Learn Spanish With Gente de Zona with these 23 Song Recommendations (Full Translations Included!)

Cuban duo Gente de Zona team up with salsa superstar Marc Anthony for "Traidora" (Traitor), a fast-paced reggaeton track all about waiting for someone who clearly broke your heart. The narrator is completely dramatic about it. He sings that without her, his life is fading and withering away: "La vida se me va acabando marchitando, agonizando" (My life is ending, withering, agonizing). Everyone around him sees the truth and gossips that she will never fall for him ("La gente está comentando / Que de mí tú no te enamoras" [People are commenting that you're not falling in love with me]). Yet despite calling her a backstabber ("Traidora") and an abuser ("abusadora"), he flat-out refuses to move on.

What makes this track fun to listen to is the total lack of pride. Instead of playing it cool, he admits straight up: "Ay no me dejes más solo / Porque me da miedo y lloro" (Oh don't leave me all alone / Because it scares me and I cry). He loves everything about her ("Que de ti me gusta todo"), asks desperately what he can do to win her back, and promises he is still standing right there waiting ("Y aquí te sigo esperando yo"). It pairs the upbeat, danceable energy of reggaeton with the pure, unapologetic misery of classic tropical heartbreak.

Cuban group Gente de Zona teams up with salsa star Marc Anthony to build one massive roll call of Latin American pride. The title itself gives away the mood: la gozadera is Spanish slang for a wild, joyful party where everyone lets loose. The track kicks off by connecting the Caribbean dots—Miami gives the green light (Miami me lo confirmó [Miami confirmed it to me]), Puerto Rico brings the classic dish of rice and beans (arroz con habichuela [rice with beans]), and the Dominican Republic starts the rhythm with its traditional drum (la tambora merenguera [the merengue drum]).

From there, the track turns into a rapid tour of countries joining the dance floor. It drops clever local nods along the way, like linking Panama to la zandunga (grace, charm, and party spirit) and shouting out Ecuador alongside Bilirrubina (a nod to the famous high-energy hit La Bilirrubina by Dominican artist Juan Luis Guerra). By the time you hear Si tú eres Latino, saca tu bandera [If you are Latino, take out your flag], the track has called out nearly every corner of the region, from Chile to Cuba, inviting everyone to wave their flag and jump into the rhythm.

"Te Duele" opens with a flat accusation, repeated twice in each verse so there's no mistaking it: "Pero fuiste tú quien se marchó" (But it was you who left), "Cuando más necesité tus besos" (When I needed your kisses the most). No begging, no drama, just the facts as he sees them.

Then the chorus turns it into payback. "Ahora que no estoy aquí el amor te duele" (Now that I'm not here, love hurts you) shows the ex stuck alone, "caminando sola" (walking alone), "pidiéndole a la luna que te dé consuelo" (asking the moon to give you comfort), unable to fall in love again however hard she tries. It's a breakup song with its arms crossed: she walked out, and now love is the one making her pay for it.

Everyone knows the famous chorus that tells Macarena to give joy to her body because her body is built for good things: "Dale a tu cuerpo alegría Macarena / Que tu cuerpo es para darle alegría y cosa buena" (Give your body joy, Macarena / Because your body is meant for giving it joy and good things). In this revamped version, Cuban group Gente De Zona teams up with Los Del Río to bring the party straight to the Caribbean. While walking through Havana, the singer bumps into Macarena herself ("Caminando por la Habana, a Macarena yo me la encontré" [Walking through Havana, I ran into Macarena]) and asks her to dance to Cuban music instead, totally hooked on her unstoppable moves.

Beneath the breezy beat, the storytelling stays wonderfully chaotic and funny. You still get the classic story about Macarena's bad boyfriend Vitorino, whom she completely betrayed with two of his buddies during his military swearing-in ceremony ("Y en la jura de bandera el muchacho / Se la dio con dos amigos" [And during the boy's oath to the flag / She cheated on him with two friends]). In Spanish, "jura de bandera" refers to an official flag-pledging military rite, which makes her bold cheating move even wilder. Meanwhile, the Cuban singer does not care about any drama. He just wants zero stress and a lifetime of dancing: "Yo no quiero más problemas / Y quiero morirme en Cuba / Bailando la Macarena" (I don't want any more problems / And I want to die in Cuba / Dancing the Macarena).

