Hello, the final 8 Championsleague teams were established tonight, Messi n Co had no trouble dispatching Lyon 5-1, the dinosaurs tonight were Bayern and Liverpool both 5 times winners of the Cup, the giants that stood firm for most of the time they met but then Sane scored and from that moment on Liverpool started believing, even the forced own goal by Matip didn't change that, he kept Lewandowski from scoring and completely out of the game. It fell to Virgiel Van Dijk to break the German back with a great header, building on that wonderful assist he gave Mane to score the first goal. By then it was clear Bayern were made impotent and Liverpool's third was just a question of time, it came via that wonderfoot of Salah, all Mane needed to do is give it the final nod. That's 4 English teams in the quarterfinals, together with the Portugese, Dutch, Spanish and Italian Champions, money rules in current football.
Today's artist was one of Latin music's most respected vocalists. A ten-time Grammy nominee, who sang only in her native Spanish language, received a Smithsonian Lifetime Achievement award, a National Medal of the Arts, and honorary doctorates from Yale University and the University of Miami. A street in Miami was even renamed in her honor, and her trademark orange, red, and white polka dot dress and shoes have been placed in the permanent collection of the Smithsonian Institute of Technology. The Hollywood Wax Museum includes a statue of the Cuba-born songstress. According to the European Jazz Network, she "commands her realm with a down-to-earth dignity unmistakably vibrant in her wide smile and striking pose.".....N'Joy
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Úrsula Hilaria Celia de la Caridad Cruz Alfonso was born on October 21, 1925 in the diverse, working-class neighborhood of Santos Suárez in Havana, Cuba, the second of four children. Her father, Simón Cruz, was a railroad stoker and her mother, Catalina Alfonso was a homemaker who took care of an extended family. Celia was one of the eldest among fourteen children- brothers, sisters, and many cousins- she often had to put the younger ones to bed by singing them to sleep. While growing up in Cuba's diverse 1930s musical climate, Cruz listened to many musicians who influenced her adult career, including Fernando Collazo, Abelardo Barroso, Pablo Quevedo and Arsenio Rodríguez. Despite her father's opposition and the fact that she was Catholic, as a child Cruz learned Santería songs from her neighbor who practiced Santería.
As a teenager, her aunt took her and her cousin to cabarets to sing, but her father encouraged her to attend school in the hope she would become a teacher. After high school she attended the Normal School for Teachers in Havana with the intent of becoming a literature teacher. At the time being a singer was not viewed as an entirely respectable career. However, one of her teachers told her that as an entertainer she could earn in one day what most Cuban teachers earned in a month. Cruz's big break came in 1950 when Myrta Silva, the singer with Cuba's Sonora Matancera, returned to her native Puerto Rico. Since they were in need of a new singer, the band decided to give the young Celia Cruz a chance. She auditioned in June, and at the end of July she was asked to join as lead singer.[10] She won the support of Sonora's band leader, Rogelio Martínez, and went on to record hits such as "Yembe Laroco" and "Caramelo". Soon her name was bigger than the band's. During her 15 years with Sonora Matancera, she appeared in cameos in some Mexican films such as Rincón criollo (1950), Una gallega en La Habana (1955) and Amorcito corazón (1961), toured all over Latin America, and became a regular at Havana's famous Tropicana nightspot.
After Fidel Castro assumed control of Cuba in 1959, when the Sonora Matancera left Cuba to perform in Mexico in June 1960, they did not return. Cruz and her husband, Pedro Knight, were prohibited from returning to their homeland and became citizens of the United States. In 1965, Cruz left the group and in 1966, Cruz and Tito Puente began an association that would lead to eight albums for Tico Records. The albums were not as successful as expected. However, Puente and Cruz later joined the Vaya Records label. There, she joined accomplished pianist Larry Harlow and was soon headlining a concert at New York's Carnegie Hall. Cruz's 1974 album with Johnny Pacheco, Celia y Johnny, was very successful, and Cruz soon found herself in a group named the Fania All-Stars, which was an ensemble of salsa musicians from every orchestra signed by the Fania label (owner of Vaya Records).
