The song received positive reactions from music critics who found it to be catchy. It was nominated in the category of Pop Song of the Year at the 2002 Lo Nuestro Awards and Latin Pop Airplay of the Year at the 2002 Latin Billboard Music Awards, while Kike Santander was the recipient of the Broadcast Music, Inc. (BMI) Latin Award in the same year. Commercially, it topped the Billboard Hot Latin Songs, Latin Pop Airplay, and Tropical Airplay charts in the United States.
In 1999, Cristian Castro released his sixth studio album, Mi Vida Sin Tu Amor, which was produced by Colombian musician Kike Santander.[1] Although the album was met with mixed reviews,[1][2][3][4] it achieved multi-platinum status and was named Latin pop artist of 2000 US by Billboard.[5] On 15 October 2000, Castro announced that he was working on two albums, one with rock songs and experimental music and an English-language disc of cover versions. He also announced the titled of the former album as "Azul" as well as the lead single of the same name.[6] Santander worked with Castro again to produce the album.[7]
Yaw Tog Song Azul Download
Download File 🔥 https://urluso.com/2yGb8s 🔥
"Azul" is a pop rock power ballad reminiscent of the 1980s music.[8] The San Antonio Express-News editor Ramiro Burr compared the track to Castro's 1992 song "No Podrs" with its "driving percussions and searing guitar lines".[9] It was written by Santander and his brother Gustavo, and produced by Kike, Andrs Munera, and Fernando "Toby" Tobn.[8][10] In the song, Castro sings: "Azul, y es que este amor es azul como el mar. Azul, como de tu mirada naci mi ilusin. Azul como una lagrima cuando hay perdn" ("Blue, and this love is blue like the sea. Blue, like my illusion was born from your look. Blue like a tear when there is forgiveness").[11]
"Azul" was released as the album's lead single on 3 May 2001 by BMG US Latin.[12] BMG also released a remix disc containing a dance and merengue versions of the track on 20 August 2001.[13] A music video was filmed at South Beach, Florida and directed by Pedro Torres. It features scenes Castro at a beach with friends, at a house, and at a nightclub. The visual was released on 6 June 2001 and took over 30 hours of filming.[14] AllMusic critic John Bush called "Azul" a "downright catchy hit single".[15] In spite of giving the album a negative review, Jordan Levin of the Miami Herald found it to be a "reasonably catchy pop-rocker".[8] Billboard editor Leila Cobo also regarded the track as a "catchy, exuberant slice of '80s rock".[16] Billboard ranked the track number 23 on the 50 Best Latin Pop Songs From 2000 to 2023.[10]
At the 2002 Latin Billboard Music Awards, "Azul" was nominated in the category of Latin Pop Airplay of the Year, but ultimately lost to "Abrzame Muy Fuerte" by Juan Gabriel.[17] In the same year, it was nominated Pop Song of the Year at Lo Nuestro Awards,[18] but also lost to "Abrzame Muy Fuerte".[19] Santander was awarded for the track at the 2002 BMI Latin Awards.[20] Commercially, "Azul" topped the Billboard Hot Latin Songs chart for nine weeks and was ranked the second best-performing track of 2001 on the chart.[21][22] It also reached the apex of the Latin Pop Airplay and Tropical Airplay subcharts, where it spent 12 weeks on the former and four weeks on the latter.[23][24]
However, spare a thought for Liga MX side Cruz Azul, whose ability to snatch defeat from the jaws of victory is so legendary in Mexico -- they have lost the last six Liga MX finals they have appeared in since their last title in 1997 -- that their name has long been a literal byword for coming up short, so much so that it has now inspired a song by a famous Mexican singer entitled "I Cruz Azuled it with you."
The verb "cruzazulear" ("to Cruz Azul") is already on its way to being formalised in the Spanish language. The Mexican Academy of Language defines it as a neologism meaning "the act of losing a game after victory is practically assured" while in October of this year the Royal Spanish Academy has added the verb to its word observatory, which notes words that are not yet in the dictionary but are gaining wider acceptance.
Back in February, Cruz Azul appeared in ESPN FC's Soccer Misery Index of clubs that just seem to continually let their fans down. While other fallen giants such as Hamburg, Botafogo and Manchester United also appear on that list, none of them have inspired recognised words or popular songs based on their failings.
The club's long-suffering fans endured two more crushing blows in recent weeks. Sure, the team's defeat by MLS side LAFC in the quarterfinals of the CONCACAF Champions League (with Mexico's own Carlos Vela scoring in the 2-1 win) was just a regular disappointment for the Mexico City-based club. But, even by Cruz Azul's standards, what happened in the Liga MX semifinal second leg earlier this month defied belief.
Cruz Azul had swept past a strong Tigres side in the quarterfinals and battered Pumas 4-0 in the first leg of their semifinal. Before the second leg, the prospect of a "cruzazuleada" ("a screw up") was so remote that it wasn't even really brought up. Surely such a big lead couldn't be blown?