Cuban reggaeton group Gente De Zona brings pure party energy to call out social media fakery in "Feliz". The track laughs at people who wake up ready to judge others online just to chase a like: "Y por un like cualquiera sale hablando" ("And for a like, anyone starts talking"). He points out how everyone acts wealthy on Instagram even when they can barely afford bread—"no tienen ni pa'l pan" ("they don't even have money for bread"). There is even a cheeky pop culture shout-out with "te hacen un LIVE desde la cama / Como Becky y Natty sin pijama" ("they do a livestream from bed, like Becky and Natti without pajamas"), poking fun at the 2018 hit single Sin Pijama by Becky G and Natti Natasha.

Instead of stressing over internet gossip, the song chooses total peace of mind. He drops practical advice: log off, get to work, and stop letting the feed twist up your life ("suelta un poco las redes" ["put the social networks down for a bit"]). Real life is not a photo shoot, and as he puts it, "no hay filtros para los corazones roto" ("there are no filters for broken hearts"). The chorus drives home the ultimate chill mindset with "vivo a mi aire / Como Bob Marley" ("I live life my own way, like Bob Marley"), using the reggae legend as the ultimate symbol of living easy and staying happy.

Gente de Zona built “Por Ti” around a guy who's trying to talk himself into believing someone this good is real. He opens almost apologizing for the thought: “Hoy quiero creer que existes” [Today I want to believe you exist], like she might be something he invented just to get through the day. Then the doubt breaks and he admits it straight: “Que estoy enamorado” [That I'm in love].

The chorus is where the song stops being polite about it. “Por ti yo me estoy volviendo loco” [You're driving me crazy] sits right next to “Estoy perdiendo la cabeza y delirando” [I'm losing my head, getting delirious], and neither line pretends the feeling is cute. Every round of the chorus closes on the title itself, stripped down to two words: “De tu amor” [Your love]. That's the whole request. Not her time, not her attention, just that.

“Celia” bursts onto the dance floor as a sparkling tribute to Celia Cruz, the Queen of Salsa, and to every woman who carries that same unstoppable tumbao in her hips. Over Gente De Zona’s vibrant Cuban beats, the lyrics paint a larger-than-life figure: a woman forged from “fuego,” sugar, and salt who spins like a cyclone, out-dances every partner, and instantly becomes the magnet of any party. Each ¡Azúcar! and Parararara chant pulls us deeper into the celebration, reminding us of Celia’s iconic calls and the sweet rush of Caribbean rhythm.

More than a party anthem, the song is a shout-out to confidence, cultural pride, and joyful resilience. By repeating Celia’s famous line, “La negra tiene tumbao y no camina de lado,” it tells listeners to stand tall, move forward, and own their uniqueness. “Celia” invites you to feel that fire in your feet and spirit—because when the Queen’s energy hits, nobody can stay off the dance floor.

This song is a fun, flirty duet about a woman who is absolutely captivating. Gente De Zona kicks it off by describing a girl who has him totally obsessed. He's not even sure where she's from, singing, "No la conocí en La Habana / Pero baila como cubana" (I didn't meet her in Havana / But she dances like a Cuban). He just knows her Latin blood calls to her and she has an incredible energy, or swing. He admits she's driving him a little wild, saying, "Me tiene enfermo de la mente" (She's got me sick in the mind).

Then Becky G comes in with her side of the story, and it's clear she knows exactly the effect she has on him! She calls herself "azúcar morena" (brown sugar) and boasts that she's his "medicina" (medicine). She knows she's irresistible, singing, "Cuando yo camino / Lo que suelto es fuego" (When I walk / What I release is fire). It's a playful back-and-forth celebrating a confident woman and the man who can't get enough of her.

Cuban reggaeton act Gente de Zona delivers an upbeat, danceable track that is secretly an all-out confession of obsession. The singer wakes up lost in memories of hidden kisses ("besos que nos dábamos a escondidas") and admits that even though his partner has been gone for a long time, their memory is still stuck in his bed ("tu recuerdo sigue aquí en mi cama"). It sounds like pure party music on the surface, but the chorus lays out how empty time feels without her: his days, nights, and whole life slip away if she doesn't come back ("Se me va la vida si no vuelves").

