#pérez prado

[mudwerks]

(via Benny Moré, Pérez Prado - Babarabatiri)

[vintage-every-day]

Pérez Prado - Patricia (1958)

[cowboy-tendencies]

Patricia - Pérez Prado

[famousdeaths]

Pérez Prado was a Spanish composer, arranger and conductor of popular music, known as "The King of Latin Music" for his contributions to the development of Latin jazz and mambo styles.

Link: Pérez Prado

[allthemusic]

Week ending: 7 April

I'm hurtling towards real time - or at least closer to real time than I've been for a little while with this project, and we're getting spring-like. Perhaps that's why we're getting songs about blossom?

Cherry Pink (And Apple Blossom White) - Pérez Prado (peaked at Number 1)

I'll let you in on a secret. I have known and loved this song for some time. So you are about to get a load of gushing. Because this song rocks. If you do not know it, go listen to it. I'll wait. I could listen to this song for days.

Pérez Prado, if the name didn't give it away, is a Latin musician by trade, a bandleader from Cuba, who picked up this song, originally a French track by French-Spanish songwriter Louiguy, who also wrote La vie en rose for Édith Piaf. So it's a song with an interesting history.

I listened to the original for contrast, and it's still got quite a Spanish / Latin vibe, with a clave rhythm throughout. And lyrics! I had no clue - it's a song from 1950 about young love leading to marriage and kids, laced through with a metaphor about two trees growing together. It's slinky, with its rhythm, but still reasonably sedate.

What isn't sedate is Pérez's version! Immediately we've got blaring horns, blasting out a few brash, brassy notes, before a solo trumpet cuts through, building to a peak before woozily coming down, slurring all the way and slowing down, just minutely, so that the song threatens to lurch to a stop before continuing. If you've ever wondered what a drunk trumpet sounded like, check this out.

And then we settle into a proper sexy Latin beat, with the trumpet taking over the lines that were sung in the original, and the horns forming a sort of response to the trumpet. There's also a deep, honking horn that sometimes cuts in underneath, in a way that should be comical but kind of works. I was about to say it reminds me of a bit of Mambo No. 5, and then I looked and guess who did the original Mambo No. 5 that the Lou Bega version was based off? You guessed it, one Mr. Prado.

There's one single vocalisation in the middle, which is just a man shouting "hyuurgh". Perfect energy for the song, which keeps throwing in other little, quieter segments, before coming back to its high energy, major-key refrain. It keeps you on your toes, and honestly, it's just some of the most in-your-face brass we've had for a while, and I love it.

This is a sexy song. Imagine dancing with somebody to this, doing something slinky with your hips, pulling in close to your partner on all those woozy trumpet bits and just lingering as it slows down, almost holding your breath...

Yeah, I don't need to explain myself. This is my blog.

Prize of Gold - Joan Regan (6)

Well. Following Pérez was always going to be a tough act. But Joan really makes it easy for me to have an opinion. Because this song, I hate to say, is lame.

I'm not helped here by my particular recording, which is fuzzy and low-quality, making Joan sound like she's singing in the rain. But I think even without the rain sound, she would sound kind of glum as she starts off. And fair enough, they're not super exciting lyrics. I would be glum too, if I was singing trite nonsense like this.

I mean, we open on Why do people crave for fortune, / Everything their eyes behold? / What’s the good of fame and fortune? / Love is the prize of gold. Which is a sentiment I am behind. I too think there are more important things than money. I too think that love is pretty important. And I do think good songs to get out of it - I'm thinking in particular of the Beatles with Can't Buy Me Love with its slightly garbled but definitely anti-materialist message, or even Lorde with Royals, if you want a more recent example. But those songs have one thing in common, namely that they're fun. And this song, sadly, is not.

It's just slow, and Joan sounds kind of staid and sad. She's singing about the joys of love, but she makes them sound kind of like a reliable investment, or something, as she sings about how You have to have a heart to sing to / After all your dreams grow old and how If we have our love to cling to / We have the prize of gold. I get it, it's supposed to be romantic. But dreams growing old and having to cling to your love is hardly a glittering advertisement.

It's all a very similar tune and dynamic throughout, too, and I think that's part of the issue. I liked Cherry Pink because it kept throwing different sections at me, with different moods and different speeds and different instrumentations. And you don't get that here. Here you have lyrics - which should theoretically be an advantage for this song over Cherry Pink - and yet somehow you've made a song that says less than the instrumental did.

