It is taking longer than expected to fetch the next song to play. The music should be playing soon. If you get tired of waiting, you can try reloading your browser.

Please check our Help page for information about troubleshooting Pandora on your browser.

Please ensure you are using the latest Flash Player.

If you are unable or do not wish to upgrade your Flash Player,
please try a different browser.

Please check our Help page for information about troubleshooting Pandora on your browser.
Your Pandora Plus subscription will expire shortly.
More Info
No Thanks
Your Pandora Plus trial will expire shortly.
Your Pandora Plus trial subscription will expire shortly. Upgrade to continue unlimited, ad-free listening.
Upgrade Now
You've listened to hours of Pandora this month. Consider upgrading to Pandora Plus.
More Info
No Thanks
Hi . Pandora is using Facebook to personalize your experience. Learn MoreNo Thanks
 Upgrade  sign up   |   help   |  
Change Skin

Free personalized radio that
plays the music you love

Now Playing
Music Feed
My Profile
Create a Station
People who also like this

Cafe Tacuba

Café Tacuba is credited far and wide as the preeminent band to have arisen from the rock en español movement of the early '90s. The Mexican four-piece unfortunately isn't well characterized by the rock en español tag, for the "rock music sung in Spanish" descriptor does little justice to the stylistic diversity and creative strides showcased by Café Tacuba over the course of their career. The band employs a standard rock lineup of guitar/bass/drums with vocals, certainly, but the members also incorporate electronics as well as exotic instrumentation into their music, which encompasses styles as divergent as punk and ballads, as well as regional Mexican and ambient electronica. No Café Tacuba album sounds quite like another, for the band generally pursues a grand artistic vision for each project that goes all the way from the scope of the album to which musical styles will be fused, to which collaborators are best suited for the performances, to the actual packaging design of each release. For such creative reasons, Café Tacuba is beloved by critics and cultural observers who appreciate such ambition and originality. On the other hand, legions of followers worldwide are enamored with the band simply because of the music, which is broadly appealing not only because of its distinction but also because of its fun, madcap, and ever-changing manner. This is especially true of the band's first few albums -- Café Tacuba (1992), Re (1994), and Avalancha de Éxitos (1996) -- all of which are endlessly entertaining roller coaster rides of willfully whimsical stylistic fusion. Beginning with Revés/Yo Soy (1999) and continuing with Cuatro Caminos (2003), Café Tacuba grew more challenging and experimental, as well as more mature and earnest. Nevertheless, these later albums were their most acclaimed, earning Grammy Awards among other accolades. For legal reasons (and to much confusion, no doubt), the band generally bills itself as Café Tacvba rather than Café Tacuba (replacing the U with a similar-looking V), though the name is pronounced normally, with a U.

Comprised of Rubén Albarrán (vocals, guitar; born Rubén Isaac Albarrán Ortega), Emmanuel del Real (keyboards, programming, acoustic guitar, piano, vocals; born Emmanuel del Real Díaz), Joselo Rangel (electric guitar, acoustic guitar, vocals; born José Alfredo Rangel Arroyo), and Enrique Rangel (bass guitar, electric upright bass, vocals; born Enrique Rangel Arroyo), the band began humbly enough, as four friends who played rock music in the garage of a house in their neighborhood, Satélite, an upper-middle-class suburban area in the Naucalpan municipality, in the northern region of the sprawling Mexico City metropolitan area. The guys originally called their band Alicia Ya No Vive Aquí, after the 1974 Martin Scorsese film Alice Doesn't Live Here Anymore. They were influenced principally by alternative rock bands of the '80s like the Cure, the Clash, the Smiths, and Violent Femmes. Despite their English-language influences, they wanted to represent their native culture, so they incorporated Mexican signifiers into their music and changed their name. They chose Café Tacuba, which is the name of an old restaurant located on Calle Tacuba a few blocks west of the zócalo (i.e., town square, or plaza) in the Centro Histórico district of Mexico City. The word Tacuba is another name for Tlacopán (which means "florid plant on flat ground"), a Pre-Columbian Mesoamerican city-state founded on the western shore of Lake Texcoco in the Valley of Mexico. Once Café Tacuba became popular with the release of their debut album, they printed their name with a V in place of the U in Tacuba, thereby steering clear of any legal threat posed by the restaurant of the same name.