He takes the drama up a notch with the line "Pa' olvidarte mami tienen que matarme" [To forget you baby they have to kill me]. "Pa'" is everyday spoken Spanish shorthand for "para" (in order to), and pairing it with a phrase that dramatic is both bold and a little funny. He explains that she gave him what nobody else could, specifically those sweet, satisfying kisses ("esos besos ricos"). As you listen, you get a direct look at conversational Spanish: informal cuts like "pa'", pet names like "mami", and the plain truth of trying to move on when your brain refuses to cooperate.

Háblame De Miami is a high-energy postcard from the hottest dance floors and yacht parties in South Florida. Gente de Zona and Maffio invite us to step into a night where the music is loud, the drinks are ice-cold, and the Latin rhythm never slows. The lyrics shout out Miami’s vibrant mix of cultures and its legendary nightlife: beaches full of bikinis, hookah smoke swirling in the air, and crowds moving their hips until sunrise.

Beneath the nonstop party vibe, the song also celebrates the bridge between Cuba and Miami, two places forever linked through music and community. Every chant of “Háblame de Miami” is a call to forget worries, gather friends, and lose yourself in the joy of the moment-because in this city, every night has the potential to become an unforgettable fiesta.

Somos is a high-energy anthem that shouts one simple message: together, we are unstoppable. Gente De Zona teams up with Team Gente De Zona to celebrate the powerful collective identity of Latin America, focusing on Chile as the song’s loudest heartbeat. The lyrics paint a colorful mural of community love—a grandfather’s smile, a brother’s hug, friends sharing wine in the park, neighbors dancing away the heat. Each image reminds us that music, family, and everyday joys can heal any sorrow and keep hope burning bright.

At its core, the song is a rallying cry. It declares that when the world goes quiet, their voices will rise; when challenges appear, they will face them like guerreros (warriors). “Somos la voz que sale desde el alma” captures the idea that art, culture, and unity flow straight from the soul. By repeating “Somos la voz de Chile,” the artists invite listeners everywhere to lift their own flags and sing along, proving that Latino pride knows no borders. The result is an infectious celebration of resilience and solidarity—perfect for dancing, smiling, and remembering that we are stronger together.

Get ready to move with Gente de Zona's "Que Tú Quieres"! This Cuban duo brings us a catchy track about a man who's getting some serious attention from a woman who already has a boyfriend. He's not having it, though!

The lyrics tell the story: "Ella me está llamando y ya no se que hacer" [She's calling me and I don't know what to do] he sings, describing the "locura que tiene esa mujer" [craziness that woman has]. She says she wants him, but he's firm: "Pero a esa no le doy porque tiene a su marido" [But I'm not giving in to her because she has her husband]. He keeps asking, "¿Qué tu quieres, mamita? ¿Qué tu quieres? ¿Estar conmigo y que tu novio no se entere?" [What do you want, honey? What do you want? To be with me and for your boyfriend not to find out?]. He's pretty blunt about it, saying, "Así se ponen de locas las mujeres" [That's how women get crazy]. He even warns her, "Yo te lo dije, que me hablara claro, que no me gustan las mentiras ni el pecado" [I told you to speak clearly to me, that I don't like lies or sin]. It's a fun, energetic song about setting boundaries and avoiding drama, all while a woman is dancing "pegao, pegao, pegao" [close, close, close]!

Gente De Zona wastes no time here. The opening line is basically a warning label: "Vamos directo al grano, vamos a lo nuestro" ["Let's cut to the chase, let's do our thing"]. No slow build, no small talk, just two people who already know why they're in the room.

The whole song sits inside one night. "Tu olor a hierba buena a mi me tiene enfermo" ["Your spearmint scent is driving me crazy"] is the kind of detail a real memory has, not a generic love song has. The chorus keeps circling back to the same idea, "vamos a vivir el momento" ["let's live in the moment"], because that's the whole plot: stop overthinking it and stay in the room. By the last third the song stops arguing its case entirely and just repeats "dale" ["come on"] over and over, like the point has already been made and nobody's listening to lyrics anymore anyway.

Kiedy kubański duet Gente de Zona łączy siły z Markiem Anthonym, dostajesz czystą, niczym nieskrępowaną imprezę. Słowo z tytułu, la gozadera, to w luźnym tłumaczeniu wielka balanga, beztroska zabawa i radość. Cały ten reggaetonowy hit działa jak otwarta lista gości na wielkie święto: „Y se formó la gozadera, Miami me lo confirmó” (I zaczęła się wielka impreza, Miami mi to potwierdziło). Artyści nie bawią się w skomplikowane metafory. Po prostu wymieniają kolejne kraje i ich symbole, żeby zjednoczyć wszystkich na jednym parkiecie.

