn place down", I'm over past that | she'd burn the whole goddamn place down | 7 | |||||||||||
| 8 | Coming into the new millennium, we can't forget our elders | I'm over past that | 8 | |||||||||||
| 2 | Coming into the new millenium, we can't forget our elders | 2 | ||||||||||||
| 3 | [Talib Kweli] | 3 | ||||||||||||
| I got off the 2 train in Brooklyn on my way to a session | I got off the 2 train in Brooklyn on my way to a session | |||||||||||||
| Said let me help this woman up the stairs before I get to steppin' | Said let me help this woman up the stairs before I get to steppin' | |||||||||||||
| 9 | We got in a conversation, she said, she a 107 | We got in a conversation she said she a 107 | 9 | |||||||||||
| Just her presence was a blessing and her essence was a lesson | Just her presence was a blessing and her essence was a lesson | |||||||||||||
| 1 | 1 | |||||||||||||
| She had her head wrapped | She had her head wrapped | |||||||||||||
| And long dreads that peeked out the back | And long dreads that peeked out the back | |||||||||||||
| Like antenna to help her get a sense of where she was at, imagine that | Like antenna to help her get a sense of where she was at, imagine that | |||||||||||||
| 10 | Livin' a century, the strength of her memories | Livin' a century, the strenght of her memories | 10 | |||||||||||
| 2 | 2 | |||||||||||||
| Felt like an angel had been sent to me | Felt like an angel had been sent to me | |||||||||||||
| 11 | She lived from nigger to colored to Negro to black | She lived from nigger to colored to negro to black | 11 | |||||||||||
| 12 | To afro then African-American and right back to nigger | To afro then african-american and right back to nigger | 12 | |||||||||||
| You figure she'd be bitter in the twilight | You figure she'd be bitter in the twilight | |||||||||||||
| 13 | But she alright, cuz she done sseen the circle of life yo | 13 | ||||||||||||
| 3 | But she alright, 'cuz she done seen the circle of life yo | 3 | ||||||||||||
| Her skin was black like it was packed with melanin | Her skin was black like it was packed with melanin | |||||||||||||
| Back in the days of slaves she packin' like Harriet Tubman | Back in the days of slaves she packin' like Harriet Tubman | |||||||||||||
| Her arms are long and she moves like song | Her arms are long and she moves like song | |||||||||||||
| 4 | 4 | |||||||||||||
| Feet with corns, hand with callouses | Feet with corns, hand with callouses | |||||||||||||
| But her heart is warm and her hair is wooly | But her heart is warm and her hair is wooly | |||||||||||||
| And it attract a lot of energy even negative | And it attract a lot of energy even negative | |||||||||||||
| She gotta dead that the head wrap is her remedy | She gotta dead that the head wrap is her remedy | |||||||||||||
| 5 | 5 | |||||||||||||
| Her back is strong and she far from a vagabond | Her back is strong and she far from a vagabond | |||||||||||||
| This is the back of the masters' whip used to crack upon | This is the back of the masters' whip used to crack upon | |||||||||||||
| Strong enough to take all the pain, that's been | Strong enough to take all the pain, that's been | |||||||||||||
| Inflicted again and again and again and again and flipped | Inflicted again and again and again and again and flipped | |||||||||||||
| It to the love for her children nothing else matters | It to the love for her children nothing else matters | |||||||||||||
| 14 | What do they call her? They call her aunt Sara | What do they call her? They call her aunt Sara. | 14 | |||||||||||
| 15 | [Unverified] | Woman singing in the background | 15 | |||||||||||
| 4 | [Talib Kweli] (+ Background Vocals) | 4 | ||||||||||||
| I know a girl with a name as beautiful as the rain | I know a girl with a name as beautiful as the rain | |||||||||||||