Café Tacuba made the jump from garage band to concert act in 1989, when they joined the scene surrounding El Hijo del Cuervo, a cultural club showcasing writers and musicians. El Cuervo, as it is sometimes referred to, was founded in 1987 in Coyoacán, a southern borough of Mexico City, and has become renowned for the number of significant artists it has presented over the years (Julieta Venegas also notably among them). Other clubs that Café Tacuba haunted early on include El 9, El Tutti Frutti, Rockotitlán, and El LUCC. As they gigged around Mexico City, they caught the ear of Gustavo Santaolalla, who at the time was producing albums for leading bands amid the burgeoning rock en español uprising, namely Maldita Vecindad (Y Los Hijos del Quinto Patio, 1989) and Caifanes (El Diablito, 1990). Santaolalla arranged a contract for the band with WEA Latina, with plans to produce their debut album himself. Café Tacuba in turn proceeded to record their first song for commercial release, "Tamales de Iguanita," which WEA released as part of a Christmas-themed rock en español compilation, Diciembre 25 (1990).

Produced by Santaolalla in tandem with his longtime production associate Anibal Kerpel, Café Tacuba (1992) firmly established the band as one of the most promising acts to arise from the rock en español scene. The thing is, the rock en español tag, while understandably useful in terms of marketing as well as media coverage, didn't do justice to Café Tacuba and their stylistically sprawling debut album. Certainly, rock was a key aspect of the band's sound on the album; however, Café Tacuba fused aspects of innumerable music styles into their music -- from punk and ska, to electronica and hip-hop, to regional Mexican varieties (norteño, bolero, ranchero, et al.) -- to the point where the only common characteristic from song to song was Albarrán's distinct, nasally vocals and the band's guitar/bass/drums instrumental core. The lyrics were likewise wide-ranging from song to song, yet again like the music itself, generally wild and wacky. Café Tacuba spun off numerous singles -- "Maria," "Rarotonga," "Las Persianas," "La Chica Banda," and "Las Batallas" -- with a promotional video filmed for each, with the exception of the latter. The band's recording career was off to a dashing start.

Two years later came the follow-up album, Re (1994), which was again helmed by Santaolalla. Even more stylistically careening than Café Tacuba, Re seemed to take the most notable aspects of its predecessor and amplify them: not only are there two-thirds more songs and a broader palette of instrumentation, but the songs are more willfully whimsical (e.g., the industrial metal workout "El Borrego," the norteño parody "La Ingrata"). In fact, Tacuba seem to engage in a game of style switching throughout the album, rather than the general diversity of their debut; whereas Café Tacuba finds the band incorporating various styles into a given song, all the while maintaining a fairly consistent tone over the course of the album, Re finds the group switching from one style to another on each successive song, for a jarring effect. One could argue that Re is a rejection of the overly simplistic rock en español tag, which most acts labeled as such did indeed loathe, and surely most critics did stand at attention: a comparison was frequently drawn to the Beatles' touchstone White Album -- a tour de force showcasing a popular rock band resolutely careening from style to style on one song after another.

Re substantially furthered the acclaim showered upon Café Tacuba for their debut album, and a string of hits including "La Ingrata," "Las Flores," and "El Ciclón" ensured a warm reception commercially. Moreover, Re initiated the band's tendency to incorporate collaborators and exotic instruments; in this case, collaborators included Luis Conte and Alejandra Flores, while unconventional rock instrumentation like the jarana, guitarrón, melodeon, and drum machines was employed. Re also began to lay the inroads Café Tacuba would make into the international marketplace; in particular, the band's attendance at the 1995 New Music Seminar in New York helped garner some media attention stateside, where a cult following was beginning to emerge. Meanwhile, Café Tacuba's next release, Avalancha de Éxitos (1996), consolidated their Mexican fan base. The eight-song mini-album is comprised of daring covers of well-known songs by popular Latin artists, namely Juan Jaime López, Axis, Flans, Bola de Nieve, Botellita de Jerez, Alberto Domínguez, Juan Luis Guerra, and Leo Dan. The songs covered may be familiar, but these versions certainly aren't; à la Re, Café Tacuba went about switching styles from song to song, reinterpreting the familiar in a drastically unfamiliar way. Yet another success, Avalancha de Éxitos marked Café Tacuba's first appearance on Billboard's album charts (number 12 on the Latin Pop chart, 28 on Top Latin Albums), and the band commenced an international tour to promote it.