In 1976, she participated in a documentary film Salsa about the Latin culture, along with figures like Dolores del Río and Willie Colón. She also made three albums with Willie Colon (1977, 1981, 1987). With a voice described as operatic, Cruz moved through high and low pitches with an ease that belied her age, and her style improvising rhymed lyrics added a distinctive flavor to salsa. Her flamboyant costume, which included various colored wigs, tight sequined dresses, and very high heels, became so famous that one of them was acquired by the Smithsonian institution. During the 1980s, Cruz began to garner the international recognition that was her due, she made many tours in Latin America and Europe, doing multiple concerts and television shows wherever she went, and singing both with younger stars and stars of her own era. She began a crossover of sorts, when she participated in the 1988 feature film Salsa alongside Robby Draco Rosa.
In 1990, Cruz won a Grammy Award for Best Tropical Latin Performance – Ray Barretto & Celia Cruz – Ritmo en el Corazón. She later recorded an anniversary album with Sonora Matancera. In the same year, she was recipient of the Excellence Award at the 1990 Lo Nuestro Awards. In 1992, she starred with Armand Assante and Antonio Banderas in the film The Mambo Kings. Cruz's popularity reached its highest level after she appeared in the The Mambo Kings. Cruz also appeared in the film The Perez Family. She sang a duet version of "Loco de Amor," with David Byrne, in the Jonathan Demme movie Something Wild.In 1994, President Bill Clinton awarded Cruz the National Medal of Arts. In the same year, she was inducted into Billboards Latin Music Hall of Fame along with fellow Cuban musician Cachao López. In 1999, Cruz was inducted into the International Latin Music Hall of Fame.Cruz continued to record and perform until sidelined by a brain tumor in 2002. While recovering from surgery to remove the tumor, she managed to make it in to the studio in early 2003 to record Regalo de Alma. Her surgery was only partially successful and she died July 16, 2003. The passing of the "Queen of Salsa" left a huge gap in Latin music, but also a remarkable catalog to document her reign.
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The world's love affair with Celia Cruz is a story that has a middle but no beginning. Today, the world remembers Cruz as the Queen of Salsa, with her towering wigs, cackling refrain of ¡Azúcar! and permanent smile. Her best-loved hits concern happiness in the face of life's hardships: "Ay / no hay que llorar / que la vida es un carnaval / es más bello vivir cantando" (You don't have to cry / life is a carnaval / it's more beautiful to live singing). For so many, the hope and joy that Cruz embodied made her difficult ascension to fame a footnote to her success.
Celia Cruz - Hall of Fame Azucar, Vol. 1 (flac 219mb)
01 Tu Voz 3:21
02 Mala Mujer 3:54
03 Lágrimas Negras 3:10
04 Amor 3:05
05 El Pacifico 3:03
06 Total 3:01
07 Quedate Negra 3:06
08 Me Extraña 2:55
09 Canoero 3:15
10 Marina 2:47
11 Canto a la Caridad 3:32
12 Seis de la Mañana 4:52
(ogg mb)
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Celia Cruz - Hall of Fame Reina del Tumbao, Vol. 2 (flac 202mb)
01 El Pescador 2:52
02 A Burujon Puñao 2:54
03 Bravo 2:55
04 Olga 3:20
05 Mas Fuerte Que Tu Amor 2:42
06 Humo 2:50
07 Te Solte la Rienda 3:27
08 Ojos Malos 2:44
09 La Adivinanza 2:54
10 Ay Cosita Linda 2:37
11 Ahora Es Cuando 3:39
12 Se Que Lloraras 4:26
(ogg mb)
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Celia Cruz - Hall of Fame La Guarachera de Oriente 3 (flac 202mb)
01 Yerberito Moderno 2:40