| Her face is the same but she suffers an unusual pain | Her face is the same but she suffers an unusual pain | |||||||||||||
| Seems she only deals with losers who be usin' them games | Seems she only deals with losers who be usin' them games | |||||||||||||
| Chasin' the real brothers away like she confused in the brain | Chasin' the real brothers away like she confused in the brain | |||||||||||||
| 6 | 6 | |||||||||||||
| She tried to get it where she fit in | She tried to get it where she fit in | |||||||||||||
| 16 | On that American Dream mission paid tuition | on that American Dream mission paid tuition | 16 | |||||||||||
| 17 | For the receipt to find out her history was missing and started flippin' | For the receipt to find out her history was missing and started flippin | 17 | |||||||||||
| Seeing the world through very different eyes | Seeing the world through very different eyes | |||||||||||||
| 7 | 7 | |||||||||||||
| People askin' her what she'll do when it comes time to chose sides | People askin' her what she'll do when it comes time to chose sides | |||||||||||||
| Yo, her skin is yellow, it's like her face is blond word is bond | Yo, her skin is yellow, it's like her face is blond word is bond | |||||||||||||
| And her hair is long and straight just like sleeping beauty | And her hair is long and straight just like sleeping beauty | |||||||||||||
| See, she truly feels like she belong in 2 worlds | See, she truly feels like she belong in 2 worlds | |||||||||||||
| 8 | 8 | |||||||||||||
| And that she can't relate to other girls | And that she can't relate to other girls | |||||||||||||
| Her father was rich and white still livin' with his wife | Her father was rich and white still livin' with his wife | |||||||||||||
| But he forced himself on her mother late one night | But he forced himself on her mother late one night | |||||||||||||
| They call it rape that's right and now she take flight | They call it rape that's right and now she take flight | |||||||||||||
| 9 | 9 | |||||||||||||
| Through life with hate and spite inside her mind | Through life with hate and spite inside her mind | |||||||||||||
| That keep her up to the break of light a lot of times | That keep her up to the break of light a lot of times | |||||||||||||
| 18 | (I gotta find myself) | (I gotta find myself) (3X) | 18 | |||||||||||
| 10 | (I gotta find myself) | 10 | ||||||||||||
| 11 | (I gotta find myself) | 11 | ||||||||||||
| 12 | 12 | |||||||||||||
| She had to remind herself | She had to remind herself | |||||||||||||
| They called her Safronia the unwanted seed | They called her Safronia the unwanted seed | |||||||||||||
| 19 | Blood still blue in her vein | Blood still blue in her vein and still red when she bleeds | 19 | |||||||||||
| 20 | And still red when she bleeds | (Don't, don't, don't hurt me again) (8X) | 20 | |||||||||||
| 13 | 13 | |||||||||||||
| 14 | Don't, don't, don't hurt me again | 14 | ||||||||||||
| 15 | Don't, don't, don't hurt me again | 15 | ||||||||||||
| 16 | Don't, don't, don't hurt me again | 16 | ||||||||||||
| 17 | Don't, don't, don't hurt me again | 17 | ||||||||||||
| 18 | 18 | |||||||||||||
| 19 | Don't, don't, don't hurt me again | 19 | ||||||||||||
| 20 | Don't, don't, don't hurt me again | 20 | ||||||||||||
| 21 | Don't, don't, don't hurt me again | 21 | ||||||||||||
| 22 | Don't, don't, don't hurt me again | 22 | ||||||||||||
| 5 | [Talib Kweli] (+ Background Vocals) | 5 | ||||||||||||
| Teenage lovers sit on the stoops up in Harlem | Teenage lovers sit on the stoops up in Harlem | |||||||||||||
| 21 | Holdin' hands under the Apollo marquis dreamin' of stardom | Holdin' hands under the Apollo marquis dreamin of stardom | 21 | |||||||||||
| Since they was born the streets is watchin' and schemin' | Since they was born the streets is watchin' and schemin' | |||||||||||||
| 22 | And now it got them generations facin' diseases | And now it got them generations facin' deseases | 22 | |||||||||||