I'm trying to see what people saw in this, and I do think that these kind of anti-materialist "money and fame isn't the answer" songs can come about in times of economic hardship. I'm thinking of the whole punk DIY ethos, here, as well as Royals, from the depths of the financial crisis. And I guess Britain was recovering from World War II, but there was maybe still a memory of financial hardship linked to the costs of war? I mean, rationing had only ended half a year ago, so maybe this is speaking to that. Or perhaps it's more of a universal theme, beloved by grannies everywhere, and I'm talking nonsense. Who knows?

I think I've made my stance clear, and the reasons for it. Not much more needs saying, except please go listen to Cherry Pink. It's so good, a genuine ought-to-be-classic.

Favourite song of the bunch: Cherry Pink (And Apple Blossom White)

[spaceintruderdetector]

Pérez Prado / Mambo del Ruletero

[beatrack92]

Spanish 4x100m team 🇪🇸

María Isabel Pérez, Paula Sevilla, Sonia Molina-Prados and Jaël Bestué

2022 European Championships (Munich)

[di3nt3s]

my goodness mambo is so fucking good this shit bangs

[boomgers]

Un reencuentro que destapará muchas dudas… “Siempre Fui Yo · Temporada 2”

La historia comienza tres años después del concurso televisivo, Lucas Martin Presenta: El Camino de El Faraón, cuando sus participantes vuelven a encontrarse en la isla privada de Pipe, que ahora es uno de los rockstars más famosos de Colombia, para grabar un álbum reencuentro.

Todo ha cambiado de manera radical: mientras que Lupe está instalada en México trabajando como periodista, Noah pasa sus días en un bar que heredó de su familia en Colombia. Pareciera que el álbum reencuentro es la oportunidad perfecta para que todos reconecten después de tanto tiempo, pero todo se complica cuando en la primera noche desaparece un valioso collar que El Faraón obsequió a Lupe.

De manera misteriosa e indescifrable, comienzan a salir a la luz los secretos de todos, creando tensión entre los viejos amigos y amenazando con destruir las vidas que construyeron.

Estreno: 17 de enero de 2024 en Disney+.

La segunda temporada cuenta con las actuaciones de Karol Sevilla, Pipe Bueno, Christian Tappan, José Julián Gaviria, Simón Savi, Juliana Velásquez, Dubán Prado, Alejandro Gutiérrez, Esther Sanz, Melanie Dell’ Olmo, Juan David Penagos y Eduardo Pérez.

[vqtblog]

Fernando Peinado: La número 1 es Rosa Pérez, 58 años copiando cuadros en El Prado “Estaría así siete vidas”

[artthatgivesmefeelings]

Mariano Salvador Maella Pérez (Spanish, 1739-1819) La visión de Sebastián de Aparicio, Detail, ca.1789 Museo Nacional del Prado

[klaus1964b]

Rosemary Clooney & Dámaso Pérez Prado - Sway (NSFW) (Album:  "A Touch of Tabasco", released 1959)

[art-that-fucks-you-up-tournament]

SET EIGHT - ROUND TWO - MATCH FOUR

"Carroña" (2011 - Javier Perez) / "The Dog" (1819–23 - Francisco Goya)

CARROÑA: The description I found at the Cornish Museum of Glass' website for this piece states that it is inspired by the loss of traditional glassmaking in Italy, which fits very well with the red glass chandelier. Obviously, it is glass, but the chandelier pieces also resemble bones, organs, and other recognizable, natural shapes rendered in shiny red glass as if made of perpetually-fresh blood. It is made to represent an animal, and I would like to argue that this animal is human. The very human urge to create and own things that are nice is combined with the reliance an artist has on the customers' enjoyment of the art - the chandelier represents the humans who were a part of the glassmaking industry, or even enjoyed it, and their culture is here, being consumed.

That brings us to the birds, the crows eating a corpse. But the crows are not necessarily guilty of killing this chandelier; the glass sprays as if it fell. The crows may or may not have pecked it from its ceiling, but they are certainly enjoying the spoils. The crows are eating the chandelier, and if the chandelier is humans and culture, what are the crows? Are they merely the representation of the way of life - the energy of the food - being changed into another form, like the people who would have learnt the trade or those no longer capable of making a living off of it moving on? Or did they indeed commit the crime they are feeding off of, and are other markets or businesses come to take profitable pieces of the chandelier?

Also, c'mon, it's crows eating a cool-looking chandelier. That's pretty metal, if you ask me. (grinning-reaper-black-pearl)

THE DOG: I saw Goya's dog in the Prado years ago, and it struck me with such dread and sadness. The whole gallery with his "black paintings" was an incredibly intense and uncomfortable experience -- you can really feel the dark emotions in these pieces. I think I actually cried looking at this one -- the dog is so helpless, just a little island in all the negative space. (ladycoriolanus)

(Carroña is a sculpture by Javier Pérez made with murano glass and stuffed crows. It measures 120 x 235 x 300 cm (47 x 92.5 x 118 in).