Każdy region wnosi do tekstu swój konkretny wkład. Portoryko daje jedzenie: „el arroz con habichuela” (ryż z czerwoną fasolą, czyli klasyk tamtejszej kuchni), a Dominikana dorzuca tradycyjny bęben: „la tambora merenguera” (bęben do merengue). Zaraz potem wpadają Meksyk, Kolumbia, Wenezuela, a Ekwador przynosi „bilirubinę” nawiązującą do znanego tropikalnego przeboju. Przekaz jest prosty i rzucony prosto w twarz: „Si tú eres Latino, saca tu bandera” (Jeśli jesteś Latynosem, wyciągnij swoją flagę). Zero melancholii, tylko głośny rytm i wyliczanka państw, które rzucają wszystko, żeby tańczyć.

Если включить трек «La Gozadera» кубинского дуэта Gente de Zona и Марка Энтони, устоять на месте просто невозможно. Слово «gozadera» в карибском испанском означает безудержное веселье, отрыв и кайф, и именно это здесь происходит! Песня превращается в огромную перекличку стран: от Кубы и Пуэрто-Рико до Чили, Бразилии и Мексики. Каждый регион вносит свой вклад в общее безумие: Пуэрто-Рико дарит сытное блюдо «arroz con habichuela» (рис с фасолью), Доминикана заводит ритм через «tambora merenguera» (барабан для меренге), а Панама приносит свой особый уличный шарм «zandunga» (веселье и грация).

Строчка «Si tú eres Latino, saca tu bandera» («Если ты латиноамериканец, доставай свой флаг») идеально объясняет суть: весь континент и диаспора в Майами собираются на одну гигантскую тусовку. Музыканты с юмором вспоминают даже хит Хуана Луиса Герры через строчку «Ecuador Bilirrubina» («Эквадор [поднимает] билирубин») и шутят, что Сальвадор пробирается на праздник тайком («El Salvador se cuela»). Это взрывной, солнечный трек, который моментально учит главным латиноамериканским танцевальным словечкам и поднимает настроение!

Kübalı grup Gente de Zona ve Marc Anthony, "La Gozadera" şarkısında kelimenin tam anlamıyla dev bir Latin partisi başlatıyor. Şarkının adı olan gozadera, İspanyolcada tam bir cümbüş, eğlencenin doruğa çıkması anlamına geliyor. Miami'den Dominik'e uzanan sözlerde tam bir kültürel geçit töreni var: "Miami me lo confirmó" (Miami bunu bana doğruladı) sözüyle açılan şarkıda Porto Riko'nun meşhur fasulyeli pilavı "arroz con habichuela" (fasulyeli pirinç) ve Dominik Cumhuriyeti'nin geleneksel çift taraflı davulu "tambora merenguera" partiye dahil oluyor. Farklı ülkeler tek bir ritimde buluşuyor.

Şarkı ilerledikçe Latin Amerika'nın neredeyse bütün ülkeleri tek tek sahneye çağrılıyor: "Perú con Honduras, Chile con Argentina" (Honduras ile Peru, Arjantin ile Şili) derken Panama "zandunga" (şenlik, neşe havası) getiriyor, Ekvador ise Juan Luis Guerra'nın meşhur şarkısına göz kırparak "Bilirrubina" (Bilirubin) ile ateşi yükseltiyor. Nakarat sonuna doğru gelen "Si tú eres Latino, saca tu bandera" (Eğer Latinsen, bayrağını çıkar) çağrısı ise herkesi kendi rengiyle bu ortak eğlenceye katılmaya davet ediyor. Yerinde duramayan, kıpır kıpır bir Latin coşkusu!

“Q’lona” is a lively Cuban party anthem that celebrates confidence, curves, and pure tropical fun. Gente de Zona shower a captivating woman with playful compliments, calling her “culona” (booty-licious) and praising her “booty that impresses.” The lyrics paint her as a “dream made person” who turns the club “on fire,” as hot as the midday sun on a Caribbean beach. With flirty lines like “I want your kiss for breakfast” and “let’s commit a little crime,” the song mixes humor, desire, and Caribbean swagger, inviting listeners to dance and enjoy life’s sensual moments.