| 23 | 23 | |||||||||||||
| That don't kill you they just got problems | That don't kill you they just got problems | |||||||||||||
| 23 | And complications that get you first | and complications that get you first | 23 | |||||||||||
| Yo, it's getting worse, when children hide the fact that they pregnant | Yo, it's getting worse, when children hide the fact that they pregnant | |||||||||||||
| 24 | 'Cuz they scared of giving birth | Cuz they scared of giving birth | 24 | |||||||||||
| 24 | 24 | |||||||||||||
| How will I feed this baby? | How will I feed this baby? | |||||||||||||
| How will I survive, how will this baby shine? | How will I survive, how will this baby shine? | |||||||||||||
| Daddy dead from crack in '85, mommy dead from AIDS in '89 | Daddy dead from crack in '85, mommy dead from AIDS in '89 | |||||||||||||
| At 14 the baby hit the same streets they became her master | At 14 the baby hit the same streets they became her master | |||||||||||||
| 25 | 25 | |||||||||||||
| The children of the enslaved, they grow a little faster | The children of the enslaved, they grow a little faster | |||||||||||||
| They bodies become adult | They bodies become adult | |||||||||||||
| While they keepin' the thoughts of a child her arrival | While they keepin' the thoughts of a child her arrival | |||||||||||||
| Into womanhood was heemed up by her survival | Into womanhood was heemed up by her survival | |||||||||||||
| 26 | 26 | |||||||||||||
| Now she 25, barely grown out her own | Now she 25, barely grown out her own | |||||||||||||
| Doin' whatever it takes strippin', workin' out on the block | Doin' whatever it takes strippin', workin' out on the block | |||||||||||||
| Up on the phone, talkin' about | Up on the phone, talkin' about | |||||||||||||
| 25 | (My skin is tan like the front of your hand) | (my skin is tan like the front of your hand) | 25 | |||||||||||
| 26 | (And my hair...) | 26 | ||||||||||||
| 27 | And my hair | (Well my hair's alright whatever way I want to fix it, | 27 | |||||||||||
| 28 | Well my hair's alright whatever way I want to fix it | it's alright it's fine) | 28 | |||||||||||
| 29 | It's alright it's fine | (But my hips, these sweet hips of mine invite you daddy) | 29 | |||||||||||
| 30 | But my hips, these sweet hips of mine invite you daddy | (And when I fix my lips my mouth is like wine) | 30 | |||||||||||
| 31 | (Take a sip don't be shy, tonight I wanna be your lady) | 31 | ||||||||||||
| 32 | And when I fix my lips my mouth is like wine | (I ain't too good for your Mercedes, but first you got to pay me) | 32 | |||||||||||
| 33 | Take a sip don't be shy, tonight I wanna be your lady | (You better quit with all the question, sugar who's little girl am I) | 33 | |||||||||||
| 34 | I ain't too good for your Mercedes, but first you got to pay me | (Why I'm yours if you got enough money to buy) | 34 | |||||||||||
| 35 | You better quit with all the question, sugar who's little girl am I | (You better stop with the compliments we running out of time,) | 35 | |||||||||||
| 36 | (You wanna talk whatever we could do that it's your dime) | 36 | ||||||||||||
| 37 | Why I'm yours if you got enough money to buy | (From Harlem's from where I came, don't worry about my name,) | 37 | |||||||||||
| 38 | You better stop with the compliments we running out of time | (Up on one-two-five they call me sweet thang) | 38 | |||||||||||
| 27 | You wanna talk whatever we could do that it's your dime | 27 | ||||||||||||
| 28 | From Harlem's from where I came, don't worry about my name | 28 | ||||||||||||
| 29 | Up on one-two-five they call me sweet thang | 29 | ||||||||||||
| 39 | [Unverified] | Scratches + Woman singing in the background | 39 | |||||||||||
| 40 | A daughter come up in Georgia, ripe and ready to plant seeds | [Talib Kweli] (+ Background Vocals) | 40 | |||||||||||
