His lines like вЂњel mundo nos quiereвЂќ (вЂњthe world wants usвЂќ) transform the song into a universal call to the dancefloor, an embrace of solidarity and unification at a time of enormous worldwide polarization. No wonder вЂњMi GenteвЂќ was such a global, cross-culture sensation.Д«alvin worked with William to reinvent the source material, adding Spanish lyrics, chants, and ferocious Latin percussion. Much of what makes Colombian singer J BalvinвЂ™s вЂњMi GenteвЂќ sizzle-that audacious drumbeat, that insistent five-note vocal melody-is lifted from Mauritian-French singer Willy WilliamвЂ™s 2017 track вЂњVoodoo Song,вЂќ which itself reinterprets a sample from the Indian composer Akassh. J Balvin / Willy William: вЂњMi Gente (Remix)вЂќ (2017) But his actual relationship to such sources could be hard to read: Was Maus poking fun at musicвЂ™s power to manufacture an emotional response, like when we find ourselves crying in the middle of a commercial, or celebrating its potential to offer us a fleeting moment of ecstasy, a glimpse of a world that is better than our own? Arriving at the end of 2011вЂ™s We Must Be the Pitiless Censors of Ourselves with the cathartic finality of perfectly curated exit music, this song-with its glittering harpsichord arpeggios, briskly pulsing bass, and grandiose allusions to borderless love-is the closest Maus has ever come to being a true believer. Like many of his lo-fi pop contemporaries in the early вЂ™10s, reclusive Midwesterner John Maus pushed underground music forward by looking backward-rejecting digital studio techniques in favor of old drum machines and wonky synths, excavating the dramatic excesses of вЂ™80s stadium pop and sentimental radio jingles as though they held clues to some hard-to-pinpoint generational subconscious.

Music medal of honor 2010