a song about the dictator of Venezuela, Nicolás Maduro.
LYRICS
[Intro | style: Rap (dark satirical docu-trap) | voice: male-coded | cadence/SPM: 170–190]
(News-bedle, shortwave hiss)
“¡Buenas noches!” cadena on the telly, volume up, city down,
“Soy Nicolás Maduro Moros…” echo in the palace crown.
I kiss the mic like it’s a medal, make the cameras swear to me,
Patria, revolución, soberanía—say it slow, then stare at me.
[Verse 1 | cadence/SPM: 200–215]
I came from bus routes, ahora I run the route of the nation,
Chávez left the throne, I read the script like revelation.
2013, tight count, I’m “elected,” I’m the cure,
State TV says “peace,” but the streets feel less secure.
I sell “order” like medicine, dosis de miedo on the side,
If the pot starts banging, I turn the broadcast louder—hide.
Cadena after cadena, I talk until the night turns gray,
My voice becomes the law, my suit becomes the flag you pay.
Ballot boxes, soldier boots, bureaucratic holy trinity,
Stamp the papers, move the cameras, manufacture infinity.
I call it “security,” you call it dread in every home,
But I’m the palace with a heartbeat, I’m the microphone.
And if you doubt, I name you “enemy,” simple, clean, official,
A signature, a uniform, a file—now it’s “judicial.”
[Pre-Chorus | cadence/SPM: 185–200]
Listen—hear the applause? (No—) that’s pots in the dark,
I say “prosperidad,” shelves look like a missing-mark.
I smile for the feed, but my eyes don’t blink, no,
I’m praying to my loyal cameras: “Don’t you glitch—no.”
[Chorus | cadence/SPM: 165–175 | chantable, clipped on snares]
I said “I am the state”—then the signal cut, cut,
I said “patria o nada”—then I tripped, what, what.
Now my crown is a clown wig, my “power” lookin’ frail—
Highest note on “fail”: I failed, I failed, I failed.
(Tag: mic-drop tone) “Cadena… canceled.”
[Verse 2 | cadence/SPM: 205–220]
2014, streets on fire with chants I can’t control,
So I rename the crackdown “peace”—pero it takes a toll.
2017, I rewrite the room: “Constituyente,” brand-new stage,
I call it “sovereignty,” they call it locked-in cage.
2018, more ballots, more billboards, same tired show,
I’m posing like a strongman while the pipelines whisper “no.”
I’m on TV talking “economic war,” I blame a distant hand,
Mientras the lines wrap blocks around my “richest” land.
“¡Vamos bien!” I say, then my teleprompter freezes mid-decree,
The glitch is like a mirror and it laughs back at me.
I talk in slogans, crowd repeats, my spell is copy-paste,
But every “revolución” tastes like rust, like waste.
I count my minutes, troops, and suits—petty empire math,
Foreshadow in my pockets: cold cuffs, a future path.
I tell myself “I saved them,” that’s the story I recite,
But the sirens write footnotes in the margins of the night.
[Pre-Chorus 2 | cadence/SPM: 180–195]
I hear “libertad” like thunder under every “lealtad,”
So I grip the mic tighter—my hands start looking bad.
I whisper to the palace: “Hold the door, hold the frame,”
But history loves a punchline, and it’s spelling out my name.
[Chorus | cadence/SPM: 165–175]
I said “I am the state”—then the signal cut, cut,
I said “patria o nada”—then I tripped, what, what.
Now my crown is a clown wig, my “power” lookin’ frail—
Highest note on “fail”: I failed, I failed, I failed.
(Tag) “Cadena… canceled.”
[Bridge | cadence/SPM: 170–185 | slower vowels, arrest/court imagery]
Breaking-news textures, helicopters drawing circles in the smog,
I’m backstage bargaining with my own reflection in the fog.
I practice my “innocente,” I rehearse my “enemy” blame,
But the door swings wide—flashbulbs—every lens knows my frame.
A voice like a headline: Trump in the room, red tie, straight face,
He says, “You’re fired,” like it’s TV, and I hate the taste.
