ORGULLOSAMENTE COLOMBIANO

ORGULLOSAMENTE COLOMBIANO
ORGULLOSAMENTE COLOMBIANO.......
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JACQUELINE CASTELLANOS AÑO 1993 . CUBAS RHYTHM QUEEN CON LA ORQUESTA JOAQUIN BETANCOURT



01 ME QUEDE CON GANAS
02 CANDELINA ALE .
03 COMO ME HA INSULTADO .
04 PARA TU ALTAR .
05 SOLO VIVO POR TI
06 DESAVENENCIAS
07 YIRIYIRIBON.
08 LA DAMA DEL SON.
09 Y SIEMPRE DIMOS MAS
10 ARREBATANDO CHA CHA CHA
11 PROCURO OLVIDARTE
12 TE QUEDARAS
13 A SANTA BARBARA
For whatever reason, Afro-Cuban salsa has been very male-dominated over the years. For every Celia Cruz or Merceditas Valdés who came along, there were countless male artists. Some feminists might argue that because Latin America has historically had a patriarchal culture, it stands to reason that salsa would be dominated by males. But blaming the shortage of female salsa artists on patriarchy is problematic because other Latin American idioms are full of female artists. Brazilian music has given us one female superstar after another (has Brazil been any less patriarchal than Cuba?), and if all of Latin pop's female stars decided to retire, you would probably see a lot of Latin labels go out of business. So it's hard to explain why salsa has been so male-dominated, but we do know this much: it could use a lot more female artists. When Jacqueline Castellanos emerged in Cuba in the 1980s, her expressive nature served as a reminder of salsa's need to be less male-dominated. The singer provides an appealing blend of sweetness and grit on Cuba's Rhythm Queen, which was recorded in Havana and came out in the U.S. in 1993. Castellanos' sweetness serves her well on smooth, sleek tracks like "Procuro Olvidarte," "Solo Vivo por Ti," and "Me Quede con Ganas," all of which are examples of the salsa romantica style that was extremely popular in the 1980s and 1990s. Arguably, salsa romantica is really Latin pop with Afro-Cuban overtones, which isn't necessarily a bad thing -- there is room for both hardcore salsa and a more pop-oriented use of Afro-Cuban rhythms. And when Castellanos wants to be more aggressive, she does so with confidence. "Como Me Ha Insultado," "Para Tu Altar," and a remake of the Silvestre Mendez classic "Yiri Yiri Bon" demonstrate that she is equally proficient when it comes to hardcore salsa. From hard-swinging son and guaracha to gentle boleros (Latin ballads) and salsa romantica, Cuba's Rhythm Queen paints an attractive picture of the Latina vocalist. ~ Alex Henderson, All Music Guide
Yaqueline Castellanos es la voz femenina más destacada que sale de Cuba de los años recientes. Su carrera comenzó en 1984, cuando ganó el primer premio y el premio de la prensa especializada en la televisión cubana-show "Todo El Mundo Canta"
Su voz, formados en la escuela nacional de Cuba para las Artes, le permiten cubrir varios estilos musicales, aunque es su capacidad asombrosa para la improvisación, que la convirtió en la verdadera "Señora del Hijo".
Ha participado en los festivales más prestigiosos de Cuba: "Jazz Plaza", "Adolfo Guzmán", "Beny Moré", así como "Oro Verde" (Brasil), "Boleros de Oro" (México), "Antología del Bolero" (España ).
Compartió el escenario con Elena Burke, María Dolores Pradera, Omara Portuondo, Moncho, González Celina, Dyango, Los Panchos, Armando Manzanero, etc
Ha actuado y realizado giras por muchos países como Nicaragua, Brasil, México, Curazao, Rusia, Finlandia, Hungría, Luxemburgo, Holanda, Grecia, España, Italia, Croacia, Eslovenia, Francia y Alemania.
Discografía: "kilo al Merengue" con el Opus 13, "Cubanísimo" con Mercedita Valdés, "La Dama del Son" (Premio Egrem 1994) con el Opus 13, "Solo vivo por ti" con su orquesta JB (canciones de este CD tiene primero lugar en Miami y California unas listas de éxitos), "Homenaje a María Teresa Vera", "Homenaje a Marcelino Guerra" (con Omara Portuondo, Compay Segundo y Rapindey), "Divas", "30 Años Con la música de Juan Almeida", "Homenaje a la Orquesta Sinfónica de Camagüey", "Son de Cuba", "Conozca a Cuba Primero", "Tropical fiebre," El Que No corres vuela "," Yara Yara "y" El Regreso ".