Musica Latina

[Nazanin]

loool


Ye bar ham tooye ye topic e dige goftam ke man inja I have a specialty & ounam ine ke french harf mizanam ba lahjeye south american mellat RISE miran.
Man kheili estedad daram tooye adaye ino ouno daravordan ba lahjeye khodeshoon. Masalan ghashang ba lahjeye south american french harf mizanam, DAGHIGHAN copiye khodeshoon. Vaghti jelo khdodeshoon in karo mikonam KAF mikonan, yani aslan bavareshoon nemishe.
Ya bazi vaghta spanish harf mizanam (ye chizaee baladam) bazam ba lahjeye khodeshoon & kaf mikonan
& the other thing is that az ghiyafeha mitoonam tashkhis bedam taraf kojaiye. Masalan aksare adama vaghti ye cheshm badomi mibinan besh migan "chinese", amma man ghashang mitoonam begam if the person is korean, philippino, vietnamese, etc...
Bad I can also tell by their language ke male koja hastan
Kheili haal mikonam vaghti mibinam taraf kaf karde

[Rasputin]

hmm Farnaz,mano yadeh C.I.A Spie's mindazi.hehehe,hmm nari ye vatghti mano lo bedi beh una,beheshun begi keh man migam Omrikar,nah amrika. hehehe

[Rasputin]

bad az ahanghayeh asile irani va pop irani,tanha ertebate mostaghimi ke didam ta be hal beine ahanghayeh keshvarhayeh dige ba ma,turkish budeh va spanish.turkish ro ruzeh digeh baratun topic mizaram ta bishtar ashena beshin ba turkish music khoob.

Vali spanish music male khode Spain chizi hast ke vaghean be maha nazdike va ageh beh khatere zabanesh nabud.vaghean mishod injuri bardasht kard ke mesle ma mikhunan,hamun ehsasat,hamun alagheh,eshgh va dusti.

Az in beh bad,behtarineh unharo inja moarefi mikonam behetun,bad nist, alaghei neshun bedin va az music mode ruz joda beshid va az khodetun idea dashte bashid va khodetun ro dar real music peida konid.mamnun.

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Alan mikham az Monica Naranjo baratun begam,in dokhtar khanoom keh nazdike 30 salesh hast,beine border spain va france be donya umadeh. yeki az behtarin khanandehayeh spanish hast.

Ahangash ziba hastan,amigh va zendeh,romantic va real.

parsal hamchin zamani bud keh didamesh tuyeh cafe Luz de Gas en barcelona.beh hadi tahte tasire ahangash gharar gereftam keh bad az concert kuchikesh,bi ekhtiar baghalesh kardam va busidamesh,besyar romantic va ba zabune kheili sadeh ahang mikhune.

www.monica-naranjo.com in site un hast,age khoshetun umad,behem begin ta behetun begam az koja mitunin ahangasho goosh konid.

[Cop]

cool

[Rasputin]

Gloria Estefan.

Gloria Estefan was born on September 1, 1957 in Havana, Cuba. Gloria is a very famous singer. Estefan is her married name but her name before that was Gloria Fajardo. Gloria's middle name is Maria. She went to a Catholic school in Miami. She learned to sing and play the guitar when she was only 2 years old. Then her family moved from Miami to Cuba. Later on her father was arrested. Her family became extremely poor. Whenever Gloria was sad or very upset about something she would go to her room and sing herself a song. She had one sister, her name was Becky Fajardo. They even used newspaper as bed sheet. When her dad was finally let out of jail, her family moved to Texas. Then Gloria met some musicians that came to her school to talk about music. She played with them at a friend's wedding. She did not want to join the band because she wanted to finish college and get her degree. Finally she gave in and joined the group after she graduated from the University of Miami. They were called Miami Sound Machine. At first she recorded Latin American Music in the late 70's and 80's. She married her husband Emilio Estafan, then she became Gloria Estafan. She married at the age of 21, and in the year 1978. By 1986 her group had been named Top Singles Act of 1986. Her first 3 songs were "Bad Boy," "Words Get in the Way" and "The Conga," they all came out in 1986. Soon after she and her band became famous. Then she came out with a lot more new songs. Then in the year 2000 she won an award of honor at the American Music Awards. And this is the story of Gloria Estafan's life!