In the wake of touring, not to mention the streak of three popular and critically praised albums in a row, Café Tacuba withdrew for a while. When they returned to work, they holed themselves up in their own studio and spent roughly a half-year on experimental music that encompassed ambient electronica and musique concrète as well as collaborative work with the Kronos Quartet. Santaolalla liked the resulting music and deemed it ready for release as is. WEA had other ideas, however, and balked at the prospect of releasing an entirely instrumental album of experimental music; after all, Café Tacuba had become one of the most popular bands in Mexico by this point, and were on the brink of breaking into the international marketplace. Much was at stake -- commercially, that is. In the end, WEA and Café Tacuba reached a compromise: if the band would record a second album of more conventional material, the label would release both as a double-disc package and sell it for the cost of a standard single-disc album. And so Café Tacuba resumed studio work, this time digging into their vast backlog of previously written material not yet released. The resulting album ended up reflecting how much the band had matured since its last conventional album, Re, recorded a half-decade earlier. Gone was some of the band's zaniness, replaced by a newfound tone of earnestness.

Finally released in July 1999, Revés/Yo Soy was hailed at the time as a landmark release, especially by critics, who tended to be amazed by the level of creativity on display. From the album's outlandish packaging (designed by Albarrán) to its maddening track sequencing (too complicated to explain in short), Revés/Yo Soy gave critics and fans plenty to consider and discuss. For example, note the album's titles: Revés (which translates to "reverse") and Yo Soy (a palindrome). In addition to the novel aspects of the album, its more accessible half, Yo Soy, continued to win over more listeners for the band, with singles such as "La Locomotora" and "La Muerte Chiquita." Acclaim for Revés/Yo Soy included a Latin Grammy for Best Rock Album, and though the album wasn't as commercially successful as previous ones had been, increasing numbers of stateside observers were taking note of this curious band from Mexico. No doubt, the stage was set for the cascades of critical adoration that would greet Café Tacuba's next album.

That album, Cuatro Caminos (2003), wouldn't come for another four years. In the meantime, Café Tacuba contributed one-off recordings to various projects like the Amores Perros (2000) and Y Tu Mamá Tambien (2002) soundtracks -- the songs "Avientame" and "Dog:God" to the former; "Insomnio" to the latter -- as well as the tribute album El Mas Grande Homenaje a Los Tigres del Norte (2001), which included a cover of "Futurismo y Tradición." Furthermore, del Real and Joselo Rangel produced a couple songs for Julieta Venegas: "Me Van a Matar" for Amores Perros and "Disco Eterno" for Tributo a Soda Stereo (2001). Rangel also took the time to work on a solo album, Oso (2003), which was produced by Albarrán. While Café Tacuba pursued these various projects, they were shopping for a new recording contract; the WEA relationship had come to an end with a trio of compilations released in 2001: Tiempo Transcurrido: The Best of Café Tacuba, a single-disc greatest-hits collection; a videos collection of the same name; and Lo Esencial de Café Tacuba, a triple-disc package containing the band's first three albums. Maverick Records, Madonna's label, was reportedly courting Café Tacuba during this time; however, the band decided ultimately to sign with MCA in 2002.

Before work began on Cuatro Caminos, Café Tacuba recorded a four-song covers EP, Vale Callampa (2002), dedicated to Los Tres, an influential Chilean rock en español band. That band's lead singer, Alvaro Henríquez, was invited to perform with Café Tacuba at the MTV Latin America Video Music Awards that year, as were rock en español singer/songwriters Erica García and Ely Guerra. When the time did come to begin work on Cuatro Caminos, the band took a different approach than in the past. For one, they decided to work with a live drummer; they recruited Victor Indrizzo and Joey Waronker. Secondly, they wanted to work with a couple choice producers besides Santaolalla and Kerpel; they recruited Dave Friedman and Andrew Weiss. A homogeneous album resulted, without the style switching of past albums. Released in June 2003, Cuatro Caminos was met with palpable anticipation as well as high expectations. No one seemed disappointed upon its reception: not critics, who likened it to Radiohead's Kid A (2000); not fans, who were enthused to hear a new full-length after a four-year wait; nor MCA Records, who were delighted to see Café Tacuba reach new commercial heights. Cuatro Caminos went on to net a standard Grammy for Best Latin Rock/Alternative Album as well as Latin Grammys for Best Alternative Album and Best Rock Song ("Eres").