02 La Vecina 2:52
03 La Campeona 3:29
04 Irresistible 2:20
05 Alguien 2:18
06 Amor Sin Esperanza 2:40
07 Mi Lindo Bohio 2:36
08 Oyeme Mama 3:17
09 Comence a Adorarte 3:01
10 Amor de Pelicula 2:47
11 Rompe Bonche 2:33
12 A Dios Que Reparta Suerte 3:41
(ogg mb)
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With her powerful pipes, stunning showmanship, and superhuman sense of timing, Celia Cruz defined her chosen genre like few other performers in the history of popular music. Exitos Eternos is a collection of tracks the "Queen of Salsa" recorded during the last decade of her life that, despite the vocalist's advanced age, clearly show Cruz's talents never wavered. Known for her uncompromising attitude and refusal to sing in English, Cruz valued aesthetic purity, but never became a museum piece. A driving pulse and rhythmic toasting that recall dancehall reggae propel her 2001 hit "La Negra Tiene Tumbao," and other tracks feature subtle synthesizer textures. Unlike lesser artists, however, Cruz is able to incorporate these disparate sonic colors seamlessly, making them sound as traditional as a conga drum or guiro. Of course, the unrelenting force behind each recording is Cruz's astounding voice, the sheer energy of which makes even these later recordings sound both classic and utterly contemporary. Celia Cruz is the Queen of Salsa, the contagious joy of her voice, the movement of those Latin rhythms, her signature shouts of "Azucar!" and her everlasting enthusiasm for life. Vive la reina l!
Celia Cruz - Exitos Eternos (flac 459mb)
01 La Vida Es Un Carnaval 4:39
02 La Negra Tiene Tumbao 4:19
03 Que Le Den Candela 3:54
04 Sazon 4:51
05 Usted Abuso 4:18
06 La Guagua 5:40
07 Oye Como Va 4:22
08 La Voz De La Experiencia (Con La India) 5:26
09 Mi Vida Es Cantar 4:01
10 Cucala (Live) 5:08
11 Tu Voz (Con Vicente Fernandez) 3:23
12 Quimbara (Live) 6:04
13 Guantanamera (Live) 6:19
14 Por Si Acaso No Regreso 5:49
Celia Cruz - Exitos Eternos (ogg 173mb)
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Today's artist was one of Latin music's most respected vocalists. A ten-time Grammy nominee, who sang only in her native Spanish language, received a Smithsonian Lifetime Achievement award, a National Medal of the Arts, and honorary doctorates from Yale University and the University of Miami. A street in Miami was even renamed in her honor, and her trademark orange, red, and white polka dot dress and shoes have been placed in the permanent collection of the Smithsonian Institute of Technology. The Hollywood Wax Museum includes a statue of the Cuba-born songstress. According to the European Jazz Network, she "commands her realm with a down-to-earth dignity unmistakably vibrant in her wide smile and striking pose.".....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Úrsula Hilaria Celia de la Caridad Cruz Alfonso was born on October 21, 1925 in the diverse, working-class neighborhood of Santos Suárez in Havana, Cuba, the second of four children. Her father, Simón Cruz, was a railroad stoker and her mother, Catalina Alfonso was a homemaker who took care of an extended family. Celia was one of the eldest among fourteen children- brothers, sisters, and many cousins- she often had to put the younger ones to bed by singing them to sleep. While growing up in Cuba's diverse 1930s musical climate, Cruz listened to many musicians who influenced her adult career, including Fernando Collazo, Abelardo Barroso, Pablo Quevedo and Arsenio Rodríguez. Despite her father's opposition and the fact that she was Catholic, as a child Cruz learned Santería songs from her neighbor who practiced Santería.