“The Dog” is an painting by Francisco Goya, that was originally painted on the plaster walls of his house and later transferred onto canvas. It measures 131.5 cm × 79.3 cm (51+3⁄4 in × 31+1⁄4 in) and is located in the Museo del Prado in Madrid.)

[gorogues]

No spoilers for comics in December 2024!

These are from the official solicits for that month, which you can see in full at Adventures In Poor Taste.

Just reprints that month, so nothing exciting.

A bunch of Rogues have cameos in this Crisis reprint, and you can see a few on the cover (Lisa and Mark also appear in the issue).

CRISIS ON INFINITE EARTHS #9 FACSIMILE EDITION Written by MARV WOLFMAN Art by GEORGE PÉREZ and JERRY ORDWAY Cover by GEORGE PÉREZ Foil variant cover by GEORGE PÉREZ ($6.99 US) Blank sketch cover ($5.99 US) $4.99 US | 32 pages ON SALE 12/18/24 The brief pause after the climactic destruction of so many worlds is interrupted by a new threat: an assembled team of villains led by Lex Luthor and Brainiac coordinate plans to destroy the remaining Earths if their leaders don’t capitulate. Meanwhile, on Oa, Guy Gardner accepts a ring of power and a new mission as the Guardians’ agent of vengeance. A full facsimile reprint from the series that forever changed the DC Universe.

The next book contains the Dr Alchemy story with Power Girl, Wonder Woman, and Megistus.

BRAVE AND THE BOLD VOL. 2 THE BOOK OF DESTINY Written by MARK WAID Pencils by GEORGE PÉREZ and JERRY ORDWAY Inks by BOB WIACEK, SCOTT KOBLISH, and GEORGE PÉRÉZ Cover by GEORGE PÉRÉZ $17.99 US | 160 pages | 6 5/8″ x 10 3/16″ | Softcover | ISBN: 978-1-79950-047-6 ON SALE 2/18/2025 Superman. Wonder Woman. The Flash. Power Girl. The Doom Patrol. Hawkman. Aquaman. The Teen Titans. They’re among the mightiest beings who have ever lived. Together, they are a force that can vanquish any known threat to the universe—But what about the unknown? When a mysterious being called Megistus travels between centuries to steal objects and abduct people, it’ll take all of DC’s heroes and the Challengers of the Unknown, who possess the Book of Destiny, to thwart this evil threat! Collects The Brave and the Bold #7-12.

And this massive omnibus has a lot of New 52 Rogues reprints, including Rogues Rebellion.

FOREVER EVIL OMNIBUS Written by GEOFF JOHNS, PETER J. TOMASI, STERLING GATES, BRIAN BUCCELLATO, and others Art by DAVID FINCH, SCOT EATON, PHILIP TAN, PATRICK ZIRCHER, and others Cover by IVAN REIS and JOE PRADO $150.00 | 1280 Pages | 7 1/16″ x 10 7/8″ | Hardcover | ISBN: 978-1-79950-037-7 On sale 2/11/25 The Justice League has fallen. The Crime Syndicate, the League’s evil mirror image, has targeted and eliminated nearly every hero on Earth. Featuring Forever Evil #1-7, Forever Evil Aftermath: Batman vs. Bane #1, Forever Evil Director’s Cut #1, Forever Evil: A.R.G.U.S. #1-6, Forever Evil: Arkham War #1-6, Forever Evil: Rogues Rebellion #1-6, Justice League #24-29, Justice League of America #8-14, Nightwing #30, and Suicide Squad #24-30!

[javier-carrasco]

Estoy pensando en una canción que hace bastantes años pude escuchar en determinados bares, en programas de radio, por aquí, por allá. El caso es que me encantaba pero –cosa rara– nunca me informé de quiénes la tocaban. Parecía una orquesta latina de los años 50, tipo Pérez Prado o algo así. Me acuerdo de ella aunque no sabría tararearla. Solo retengo la sensación de un producto terso, eficaz, cálido, sensualmente bailable. Con una sección de vientos bamboleante que te mecía todo el tiempo. No sé, me gustaría volver a oírla en algún sitio e incorporarla a mi catálogo mental de temas preferidos. Si ese momento llega, la reconoceré de inmediato y preguntaré con urgencia: "¿por favor, por favor, de quién es ese tema?" Espero no parecer demasiado ansioso.