10/31/2022 0 Comments Esta soledad nos vamos bailando song![]() ![]() Daddy Yankee had indeed become a business empire, of which the primary asset - his music - remained independent from major-label control: he keenly operated his own independent label, El Cartel Records, and chose to partner with labels such as Interscope only for purposes of marketing and distribution. Daddy Yankee's name, image, and music were used to sell soft drinks for Pepsi and footwear for Reebok, as well as a syndicated show for ABC Radio Networks (Daddy Yankee on Fuego) and a feature film for Paramount Pictures (Talento de Barrio). He became more than just a reggaetoñero, having transformed himself into an international name brand by the time his 2007 follow-up album, El Cartel: The Big Boss, was released. Yankee's success was so phenomenal in the wake of his 2004 mainstream breakthrough Barrio Fino - and in particular, the international hit single "Gasolina" - that he transcended cultural boundaries and genre trappings. In 1913 it dedicated.Daddy Yankee did more than anyone to establish reggaeton as a marketable music style during the early 21st century. In that same year, the city also organized an homenaje for Ramon de la Cruz, attached a commemorative plaque to Cruz's house, and published an account of the celebrations. On, Goya's body was brought from Bordeaux and interred with great ceremony in the church of San Isidro in Madrid.(3) For this occasion, the Ministry of Education and Fine Arts arranged an enormous exhibition of Goya's artwork (Glendinning 16). The admiration for Goya had already reached a new level of intensity around the 150th anniversary of his birth in 1896 and it became a mania after 1898, if publications, lectures, and celebrations are reliable indicators. And two of the great artists of the late eighteenth century, both fearless critics of the society of their time, emerged as heroes of the generation traumatized by the disaster of '98: the painter Francisco de Goya (1746-1828) and the playwright Ramon de la Cruz (1731-1794). After the expulsion, everything non-Spanish seemed tainted by its former contact with the invaders everybody who before 1808 had been critical of foreign influence suddenly became a patriot instead of an obscurantist. Spaniards of that grim year also saw parallels between American aggression in '98 and the French invasion nine decades earlier, when the nation had begun a struggle that eventually ejected the French and many of their sympathizers. ![]() The defeat intensified and gave urgency to a trend already detectable among intellectuals, who were conscious of the exhaustion of the national will, even before the astonishing collapse of the Spanish military. They sought to identify what in Spanish culture and traditions needed to be revived in order to restore Spain to her former importance as a great power they longed to find historic models for the nation's leaders, who were trying to restore the country's morale. One obvious consequence of the Yankee victory of '98, already well understood, was that many of fin-de-siecle Spanish thinkers and artists began to seek reasons for Spain's failure to hold on to her empire. ![]() But in the America of 1998 there was no official effort to commemorate this turning-point in the country's international status,(2) while in Spain, where the defeat had been a national calamity, historians and scholars organized symposia to study the effects of the disaster. ![]() It was the beginning of America's often tragic relationship with Cuba, Puerto Rico, and the Philippines, still tinged with residual hatred for colonialism. It also dragged the naive, isolationist United States into international politics not only on islands in the familiar waters of the Caribbean but in remote Pacific archipelagos. The year 1998 marked the hundredth anniversary of the USA's victory in the "splendid little war," to quote the future Secretary of State John Hay's description of the Spanish American conflict,(1) though the "little" war had great consequences for Spain and her former colonies. The Spanish-American War and Nationalism in the Arts For Arthur Graham, peerless tenor, who for thirty years has listened to my amateur musicology with admirable forbearance ![]()
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