¿Cómo es posible que el progreso sea tan violento?
Una flor, un árbol, un aroma, los pajaritos
Son valores que se van perdiendo de a poquito.
Hachan, tiran, rompen, sacan, ponen y hacen ruido
indignándonos con sus proyectos sin sentido
Demolieron la manzana de al lado de la plaza
para hacer un centro comercial tan grande y grasa
Sálvese quien pueda. Quien pueda que se salve.
Cambian la fachada de la casa, les da vergüenza
no nos enseñaron el valor de nuestra herencia.
La vereda, el almacén, el kiosco, los reconozco
si los quitan yo me siento sapo de otro pozo
Sálvese quien pueda. Quien pueda que se salve.
Las frutillas, los tomates, ahora no son tan ricos
porque les pusieron qué sé yo qué gen maldito
¡ah, las rosas! eran espinosas y perfumadas
ahora no te pinchan, pero tienen olor a nada.
Sálvese quien pueda. Quien pueda que se salve.
Veo, oigo, huelo, toco, siento, pienso.

Juana Rosario Molina Villafañe (Spanish pronunciation: [ˈxwana moˈlina]; born 1 October 1961) is an Argentine singer, songwriter and actress, based in Buenos Aires. She is known for her distinctive sound, considered an exponent of folktronica, although it has also been described as ambient, experimental, neofolk, chill-out, indietronica, psychedelic, indie pop, and progressive folk.
The daughter of tango singer Horacio Molina and actress Chunchuna Villafañe, she achieved fame as a sketch comedy actress in the 1990s, first as a guest in various shows and in 1991 with her show, Juana y sus hermanas. At the height of her popularity, she quit her job as an actress to pursue a music career. Her debut album, Rara, was subsequently released in 1996, and panned by local critics who resented her departure from television. Discouraged from the criticism, she moved to Los Angeles, where her music had been better received, and she familiarized herself with electronic instruments. She then returned to Buenos Aires to produce her second album, Segundo, incorporating the sonic elements she had learned. Each one of her following albums has added a new complexity to her music, which is characterized by layered loops of acoustic and electronic sounds.
Despite the initial negative reaction to her music in her home country, music critics have consistently acclaimed Molina's work, praising her music and experimentation. In 2013, El País wrote, "she established herself as the star of the avant-garde sound of her country in the world." Writing for The Guardian, Robin Denselow called her the "one-time Queen of Latin chill" and wrote: "[she] has built up a global cult following as one of the most experimental musicians in Argentina."