The tears of a woman who bills them

They say that Shakira has written a hymn, but also that she has signed her biggest nonsense. They say that Shakira is a feminist because of the grace with which she publicly attacks Gerard Piqué (whoever can listen to the song without smiling raise their hands), although they also say that she is macho for comparing women with Ferraris and Rolexes (or with Twingos and Casios, the same thing) and for denigrating his ex’s new partner for being a woman and young at the same time. Social noise triggers the conflict (and sales) while a premise is taken for granted: the singer Shakira has dedicated a song to her ex, Gerard Piqué. But it is not true. The truth is that Shakira has written a love song for the lover that she puts on the most: the market. That is the reason why this last dance between Shakira, Piqué and the industry that brought them together speaks exclusively of one thing: money. “You left my mother-in-law as a neighbor with the press at the door and the debt in the Treasury,” Shakira sings. She says it with all her letters and the pride that lets have allegedly defrauded 14 million to the treasury while we, the true cuckolds of this trio (Spanish and scammed Spaniards), confuse heartbreak with bank debt and betrayal with tax fraud. A mistake as serious as confusing greed with desire, the number of views of a video with its musical value, quality with quantity, or the monotony of a couple with the furious narcissism of its members.

What we cannot confuse is the final recipient of the song BZRP Music Session #53. And no: it is not Gerard Piqué. After all, Shakira’s thing has always been love songs and this one, which could be her biggest hit, is dedicated, from beginning to end, to the love of her life. And to him she says loud and clear: “I’m worth two out of 22.” It is not spite or contempt for Piqué’s young couple, it is just the confirmation that the price of his name is skyrocketing. And to the market he yells that he was wrong the day he started preferring sweatpants to the feathers of his tribal skirt and 2000s platforms to his bare feet. “You traded a Ferrari for a Twingo, you traded a Rolex for a Casio”, he sings now. But it is not a revenge but a declaration of love. Because what Shakira shouts to the world is that she is willing to deliver to the market everything she asks for. She named him the owner of her music long ago. And music has always owned her heart. The rest has been singing since the nineties: “Crazy, blind, deaf-mute, clumsy, stubborn and stubborn. It is all that I have been, because of you I have become something that does nothing but love you.

But then Piqué, what does he paint in this story? He is a point of the triangle, of course, but never the fundamental part. That’s why he has to be really knackered. Because the love of her life has chosen her. You will remember that Shakira and Piqué met at that historic World Cup in 2010, when the favorite dish of the music industry was tribal miscegenation and Shakira sang “Waka Waka” disguised in racial rags, extremely white and blonde surrounded by women of all colors. In those years the whole world followed the alchemical rhythm of her hips. Those were glory days for both of them, he had just won a World Cup and he was already a guy determined to buy himself anything money could buy, starting with love. A bit like the Great Gatsby but without the Scott Fitzgerald brain: total sadness for a lifetime. Fate seemed written. He, today we know, is that footballer capable of selling the sport he loves the most (with his team inside) to whitewash a dictatorship. So things, and how could it be otherwise, Shakira and Piqué fell in love. They were such for what. Although, obviously, they were never alone. They, like Lady Di, were always three in their marriage. Shakira, Piqué and their lover: success.

So now it’s Piqué’s turn to chew on the most bitter jealousy. He will be able to tolerate (and even celebrate, who knows) that Shakira accuses him in the song of having more muscle than intelligence: “a lot of gym but works the brain a little too.” But he will not be able to bear seeing her enjoy the favors of the industry, of the brands, of the likes, from the ecstasy of billing. He who thought he was finally the favorite of the trio, did not realize that nothing excites the market more than the last tear of a famous woman, ideally abandoned. That is the reason why Shakira has delivered the last tribal feather of hers to a very young Bizarrap, the 24-year-old boy who converts each artist he plays into money. He has changed his roots for the Shein and has worn higher platforms than those of his rivals. “Women don’t cry anymore, women bill,” Shakira sings, not knowing that crying and billing have been one thing throughout her life.

Today there are no tears but neither is Shakira. There is only, apparently, a mountain of money. What Shakira does not want to admit is that she is not even hers, she owes it to the Treasury. That and that women do not earn our freedom by billing. On the contrary, the fight continues to be that no woman (nor any artist) is for sale. You should never have sold anything, Shaki. And much less your last tear. I hope you keep at least one. If so, I congratulate you. How well you act

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The tears of a woman who bills them