After the release of Cuatro Caminos, Café Tacuba toured extensively. They performed shows in the United States, among other countries, and they put on a special show in front of 170,000 people in Mexico City at El Palacio de los Deportes in October 2004 that became the basis of Un Viaje (2005). A celebration of Café Tacuba's 15-year anniversary as a band, the show found them revisiting their back catalog, starting with songs from their 1992 debut album. MCA released Un Viaje as a double-disc CD, a DVD, and a deluxe three-CD/DVD box set. A couple months later, Café Tacuba's previous label, WEA, issued Unplugged in commemoration of the tenth anniversary of the band's memorable performance in 1995 on the popular MTV show of the time. WEA released Unplugged as a CD, DVD, and CD/DVD. As they had in the years preceding Cuatro Caminos, the members of Café Tacuba pursued their personal interests when they weren't touring in the years that followed. In particular, del Real kept busy with studio work, contributing production, songwriting, and instrumentation to albums by Ely Guerra (Sweet & Sour, Hot y Spicy, 2004), Natalia y la Forquetina (Casa, 2005), Liquits (Jardin, 2005), and Los Tres (Hagalo Usted Mismo, 2006). In 2007 Café Tacuba returned with a new studio album, Sino, and performed on the main stage at Lollapalooza that summer. In 2009, they re-released Yo Soy -- half of 1999's experimental package that also included Revés. After a five-year break from recording, the band returned in 2012 with the single "De Este Lado del Camino," which topped the Latin charts and was followed by the album El Objeto Antes Llamado Disco. It placed in the Top Ten on both the Latin Pop Albums and Top Latin Albums charts and was nominated for an Anglo Grammy (Best Latin Album -- Alternative or Urban), and two Latin Grammys, Best Alternative Album and Best Long-Form Music Video -- they won the latter. After touring the U.S. and Mexico, Cafe Tacvba's members focused on individual projects. Guitarist Joselo Rangel published his second book, a collection of short stories entitled One Hit Wonder (his first, Crocknicas Martians was also reprinted). His brother, bassist Enrique "Quique" Rangel joined Priscila Gonzalez de Quiero Club to form a band called Presidente. Keyboardist/vocalist Emmanuel Del Real "Meme" Diaz issued a pair of solo singles including "No Puedo Parar," and "Todo Va a Estar Bien."

After playing a festival concert atop a small mountain in 2016, Cafe Tacvba began writing and recording new material with longtime producer Gustavo Santaolalla and mixing engineer Mick Guzauski at Ocean Studios in Burbank, California, with live drums provided by Joey Waronker (they use Luis Ledezma in concert but he is not an official member). A video single for "Un Par de Lugares" was released in September, just before the publication of group's autobiography, Bailando por Nuestra Cuenta, in which each member narrated his own story in an interview with noted journalist Enrique Blanc.

In January of 2017, the controversial single and video "Futuro" was released, followed by the psychedelic "Disolviéndonos" (directed by vocalist Albarrán). A fourth pre-release single, a power ballad entitled "Que No" was issued later in the month, along with the full-length Jei Beibi, followed by a U.S. tour that included a concert at the historic Hollywood Bowl. ~ Jason Birchmeier
full bio

Selected Discography


Track List: Jei Beibi

1. 1-2-3

2. Matando

3. Automático

4. Enamorada

5. Futuro

6. Resolana De Luna

7. El Mundo En Que Nací

8. Me Gusta Tu Manera

9. Vaivén

10. Que No

11. Diente De León

12. Disolviéndonos

13. Celebración


Track List: Que No (Single)

1. Que No


Track List: Disolviéndonos (Single)

1. Disolviéndonos


Track List: Futuro (Single)

1. Futuro


Track List: Un Par De Lugares (Single)


Track List: De Este Lado Del Camino (Single)


Track List: Sino

1. Seguir Siendo

2. Tengo Todo

3. 53100

4. El Outsider

5. Volver A Comenzar

6. Arrullo

7. Vamonos

8. Cierto O Falso

9. Esta Vez

10. De Acuerdo

11. Abandonado

12. Y Es Que...

13. Quiero Ver

14. Agua

15. Gracias


Track List: Un Viaje (Live)