Eden Munoz, singer in Calibre 50, croons "La Cruzazulie Contigo" ("I Cruz Azuled it with you") in a song inspired by the club's latest fiasco. The lyrics of the song, which has had almost 500,000 views on YouTube will be hard for any fan to listen to:
"I'm the king of the almost / I used to be skeptical, now I believe I'm cursed
I Cruz Azuled it, whatever / Another failure, crazy, it doesn't hurt anymore
This situation makes me laugh / I always give my all and try to do it all right
Something always happens / And, again, I Cruz Azuled and I'm left alone."
Cruz Azul isn't exactly welcome at Mexico games, either. At the 2018 World Cup, Mexico fans tried giving Cruz Azul shirts to rival supporters to try to use the "curse" in their favour. It worked wonders against Germany and did the trick against South Korea. A loss for El Tri can always be explained away by the presence of a Cruz Azul shirt in the crowd.
Ahead of the 2018 Apertura final between Cruz Azul and Club America, Mexico City establishments offered to open up a fridge full of free beer if Cruz Azul lifted the trophy. They were confident that they wouldn't be racking up any losses and rightfully so, with America winning the title.
"Negro Y Azul: The Ballad of Heisenberg" is a Narcocorrido song performed by the band Los Cuates de Sinaloa. The song tells the story of a "gringo boss" named "Heisenberg" and his infamous "blue meth", which has crossed the border into Mexico.
The words "negro y azul" translate to "black and blue", which refer to the colors skin turns when bruised and the colors of Heisenberg (black) and his product Blue Sky. The song is featured in the teaser of the episode of the same name.
The following song will help your kids learn the 4 basic colors in Spanish in a fun way. The song has an easy language for toddlers and preschoolers to teach them the name of those colors. It includes basic Spanish phrases to help them associate each color with an element.
Why Azul, one of the finest cello concertos so far this century, had to wait more than 10 years to appear on an album is confounding. It was written in 2006 for one of classical music's most beloved performers, Yo-Yo Ma, by one of today's most popular composers, Osvaldo Golijov. Such are the perennial mysteries of the classical music recording industry.
Thanks, then, to The Knights, the enterprising chamber orchestra from Brooklyn, and Warner Classics for finally presenting this magnificent score in an affecting collaboration with its dedicatee, surrounded by a diverse mix of works from Sufjan Stevens, Stockhausen (via Caroline Shaw), Dvorak and the orchestra's own Colin Jacobsen.
Azul (Blue in Spanish) is a perfect fit for Ma and he plays as if entranced. His never-ending thirst for global music clicks with the score's multi-cultural pedigree. Golijov was born in Argentina to Eastern European Jews and educated in Israel before moving to the United States. You never know when a snippet of tango, gypsy or klezmer music might break the surface. The lush score, in four movements, includes room for a little band within the orchestra consisting of a hyper-accordion (souped up with digital processing) played by its inventor Michael Ward-Bergeman, and a battery of exotic percussion dispatched by Cyro Baptista and Jamey Haddad.
"Transit," the third movement, takes us places, starting somewhere in the land of Bach's Cello Suites (powered by expressive arpeggios), stopping off for a folk dance and ending with an eruption. Its aftermath leads seamlessly to "Yrushalem." The surging breaths from the beginning return, and Ma spins the melody into an aching song. The music rises to a brass-filled climax, ending in a pair of codas, titled "Pulsar" and "Shooting Stars." The first explodes with the force of a supernova, while the second traces the stardust as it quietly disperses across the galaxy.
Next to the rambunctious St. Mark Passion, Azul is Golijov's masterwork, and arguably should open the album. But The Knights program the recording like a concert, instead beginning with Ascending Bird, a Persian folk tune reworked to ecstatic effect by the orchestra's principal violinist Colin Jacobsen and Iranian musician Siamak Aghaei. Solos for Ma and Jacobsen mimic the Persian kamancheh until the melody itself breaks through and the orchestra takes flight in a chugging beat, rising to rapturous heights.
Ma also gets tapped for "Song to the Moon," the hit aria from Dvorak's opera Rusalka, in a straight ahead arrangement for cello and orchestra. Two other arrangements fill out the album. Pulitzer-winner Caroline Shaw's effervescent arrangement of music by Karlheinz Stockhausen continues the album's celestial theme. "Leo," one of Stockhausen's 12 quirky Tierkreis (Zodiac) pieces is retooled for violin, winds, brass and percussion, while Knights horn player Michael P. Atkinson creates a 15-minute suite for strings from Sufjan Stevens' Run Rabbit Run. Most of the music darts about leaving fragments of melody, but the third movement, "Year of Our Lord," reminds us what a superb sensualist Stevens can be. With its long, elastic lines and Barber's Adagio harmonies, the movement is safe harbor amid the frenzy, and stretches out slowly toward some kind of eternity. 152ee80cbc