Youtube carlos cuevas boleros
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(Coincidentally, his recordings include many songs I highlighted as personal favorites in Part 1 and Part 2.
![youtube carlos cuevas boleros youtube carlos cuevas boleros](https://i.pinimg.com/originals/84/6e/9c/846e9ca90685c32f89731e3474843e2f.jpg)
#YOUTUBE CARLOS CUEVAS BOLEROS SERIES#
Taken as a whole, the crooner’s series served as a survey of the Spanish-speaking world’s most enduring love songs. In 1991, as I have mentioned, Luis Miguel sparked a bolero craze in Mexico with the first album in his Romances trilogy, a series of recordings offering his modern take on classic songs from the genre, dressed up with new orchestral arrangements. These twin revivals took root in the two countries that had served as twin fountainheads of the genre: Mexico and Cuba. The revival was fueled by two separate nostalgia trends that opened and closed the decade like bookends. The longevity of the genre was confirmed by the bolero renaissance that emerged unexpectedly during the 1990s. These beloved songwriters and their music will never fall from favor, or from the collective memory. To say the names Agustin Lara or Cesar Portillo de la Luz is to evoke an era, a worldview, a way of life. Similarly, boleros are tied less to their various interpreters than to their famed composers, ones who are considered cornerstones of Latin American culture, not just creators of a song style. No matter how many celebrity crooners interpreted their tunes (Sinatra, Bennett, Fitzgerald), the songs were always branded by the songwriters. It is very much a living, evolving song style, refreshed by new composers and young generations of fans.Īs a song style, the bolero is more comparable to the music of the classic American Songbook, with songs closely connected to truly iconic composers such as Cole Porter, Irving Berlin, and stellar songwriting teams such as George and Ira Gershwin and Rodgers and Hammerstein. Yet, the bolero is not a passing fad, like disco or La Macarena, nor a style stuck in history, like ragtime or the French contredanse.
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Meanwhile, along the Atlantic coast of the United States, racy reggaeton sounds from Puerto Rico and Panama attracted a new generation with profane lyrics and dirty dancing that left little room for the poetic tenderness and old-fashioned romanticism of traditional, genteel love songs.Īs the end of the millennium drew near, the lyrical bolero seemed like a thing of the past. Traditional Mexican music, which often featured boleros rancheros, was starting to lose ground to the controversial narco-corrido and the loud and brassy banda style from Mexico’s Pacific coast. Rock en Español was surging throughout Spain and Latin America. The bolero suffered a significant slump in the 1980s, a decade of major shifts in Latin music. But its popularity waned in the wake of new musical trends. It enjoyed a sustained period of success that spanned a third of the 20 th century, from the 1930s to the 1960s. Like most popular music styles, the bolero had its heyday before fading from the commercial mainstream. The bolero may not be what it used to be, but as they say in show business, it had a great run.