| 6 | A daughter come up in Georgia, ripe and ready to plant seeds, | 6 | ||||||||||||
| Left the plantation when she saw a sign even thought she can't read | Left the plantation when she saw a sign even thought she can't read | |||||||||||||
| 41 | It came from God and when life get hard she always speak to him | It came from God and when life get hard she always speak to him, | 41 | |||||||||||
| 42 | She'd rather kill her babies than let the master get to 'em | She'd rather kill her babies than let the master get to 'em, | 42 | |||||||||||
| 30 | 30 | |||||||||||||
| She on the run up north to get across that Mason-Dixon | She on the run up north to get across that Mason-Dixon | |||||||||||||
| 43 | In church she learned how to be patient and keep wishin' | In church she learned how to be patient and keep wishin', | 43 | |||||||||||
| The promise of eternal life after death for those that God bless | The promise of eternal life after death for those that God bless | |||||||||||||
| She swears the next baby she'll have will breathe a free breath | She swears the next baby she'll have will breathe a free breath | |||||||||||||
| 44 | and get milk from a free breast, | 44 | ||||||||||||
| 45 | And get milk from a free breast, and love beeing alive | And love beeing alive, | 45 | |||||||||||
| 46 | Otherwise they'll have to give up being themselves to survive | otherwise they'll have to give up being themselves to survive, | 46 | |||||||||||
| 47 | Being maids, cleaning ladies, maybe teachers | Being maids, cleaning ladies, maybe teachers or | 47 | |||||||||||
| 48 | Or college graduates, nurses, housewives, prostitutes, and drug addicts | college graduates, nurses, housewives, | 48 | |||||||||||
| 49 | prostitutes, and drug addicts | 49 | ||||||||||||
| 50 | Some will grow to be old women, some will die before they born | Some will grow to be old women, some will die before they born, | 50 | |||||||||||
| 51 | They'll be mothers, and lovers who inspire and make songs | They'll be mothers, and lovers who inspire and make songs, | 51 | |||||||||||
| 52 | (But me, my skin is brown and my manner is tough) | (But me, my skin is brown and my manner is tough,) | 52 | |||||||||||
| 53 | (Like the love I give my babies when the rainbow's enuff) | (Like the love I give my babies when the rainbow's enuff,) | 53 | |||||||||||
| 54 | (I'll kill the first muthafucka that mess with me, I never bluff) | 54 | ||||||||||||
| 55 | I'll kill the first muthafucka that mess with me, I never bluff | (I ain't got time to lie, my life has been much too rough,) | 55 | |||||||||||
| 56 | I ain't got time to lie, my life has been much too rough | (Still running with barefeet, I ain't got nothin' but my soul,) | 56 | |||||||||||
| 57 | Still running with bare feet, I ain't got nothin' but my soul | (Freedom is the ultimate goal, | 57 | |||||||||||
| 58 | Freedom is the ultimate goal | life and death is small on the whole, in many ways) | 58 | |||||||||||
| 59 | Life and death is small on the whole, in many ways | (I'm awfully bitter these days | 59 | |||||||||||
| 60 | 'cuz the only parents God gave me, they were slaves,) | 60 | ||||||||||||
| 61 | I'm awfully bitter these days | (And it crippled me, I got the destiny of a casualty,) | 61 | |||||||||||
| 62 | 'Cuz the only parents God gave me, they were slaves | (But I live through my babies and I change my reality) | 62 | |||||||||||
| 63 | And it crippled me, I got the destiny of a casualty | (Maybe one day I'll ride back to Georgia on a train,) | 63 | |||||||||||
| 64 | But I live through my babies and I change my reality | (Folks 'round there call me Peaches, I guess that's my name.) | 64 | |||||||||||
| 31 | Maybe one day I'll ride back to Georgia on a train | 31 | ||||||||||||
| 32 | Folks 'round there call me Peaches, I guess that's my name | 32 | ||||||||||||
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