2. An accom… Read Full Bio ↴2. An accomplished actress, singer, and songwriter.
2. An accomplished actress, singer, and songwriter, Valeria Andrews first made a name for herself with a featured acting role in the film Sister Act 2: Back in the Habit (1993), starring Whoopi Goldberg. Valeria also co-wrote the song "Pay Attention" for the film's soundtrack. Sister Act 2: Back In The Habit was an international sensation. In addition to her musical composition for that film, Valeria has recorded two other songs featured on soundtracks to blockbuster motion pictures: “Rhythm of the Night” for Moulin Rouge (2001) and “Ooh La La” for Legally Blonde (2001). Her breakthrough dance single “Girl I Told Ya" became synonymous with the hit television series Gossip Girl (2007). The wonderfully provocative video for "Girl I Told Ya,” which cheekily paid homage to Marie Antoinette, was shot by acclaimed director Marc Webb on location in Hungary.
Valeria's most well-known movie role to date is her portrayal of the amorous Wendy in Just Married (2003), appearing alongside Ashton Kutcher. Her other acting credits include a recurring role in the PBS series American Family (2002). She co-hosted an entire season of the "Idolesque” Next Big Star (2001), a talent competition show featuring Ed McMahon. More recently, Valeria guest-starred on the ABC sitcoms Freddie (2005) and The George Lopez Show (2002).
Valeria's back story is the stuff of Hollywood legend. She was born and raised in Sydney, Australia. Her father was Australian and her mother is from Uruguay. Her parents married within two weeks of meeting, and due to the language barrier, divorced soon after.Valeria began singing at the age of three, by way of street performance, busking during the days and competing in talent contests at night. She eventually landed a role in Falstaff at the world famous Sydney Opera House, and subsequently took on the title role in Annie.
Two nights after the production of Annie came to a close, eleven-year-old Valeria and her father headed for America. They rented a single apartment near Hollywood and Vine, and for the next five years they hit the iconic Venice boardwalk every weekend. Armed only with a boom-box and an empty coffee can for contributions from the passerby, she sang for her dinner.
Persistence and patience finally landed her a leading role at The Santa Monica Coast Playhouse in Alan & Marilyn Bergman's musical revue How Do You Keep the Music Playing ? In a prodigious feat, young Valeria performed to packed bases at the USO. This era culminated with Valeria signing with Motown Records as a member of a girl group at the age of 14.
Her teen years were marred with struggle as she ran away from home and her father was deported. Valeria became a ward of the court, and rented rooms in homes until she was 18. Gaining work when she could, she co-wrote and recorded songs for New Line Cinema's Poison Ivy 2 (1996). She even travelled to Kyoto, Japan, singing six nights a week at four shows a night, in order to raise the money to produce a demo package back home in Los Angeles. Her plan was to market the final demo to various record companies in the hopes of a contract. The resulting six minute EPK made the rounds of the major labels and following several months of negotiation, Interscope Records mogul Jimmy Iovine and Warner Chappell Publishing selected her work and Valeria's recording career was off and running.
Valeria's first album, Freshly Squeezed, was released in 2009. Freshly Squeezed is available for download on AmazonMP3, at iTunes, and other major digital online retailers. The energetic pop record features the work of famed producers Dave Aude, Space Cowboy, and Madd Scientist. None other than Lady Gaga herself is included as a superstar collaborator.
La Chica de Humo
Valeria Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lo deben saber mis pies
La siguen como las ratas a la flauta de Hámelin, para perderla después
No quiero hablar de este tema
Pero es mi mayor problema
Ella se siente importada a toda plana por la mañana, en el diario de mis penas
Aha, me entiende, me tantea
Yo qué sé dónde va, dónde vive, y todo está mal
Siempre es igual
Yo qué se que no soy detective la paso fatal
Mi chica de humo
Mi chica de humo
No escucha cuando hablo yo
Sus ojos dicen que no
Y luego me contradice por placer, para hacer que un día me ruborice
Yo ya dejé atrás los veinte
Y ella probablemente
No estamos para jugar, no me va a transformar, en crucigrama viviente
Aha, me entiende, me tantea
Aah, se enciende, coquetea, se evapora
Yo qué sé dónde va, dónde vive y todo está mal
Siempre es igual
Yo qué sé que no soy detective la paso fatal
Mi chica de humo
Mi chica de humo
Yo qué sé dónde va dónde vive y todo está mal
Siempre es igual
Yo qué sé que no soy detective la paso fatal
Mi chica de humo
Mi chica de humo, y quién te crees que eres tú, siempre tu, Siempre igual
Siempre está todo mal
Y quién te crees que eres tú, siempre tu, siempre igual
Siempre está todo mal
Y quién te crees que eres tú, siempre tu, siempre igual
Y siempre está todo mal
In the song La Chica de Humo by Valeria, the singer talks about a girl who is like smoke or mist, and who is difficult to grasp or hold on to. The first verse describes the frustration of not knowing who this girl is, as she slips away like a rat following the Pied Piper's flute. The singer admits that while she doesn't want to talk about the girl, she is still her biggest problem. The second verse delves deeper into the singer's relationship with the girl, and how she is a source of confusion and contradiction. The singer is older and more mature than the girl, but feels like she is put into the role of a puzzle that the girl tries to solve. The chorus highlights the repeated pattern where the girl seems to disappear into thin air, leaving the singer in a state of confusion and despair.
Line by Line Meaning
Aún no sé quién es
I still don't know who she is
Lo deben saber mis pies
My feet must know her
La siguen como las ratas a la flauta de Hámelin, para perderla después
They follow her like rats to the pied piper of Hamelin, just to lose her later
No quiero hablar de este tema
I don't want to talk about this
Pero es mi mayor problema
But it's my biggest problem
Ella se siente importada a toda plana por la mañana, en el diario de mis penas
She feels imported in full page by morning, in my newspaper of sorrows
Aha, me entiende, me tantea
Aha, she understands me, she tests me
Aah, se enciende, coquetea, se evapora
Aah, she ignites, flirts, then disappears
Yo qué sé dónde va, dónde vive, y todo está mal
I don't know where she goes, where she lives, and everything is wrong
Siempre es igual
It's always the same
Yo qué se que no soy detective la paso fatal
I don't know, but I'm not a detective and it's killing me
Mi chica de humo
My smoke girl
No escucha cuando hablo yo
She doesn't listen when I talk
Sus ojos dicen que no
Her eyes say no
Y luego me contradice por placer, para hacer que un día me ruborice
And then she contradicts me for pleasure, just to make me blush one day
Yo ya dejé atrás los veinte
I've already left my twenties behind
Y ella probablemente
And she probably
No estamos para jugar, no me va a transformar, en crucigrama viviente
We're not here to play, she won't turn me into a living crossword puzzle
Y quién te crees que eres tú, siempre tu, Siempre igual
And who do you think you are, always you, always the same
Siempre está todo mal
Everything is always wrong
Y quién te crees que eres tú, siempre tu, siempre igual
And who do you think you are, always you, always the same
Siempre está todo mal
Everything is always wrong
Y quién te crees que eres tú, siempre tu, siempre igual
And who do you think you are, always you, always the same
Y siempre está todo mal
And everything is always wrong
Writer(s): M. MALAVASI, MARIA LAR
Contributed by Vivian Y. Suggest a correction in the comments below.