As a teenager, her aunt took her and her cousin to cabarets to sing, but her father encouraged her to attend school in the hope she would become a teacher. After high school she attended the Normal School for Teachers in Havana with the intent of becoming a literature teacher. At the time being a singer was not viewed as an entirely respectable career. However, one of her teachers told her that as an entertainer she could earn in one day what most Cuban teachers earned in a month. Cruz's big break came in 1950 when Myrta Silva, the singer with Cuba's Sonora Matancera, returned to her native Puerto Rico. Since they were in need of a new singer, the band decided to give the young Celia Cruz a chance. She auditioned in June, and at the end of July she was asked to join as lead singer.[10] She won the support of Sonora's band leader, Rogelio Martínez, and went on to record hits such as "Yembe Laroco" and "Caramelo". Soon her name was bigger than the band's. During her 15 years with Sonora Matancera, she appeared in cameos in some Mexican films such as Rincón criollo (1950), Una gallega en La Habana (1955) and Amorcito corazón (1961), toured all over Latin America, and became a regular at Havana's famous Tropicana nightspot.
After Fidel Castro assumed control of Cuba in 1959, when the Sonora Matancera left Cuba to perform in Mexico in June 1960, they did not return. Cruz and her husband, Pedro Knight, were prohibited from returning to their homeland and became citizens of the United States. In 1965, Cruz left the group and in 1966, Cruz and Tito Puente began an association that would lead to eight albums for Tico Records. The albums were not as successful as expected. However, Puente and Cruz later joined the Vaya Records label. There, she joined accomplished pianist Larry Harlow and was soon headlining a concert at New York's Carnegie Hall. Cruz's 1974 album with Johnny Pacheco, Celia y Johnny, was very successful, and Cruz soon found herself in a group named the Fania All-Stars, which was an ensemble of salsa musicians from every orchestra signed by the Fania label (owner of Vaya Records).
In 1976, she participated in a documentary film Salsa about the Latin culture, along with figures like Dolores del Río and Willie Colón. She also made three albums with Willie Colon (1977, 1981, 1987). With a voice described as operatic, Cruz moved through high and low pitches with an ease that belied her age, and her style improvising rhymed lyrics added a distinctive flavor to salsa. Her flamboyant costume, which included various colored wigs, tight sequined dresses, and very high heels, became so famous that one of them was acquired by the Smithsonian institution. During the 1980s, Cruz began to garner the international recognition that was her due, she made many tours in Latin America and Europe, doing multiple concerts and television shows wherever she went, and singing both with younger stars and stars of her own era. She began a crossover of sorts, when she participated in the 1988 feature film Salsa alongside Robby Draco Rosa.
In 1990, Cruz won a Grammy Award for Best Tropical Latin Performance – Ray Barretto & Celia Cruz – Ritmo en el Corazón. She later recorded an anniversary album with Sonora Matancera. In the same year, she was recipient of the Excellence Award at the 1990 Lo Nuestro Awards. In 1992, she starred with Armand Assante and Antonio Banderas in the film The Mambo Kings. Cruz's popularity reached its highest level after she appeared in the The Mambo Kings. Cruz also appeared in the film The Perez Family. She sang a duet version of "Loco de Amor," with David Byrne, in the Jonathan Demme movie Something Wild.In 1994, President Bill Clinton awarded Cruz the National Medal of Arts. In the same year, she was inducted into Billboards Latin Music Hall of Fame along with fellow Cuban musician Cachao López. In 1999, Cruz was inducted into the International Latin Music Hall of Fame.Cruz continued to record and perform until sidelined by a brain tumor in 2002. While recovering from surgery to remove the tumor, she managed to make it in to the studio in early 2003 to record Regalo de Alma. Her surgery was only partially successful and she died July 16, 2003. The passing of the "Queen of Salsa" left a huge gap in Latin music, but also a remarkable catalog to document her reign.
xxxxx xxxxx xxxxx xxxxx xxxxx
The world's love affair with Celia Cruz is a story that has a middle but no beginning. Today, the world remembers Cruz as the Queen of Salsa, with her towering wigs, cackling refrain of ¡Azúcar! and permanent smile. Her best-loved hits concern happiness in the face of life's hardships: "Ay / no hay que llorar / que la vida es un carnaval / es más bello vivir cantando" (You don't have to cry / life is a carnaval / it's more beautiful to live singing). For so many, the hope and joy that Cruz embodied made her difficult ascension to fame a footnote to her success.