Disc 1

1. Maria (Live)

2. Las Batallas (Live)

3. Rarotonga (Live)

4. Noche Oscura (Live)

5. Cero Y Uno (Live)

6. No Controles (Live)

7. Eo (Live)

8. Puntos Cardinales (Live)

9. Mediodia (Live)

10. Eres (Live)

11. Esa Noche (Live)

12. Ojala Que Llueva Cafe (Live)

13. La 2 (Live)

14. La 6 (Live)

15. Reves (Live)

Disc 2

1. El Fin De La Infancia (Live)

2. La Locomotora (Live)

3. Las Persianas (Live)

4. Chilanga Banda (Live)

5. Labios Jaguar (Live)

6. La Chica Banda (Live)

7. Dejate Caer (Live)

8. Avientame (Live)

9. El Espacio (Live)

10. El Punal Y El Corazon (Live)

11. Las Flores (Live)

12. Como Te Extrano (Live)

13. La Ingrata (Live)

14. P**che Juan (Live)


Track List: Cuatro Caminos

1. Cero Y Uno

2. Eo (El Sonidero)

3. Mediodia

4. Que Pasara

5. Camino Y Vereda

6. Eres

7. Soy O Estoy

8. Encantamiento Inutil

9. Recuerdo Prestado

10. Puntos Cardinales

11. Desperte

12. Tomar El Fresco

13. Hoy Es

14. Hola Adios


Report as inappropriate
Muy bonita rolas biutiful
Report as inappropriate
Report as inappropriate
Todavia llorò por tiii
Report as inappropriate
bananis21197 6
Escribo letras simililares pero pienso que son demasiadas tristes I a veces las Rompo....
Report as inappropriate
bananis21197 6
This song is like a knife...but it's pretty!
Report as inappropriate
❤❤❤❤❤Mi cancion de boda ❤❤❤❤❤❤❤❤
Report as inappropriate
Me faciiiiiiin. :-)
Report as inappropriate
Report as inappropriate
Eres y seguiras siendo grande enanitos puro valle tx
Report as inappropriate
Report as inappropriate
Report as inappropriate
Recuerdos de JC Fandango an c k in '97-98
Report as inappropriate
Hay amor divino..
Me recuerda mi ninez con Leo Dan..
Report as inappropriate
Que bonito no olvidar
Report as inappropriate
Que bonito es recordar!!��
Report as inappropriate
Con tanto cafe como este, no voy a poder dormir del dolor de caveza que me causa esta cuba.
Report as inappropriate
mendezyvonne 0 7
Pase lo que pase fuistes Eres y seguiras por SIEMPRE el onbre aquien mas adore
Report as inappropriate
,3 4xxf x 2 dtx 4wc ed,x ce xe x fácilxd,d,fx r r wr cwcz,2W
Report as inappropriate
Que desmadrada le dieron a esta cancion
Report as inappropriate
mendezyvonne 0 7
Emocionada quedo Saludos To NatY
Report as inappropriate
Te Amo Nadya uno
Report as inappropriate
SACOYMEVAhtt p s : / / S e g u n d o A u d e l i n o C a n c i n o O z u n a y m i esposaMariaE l v a V i l l a n u e v a A g u i l a r l o s creadores de estaNuebaTec n o l i g i a
Report as inappropriate
Mé enamora de ella;)-
Report as inappropriate
Amo , una de Mis favoritas
Report as inappropriate
\ ^ ^ | ⚡️ ❤️ ⚡️ | ^ ^ /
Report as inappropriate
Report as inappropriate
Muy buenas las rolas.
Report as inappropriate
Chicas Rolas
Report as inappropriate
Eres ��
Report as inappropriate banda pero me gusta mucho mas los Jaguares...( caifanes)
Report as inappropriate
Report as inappropriate
Report as inappropriate
Report as inappropriate
One of the best LIVE showers EVER!!!!!!!
Report as inappropriate
Without a doubt one of the best spanish rock bands of all time. #respect
Report as inappropriate
Amo a estos chicos de cafe tacuba puros recuerdos de mi Mexico ����
Report as inappropriate
Aguante satélite
Report as inappropriate
Report as inappropriate
Puro recordar con mi esposa en akellos bares en cd juarez chihuahua los mejores en akellos tiempos�����
Report as inappropriate
Ta chidas todas las rolas hijos
Report as inappropriate
Report as inappropriate
Alguien invite al reventon superestrell a
Report as inappropriate
I like your song
Report as inappropriate
Noce pero esta musica es algo encencial enmi vida,creo que pierdo una parte de my si nola escucho,salu d o s y exito.
Report as inappropriate
This is the longest band summary ever
Report as inappropriate
Love, love this rola!!
Report as inappropriate
greenmusic20 1 3
Guys, if you wanna make some cash online go check out ATOCE.COM you can sign up for free and everything. I've been able to make around $400 per week from it. I just wanted to share it with you guys as well. Copy and paste and it worked for you. Enjoy.
Report as inappropriate
Holy s**t! Everyone should get turned onto Cafe Tacuba! They are Amazing! I love, love, love, this song and many more from this band! A M A Z I N G!!
Report as inappropriate
Pegadora la rola
Report as inappropriate
Café Tacuba "Vámonos" ❤️ esta rola esta bien curada ...
Show more

Don't have a Pandora account? Sign up

We're sorry, but a browser plugin or firewall may be preventing Pandora from loading.