Handcuffs click—two cold syllables—clink, clink, no debate,
My “sovereignty” fits in a pocket with a boarding-gate.
I try to yell “¡Patria!”—my throat gets cut by air,
Even my loyal cameras pan away like they don’t care.
[Final Chorus / Outro | cadence/SPM: 160–175 | biggest hook, comedic collapse]
I said “I am the state”—then the signal cut, cut,
I said “patria o nada”—now it’s “nada,” what, what.
Now my crown is a clown wig, my “power” lookin’ frail—
Highest note on “fail”: I failed, I failed, I failed.
(Tag, whispered, bitter) “Order… out of order.”
(News-bedle fades) “This has been a cadena.” Static. End.
DESCRTIPTION
– Performance & delivery: Male-coded theatrical villain POV with smug bravado that cracks into panicked comedy. Verses at ~200–220 SPM with crisp consonants for “documentary” details; pre-choruses slightly pulled back (~180–200) to build tension; chorus at ~165–175 with chantable, staccato cutoffs on the snare so it feels like he’s getting interrupted mid-boast. Range sits low-mid (A2–E4), with the highest pitch on the word “fail” in the hook to underline humiliation. Respect the “English with some Spanish” setting by keeping the narrative in English and dropping Spanish regime-flavored words (“patria,” “revolución,” “soberanía,” “cadena,” “nada”) as satirical punctuation—short, clearly articulated, never so frequent that it becomes full code-switching. – Writing guidance: Use an unreliable-narrator stance—Maduro self-mythologizes (“I saved the nation,” “order,” “security”) while adjacent bars reveal shortages, pot-banging protest (cacerolazo), sirens, and broadcast manipulation. Employ antithesis (“order” vs “fear”), metonymy (palace/microphone/uniform as the regime), and parody of official speech (cadena announcements, state-TV phrasing) with bathos punchlines (teleprompter freezes, mic cuts, clown-wig crown). Rhyme approach: medium-dense multisyllabic end rhymes with occasional internal rhyme on beat 3 especially when dropping quote-like lines; keep end rhymes strong at bar-end and reserve a double-end-rhyme couplet right before each chorus to tee up the hook. Avoid any language that endorses oppression; make the satire clearly condemnatory by pairing every “justification” with consequences and irony. – Production: Modern trap/drill-leaning rap at BPM 150, 4/4 with light swing on hats. Key: D minor (natural minor with occasional Phrygian b2 color for menace). Chords: two-chord vamp i–VI (Dm–Bb) most of the track; optionally swap to Bb–C (VI–VII) for the bridge lift, then drop back to Dm for the final chorus. Instrument palette (priority): 808 + tight trap drums (dry kick, crisp snare), dark synth brass stabs, sampled news/broadcast textures (shortwave hiss, beep tones, “cadena” style bed). Arrangement arc: Intro uses radio/noise + sparse brass; Verse 1 adds full drums and 808; Chorus widens with stacked gang-style chant doubles; Verse 2 adds extra percussion ticks and a more anxious hi-hat roll; Bridge strips to sub + broadcast FX + distant sirens, then final chorus hits fullest with extra brass stabs and a hard “signal cut” moment (tape stop or gated mute) on the word “cut.” – Mix & master targets: Mix aesthetic is cinematic-dark but punchy: forward vocal (intelligibility priority), controlled 808 with tight low-end (sidechain to kick), snare transient sharp for the comedic “cutoff” gag. Use automation on broadcast FX (bandpass filters sweeping in/out) and brief glitch edits on “teleprompter/signal cut” moments. Master for streaming around -9 to -7 LUFS integrated depending on aggressiveness, with clean true peak control. Deliverables: main mix, instrumental, acapella, and a “broadcast intro” stem for live performance. Success criteria: villain POV reads as satire/condemnation, story stays coherent (rise → repression → unraveling → capture), hook is chantable with clear “failure” punchline, and the documentary textures make scenes feel verifiable without adding private or unverifiable claims.