Celia Cruz - Hall of Fame Azucar, Vol. 1 (flac 219mb)
01 Tu Voz 3:21
02 Mala Mujer 3:54
03 Lágrimas Negras 3:10
04 Amor 3:05
05 El Pacifico 3:03
06 Total 3:01
07 Quedate Negra 3:06
08 Me Extraña 2:55
09 Canoero 3:15
10 Marina 2:47
11 Canto a la Caridad 3:32
12 Seis de la Mañana 4:52
(ogg mb)
xxxxx
Celia Cruz - Hall of Fame Reina del Tumbao, Vol. 2 (flac 202mb)
01 El Pescador 2:52
02 A Burujon Puñao 2:54
03 Bravo 2:55
04 Olga 3:20
05 Mas Fuerte Que Tu Amor 2:42
06 Humo 2:50
07 Te Solte la Rienda 3:27
08 Ojos Malos 2:44
09 La Adivinanza 2:54
10 Ay Cosita Linda 2:37
11 Ahora Es Cuando 3:39
12 Se Que Lloraras 4:26
(ogg mb)
xxxxx
Celia Cruz - Hall of Fame La Guarachera de Oriente 3 (flac 202mb)
01 Yerberito Moderno 2:40
02 La Vecina 2:52
03 La Campeona 3:29
04 Irresistible 2:20
05 Alguien 2:18
06 Amor Sin Esperanza 2:40
07 Mi Lindo Bohio 2:36
08 Oyeme Mama 3:17
09 Comence a Adorarte 3:01
10 Amor de Pelicula 2:47
11 Rompe Bonche 2:33
12 A Dios Que Reparta Suerte 3:41
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
With her powerful pipes, stunning showmanship, and superhuman sense of timing, Celia Cruz defined her chosen genre like few other performers in the history of popular music. Exitos Eternos is a collection of tracks the "Queen of Salsa" recorded during the last decade of her life that, despite the vocalist's advanced age, clearly show Cruz's talents never wavered. Known for her uncompromising attitude and refusal to sing in English, Cruz valued aesthetic purity, but never became a museum piece. A driving pulse and rhythmic toasting that recall dancehall reggae propel her 2001 hit "La Negra Tiene Tumbao," and other tracks feature subtle synthesizer textures. Unlike lesser artists, however, Cruz is able to incorporate these disparate sonic colors seamlessly, making them sound as traditional as a conga drum or guiro. Of course, the unrelenting force behind each recording is Cruz's astounding voice, the sheer energy of which makes even these later recordings sound both classic and utterly contemporary. Celia Cruz is the Queen of Salsa, the contagious joy of her voice, the movement of those Latin rhythms, her signature shouts of "Azucar!" and her everlasting enthusiasm for life. Vive la reina l!
Celia Cruz - Exitos Eternos (flac 459mb)
01 La Vida Es Un Carnaval 4:39
02 La Negra Tiene Tumbao 4:19
03 Que Le Den Candela 3:54
04 Sazon 4:51
05 Usted Abuso 4:18
06 La Guagua 5:40
07 Oye Como Va 4:22
08 La Voz De La Experiencia (Con La India) 5:26
09 Mi Vida Es Cantar 4:01
10 Cucala (Live) 5:08
11 Tu Voz (Con Vicente Fernandez) 3:23
12 Quimbara (Live) 6:04
13 Guantanamera (Live) 6:19
14 Por Si Acaso No Regreso 5:49
Celia Cruz - Exitos Eternos (ogg 173mb)
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