Beyond the cheeky wordplay, the track is a homage to natural beauty and self-assurance. Gente de Zona highlight that her appeal needs “no rehearsal” and “nothing silicone,” underscoring authenticity in a world of filters. The infectious reggaeton beats, Spanish-English spanglish, and playful chants turn the song into a dance-floor magnet that encourages everyone to celebrate their bodies, let loose, and feel the heat of Havana wherever they are.

Dans Traidora, le groupe cubain Gente de Zona s'associe à Marc Anthony pour chanter le désespoir amoureux le plus total, mais sur un rythme reggaeton ultra dansant. Le narrateur s'adresse directement à celle qui lui a brisé le cœur en la traitant de traidora (traîtresse) et d'abusadora (profiteuse ou manipulatrice). Tout le monde en ville est déjà au courant de son échec, comme le dit le refrain : La gente está comentando que de mí tú no te enamoras (Les gens racontent partout que tu ne tombes pas amoureuse de moi). Malgré les rumeurs et la trahison, il refuse de tourner la page et continue d'espérer son retour.

Les paroles ne font pas dans la demi-mesure et virent même au mélodrame assumé. Le chanteur avoue sans détour son angoisse : Ay no me dejes más solo, porque me da miedo y lloro (Ne me laisse plus tout seul, parce que j'ai peur et je pleure). Il va jusqu'à prétendre que son existence s'effondre avec la vida se me va acabando marchitando, agonizando (ma vie s'achève, se fane, agonise). C'est excessif, c'est direct, et c'est exactement ce contraste entre une détresse absolue et un tempo festif qui rend ce morceau irrésistible.

Kübalı grup Gente de Zona ile Marc Anthony'nin bir araya geldiği Traidora, tam bir kıpır kıpır reggaeton ritmine gizlenmiş açık sözlü bir aşk feryadı! Şarkının kahramanı terk edilmiş durumda ve canının ne kadar yandığını hiç saklamıyor. Hatta durumu biraz abartıp "La vida se me va acabando marchitando, agonizando" (Hayatım tükeniyor, soluyor, can çekişiyor) diyerek dramın dozunu iyice artırıyor. Bir yandan sevdiği kadına "Traidora" (Hain) ve "abusadora" (zalim / duyguları suistimal eden) diye sitem ediyor, diğer yandan da "te sigo esperando" (seni beklemeye devam ediyorum) diyerek kapıyı sonuna kadar açık bırakıyor.

Şarkıda en eğlenceli ve samimi kısım ise gururun tamamen bir kenara bırakıldığı anlar. Çevredeki herkes "La gente está comentando que de mí tú no te enamoras" (İnsanlar senin bana aşık olmadığını konuşuyor) diyerek dedikodu yaparken, o hiç oralı olmadan "Ay no me dejes más solo porque me da miedo y lloro" (Beni yalnız bırakma çünkü korkuyorum ve ağlıyorum) diyebilecek kadar dürüst. Hem sokaktaki laflara hem de yediği darbeye rağmen "Que de ti me gusta todo" (Senin her şeyini seviyorum) sözleriyle tam bir kara sevda inadı sergiliyor.

Kubánske duo Gente de Zona sa v skladbe Traidora spojilo s Marcom Anthonym a priniesli čisté reggaetonové zúfalstvo z neopätovanej lásky. Celý text stojí na obrovskom kontraste: spevák svoju vyvolenú nazýva traidora (zradkyňa) a abusadora (vykorisťovateľka / tá, čo ubližuje), no vzápätí priznáva, že na ňu stále verne čaká (te sigo esperando). Sám sa trápi tým, čo o nich hovoria ostatní ľudia na ulici: La gente está comentando que de mí tú no te enamoras (Ľudia hovoria, že sa do mňa nezaľúbiš). Aj keď vie, že z tohto vzťahu nič dobré nevzíde, jednoducho si nevie pomôcť.

