The best cumbias
Narcos is back with its second season. The series that narrates the rise and fall of the legendary Colombian drug trafficker Pablo Escobar has become a worldwide phenomenon that goes beyond the treatment of the story that manages to catch the viewer from the first chapter. An exceptional script, dialogues full of black humor, a brutal casting and a really accurate setting are some of its strong points, but… What about the soundtrack?
Argentine cumbia has its greatest exponent in Rafaga, a massive band formed in the 90’s that had tremendous success with their third album, Imparables. In 2014 their song Una Cerveza reached brutal fame inside and outside their country but today we will listen to Mentirosa, a song that you have danced to for sure and another of their greatest hits.
One of the most interesting Mexican singers and actresses of all time is, without a doubt, Lila Downs. The multi-award winning artist counts among her greatest hits with songs like La sandunga, Canción mixteca, El venadito, La llorona, Pecadora and this fantastic La cumbia del mole.
The cumbia villera emerges in Argentina in the second half of the 90s, as a genre that reveals and allows to constitute a certain type of world: that of the young people of the poorest neighborhoods of Buenos Aires and Greater Buenos Aires. Poor people who do not consider themselves poor, neither as deprived nor as subject to punishment, but positivizing that which, in the dominant view, stigmatizes them. The adjective “villero”, used with contempt to characterize the inhabitants of the villas -the poorest settlements of a city- is proudly raised and recovered as a differential mark within this genre. To be a slum-dweller is, in the eyes of the “others”, worse than just being poor: it is to like and deserve poverty. It is a stigmatizing interpellation, to something or someone as an ontologically inferior being, incapable of progress.
This article presents and contextualizes the uses of a social category, that of pibe -a category that, in its contemporary use, is transversal to the generational divisions between childhood, youth and adulthood- based on its place in cumbia villera.  To do so, I will start by analyzing two types of discourse: on the one hand, the lyrics of the cumbias and, on the other, the reports, news and interviews with the villero groups that have been conveyed by the graphic media during their appearance and boom, between 1999 and the end of 2001.
Sonora dinamita mix to dance mp3
The song has been so well remembered in Colombian culture that it even made it into one of Disney’s movies, Encanto, as the entertainment giant released a video clip showing the commercial of this movie set to music with this song.
This is perhaps one of the biggest hits in the career of Carlos Vives, the Samario singer-songwriter who has not only won the hearts of hundreds of Colombians, but has also toured international stages with his lyrics of romance and that paint the essence of the national culture.
In 1988 ‘El Joe’ Arroyo recorded this song with which most people identify. A tribute that the artist from Cartagena immortalized in this song that describes the joy that is lived in the streets of Barranquilla. La noche is another of the songs
Cumbias para bailar 2022
Lo que sigue es sólo mi top 10 personal y una buena representación de los artistas que empujaron los límites y fueron más allá de la fórmula habitual de la cumbia para complacer al público. ¿No hay suficientes artistas colombianos? Probablemente, pero no pensé en países al crear esta lista, sólo en las canciones que más me emocionaron.
Esta es una de las mejores canciones que Blades nunca escribió. Compuesta por el acordeonista Oswaldo Ayala, se incluyó en La Rosa de los Vientos (1996), ganador de un Grammy, el único álbum de Blades dedicado íntegramente a las versiones. Si las líneas de acordeón de Ayala no te atraviesan el corazón, el tuyo es de piedra.
Después de estar a punto de separarse por el abuso de drogas, la Bersuit argentina volvió en los 90 con fuerza: un explosivo riff de hard-rock que se convierte en cumbia-rock, rematado por un estribillo asesino “bebo para no enamorarme/me enamoro para no beber”.
Aquí está el punto álgido del cañón de El Gran Silencio de Monterrey, una de las mejores bandas en vivo que he visto. Se supone que fue escrita como un homenaje a un estilo existente, pero la canción en realidad lo reinventó.