In order to use Pandora internet radio, please upgrade to a more current browser.

Please check our Help page for more information.

It looks like your browser does not support modern SSL/TLS. Please upgrade your browser.

If you need help, please email:

In order to use Pandora internet radio, please upgrade to a more current browser
or install a newer version of Flash (v.10 or later).

In order to use Pandora internet radio, please install Adobe Flash (v.10 or later).

[69, 111, 73, 68, 101, 65, 124, 99, 112, 77, 111, 117, 120, 103, 97, 123, 76, 109, 106, 104, 112, 118, 87, 81, 89, 98, 114, 82, 125, 99, 72, 71, 110, 79, 117, 91, 90, 117, 82, 96, 97, 127, 90, 69, 113, 87, 66, 111, 70, 116, 82, 100, 102, 81, 124, 103, 104, 67, 93, 118, 115, 122, 103, 77, 74, 66, 96, 81, 116, 80, 66, 117, 99, 125, 114, 88, 78, 119, 70, 94, 127, 96, 91, 112, 82, 65, 121, 98, 100, 81, 105, 93, 106, 98, 116, 73, 119, 116, 81, 123, 90, 106, 76, 92, 85, 105, 100, 71, 117, 110, 95, 79, 72, 108, 123, 112, 78, 93, 67, 115, 73, 102, 105, 103, 85, 67, 110, 120, 106, 86, 100, 123, 75, 106, 80, 123, 94, 112, 107, 87, 98, 105, 108, 86, 81, 87, 84, 113, 90, 96, 77, 101, 74, 110, 94, 99, 95, 66, 91, 70, 72, 100, 83, 105, 101, 109, 93, 77, 107, 101, 87, 76, 81, 113, 70, 110, 71, 73, 74, 105, 110, 114, 76, 114, 69, 122, 102, 127, 78, 77, 93, 79, 109, 100, 71, 111, 111, 121, 70, 119, 66, 92, 80, 64, 66, 70, 67, 111, 110, 70, 123, 71, 100, 72, 72, 83, 93, 125, 119, 78, 93, 86, 71, 99, 68, 81, 96, 78, 69, 86, 96, 87, 74, 68, 110, 94, 81, 117, 67, 94, 86, 80, 122, 110, 79, 65, 103, 97, 86, 120, 123, 69, 111, 73, 71, 94, 65, 74, 68, 92, 67, 113, 123, 124, 107, 120, 72, 103, 111, 119, 97, 88, 78, 106, 97, 126, 96, 87, 64, 101, 95, 74, 126, 76, 66, 93, 77, 121, 115, 99, 104, 97, 81, 101, 66, 89, 90, 78, 95, 93, 111, 67, 122, 85, 119, 66, 107, 76, 67, 72, 111, 124, 83, 119, 122, 73, 114, 108, 81, 121, 66, 123, 88, 113, 116, 83, 94, 99, 73, 106, 120, 113, 113, 112, 84, 76, 81, 123, 105, 106, 75, 94, 114, 112, 112, 85, 107, 125, 121, 106, 79, 91, 115, 119, 65, 104, 124, 86, 123, 106, 127, 123, 84, 88, 92, 71, 93, 100, 103, 95, 116, 91, 75, 100, 124, 95, 69, 101, 81, 90, 77, 91, 97, 80, 98, 64, 125, 96, 115, 75, 85, 89, 75, 77, 93, 109, 127, 104, 71, 81, 118, 112, 68, 87, 70, 127, 97, 87, 77, 93, 110, 111, 110, 103, 84, 127, 65, 99, 83, 74, 119, 124, 98, 114, 109, 124, 107, 108, 66, 86, 123, 122, 118, 103, 65, 121, 77, 118, 106, 65, 77, 87, 124, 76, 87, 117, 88, 89, 79, 64, 70, 126, 66, 82, 127, 119, 83, 126, 127, 66, 116, 99, 113, 69, 91, 77, 116, 68, 111, 88, 69, 68, 89, 115, 84, 116, 94, 95, 109, 106, 79, 76, 82, 114, 106, 117, 75, 72, 72, 83, 84, 120, 109, 124, 85, 120, 117, 125, 127, 76, 92, 88, 105, 118, 91, 98, 83, 82, 119, 107, 101, 71]