Text je miestami až prekvapivo detsky úprimný a dramatický. Namiesto chlapského ega tu počujeme otvorené priznanie strachu zo samoty: Ay no me dejes más solo, porque me da miedo y lloro (Nenechávaj ma viac samého, lebo sa bojím a plačem). Hoci spieva, že bez nej jeho život chradne a umiera (La vida se me va acabando, marchitando, agonizando), v refréne bez okolkov vyhlási Que de ti me gusta todo (Páči sa mi na tebe úplne všetko). Je to presne ten typ vzťahu, kde vás rozum varuje, ale srdce tvrdohlavo dúfa, že stratený čas sa dá ešte vrátiť späť.

Hai presente quando qualcuno ti spezza il cuore ma tu continui comunque a sperare che torni? In "Traidora", il gruppo cubano Gente de Zona insieme a Marc Anthony racconta esattamente questo dramma a ritmo di reggaeton. Il protagonista è disperato e non si vergogna di ammetterlo: canta «Ay no me dejes più solo / Porque me da miedo y lloro» ("Ah non lasciarmi più solo / Perché ho paura e piango"). Ha perso la persona amata e sente che la sua vita si sta spegnendo senza di lei, dicendo «Quiero sacarme este dolor» ("Voglio togliermi questo dolore") mentre cerca un modo per recuperare il tempo perduto.

Il bello del testo sta nel contrasto tra la sofferenza e la rabbia un po' teatrale. Da una parte la definisce senza mezzi termini «Traidora» ("Traditrice") e «abusadora» ("approfittatrice" o donna crudele che si approfitta dei suoi sentimenti), lamentandosi pure che «La gente está comentando / Que de mí tú no te enamoras» ("La gente va dicendo / Che di me tu non ti innamori"). Si preoccupa perfino dei pettegolezzi! Eppure, subito dopo averle dato della traditrice, ammette con totale sincerità: «Que de ti me gusta todo / Y aquí te sigo esperando yo» ("Che di te mi piace tutto / E qui continuo ad aspettarti"). Un brano diretto, orgoglioso e allo stesso tempo vulnerabile, perfetto per imparare come si soffre per amore cantando a squarciagola.

Sabe aquele drama de amar quem não quer nada com você? Em "Traidora", o grupo cubano Gente de Zona se junta a Marc Anthony para cantar sobre a dor clássica da rejeição em ritmo de reggaeton. O cantor admite abertamente seu desespero com versos bem diretos como "La vida se me va acabando marchitando, agonizando" (A vida vai se acabando, murchando, agonizando) e até assume que chora feito criança: "Ay no me dejes más solo / Porque me da miedo y lloro" (Ai, não me deixe mais sozinho / Porque fico com medo e choro). É quase cômico de tão sincero.

O refrão pega pesado na cobrança e na fofoca alheia, chamando a mulher de "Traidora" e completando com "La gente está comentando / Que de mí tú no te enamoras" (As pessoas estão comentando / Que você não se apaixona por mim). Ele solta o famoso grito cubano "Se ataca abusadora" (Vem com tudo, abusadora!), que funciona como uma provocação cheia de ritmo para quem brinca com o coração alheio. Mesmo sabendo que perdeu a batalha com "Porque sé que te perdí" (Porque sei que te perdi), o cara insiste em esperar por ela com a frase "Que de ti me gusta todo" (Que em você eu gosto de tudo).

Forestil dig en sang, der kalder en eks for en forræder, men samtidig tigger hende om at komme tilbage. Det er præcis, hvad cubanske Gente de Zona og Marc Anthony gør i reggaeton-hittet "Traidora". Forsangerne sidder fast i den klassiske kærlighedsfælde: De råber rasende "Traidora, te sigo esperando" (Forræder, jeg venter stadig på dig), mens de i næste åndedrag indrømmer, at de frygter mørket og ensomheden med "Ay no me dejes más solo / Porque me da miedo y lloro" (Forlad mig ikke alene / For jeg bliver bange og græder). Det er ærligt, lidt dramatisk og ret underholdende, når stolthed og hjertesorg støder sammen.

Sangen tager også fat i den frustration, man føler, når hele nabolaget sladrer om ens ulykkelige kærlighedsliv. De synger "La gente está comentando / Que de mí tú no te enamoras" (Folk snakker om / At du ikke forelsker dig i mig). Sangens hovedperson prøver forgæves at komme videre, men må sande med "No puedo ni quiero sacarte de mi corazón" (Jeg hverken kan eller vil få dig ud af mit hjerte), at han hellere vil lide og vente end at give slip på hende.