[Rasputin]

Marc Anthony

Marc Anthony is the No.1-selling tropical/salsa artist in the world and has been called the salsa phenomenon of his generation. With memorable melodies, deeply traditional clave grooves and rock-influenced sustained notes, he offers a new twist to the genre. The singer also has been described as the quintessential urban Latino renaissance man. In the wake of his Broadway debut in the title role of the Paul Simon musical The Capeman, he joins Australian singer Tina Arena on Sony Classical's original soundtrack recording for the romantic adventure film The Mask of Zorro. Arena and Anthony sing the duet "I Want To Spend My Lifetime Loving You", the first song by composer James Horner and lyricist Will Jennings since they won Oscars for "My Heart Will Go On" from Titanic.

Anthony's cultural sensibility was formed both by the New York City of his upbringing and the Puerto Rico of his parents' roots. As a result, he has been uniquely able to capture in his music an emerging Latino-American consciousness in the urban United States. His third salsa album, Contra La Corriente, has been breaking records since its release in November 1997. Time Magazine voted it one of the Top 10 Albums of the Year. It was also the first salsa album in history to debut in Billboard's Top 200 and reach the No. 1 position on both Hot Latin Tracks and Top Latin 50, all at the same time. The album's release was followed by another milestone. In October 1997, Marc Anthony became the first salsa performer ever to sell out New York's Madison Square Garden.

Early in 1998, the singer joined the legendary Ruben Blades and Puerto Rico's own Ednita Nazario in The Capeman -- the first time a Broadway musical with a Latino theme featured a predominantly Latino cast. As an actor, he has also appeared in the films Hackers, Big Night and The Substitute.

Anthony's career started when he was a teenager doing back-up vocals for English language "Freestyle" dance music and penning songs for various artists. At age 19, he performed at Carnegie Hall, and later that same year at Madison Square Garden, where he opened a tribute concert for Tito Puente, in celebration of his 100th landmark album.

In 1991, the music industry began to take notice when Anthony's single "Ride On The Rhythm" from the album When the Night is Over reached No. 1 on the Billboard charts. Two years later his manager offered him the opportunity to record his first salsa album, Otra Nota. The album went double platinum, and it remains one of the top-selling albums on the tropical market, in the mainland U.S. and Puerto Rico. Todo a Su Tiempo, his second album, was released in 1995, selling more than 550,000 copies worldwide. In 1996, Anthony was nominated for a Grammy award. He also garnered Billboard's Hot Tropical Artist of the Year award in 1996, as well as awards for Male Tropical Album of the Year and Hot Latin Track of the Year in 1998.

Marc Anthony's achievements have earned him major media attention. In the U.S., he has appeared as a featured guest on The Oprah Winfrey Show, Late Show With David Letterman, VH1 Storytellers and Good Morning America. He was voted one of the 10 Most Influential People by New York Magazine and was also profiled by The New Yorker. Early in his career he was honoured with Billboard's award for Best New Artist of the Year, the Lo Nuestro and Ace Awards, and a Diplo Award in Puerto Rico.

[Rasputin]

[Rasputin]

[Rasputin]

[Cop]

AAAALllllllllleeeeeeyyyyyyyy

kheili az gav bazi khosham miaat age omadam spain hatman miram bebinammm kheilii bahale har vaght tv mizare mishinam nega mikonam
akharin zarbe ke shamshire mizare to gardane gave bahale
alllllllleyyyyyyyyyyy

[Rasputin]

AAAALllllllllleeeeeeyyyyyyyy

kheili az gav bazi khosham miaat age omadam spain hatman miram bebinammm kheilii bahale har vaght tv mizare mishinam nega mikonam
akharin zarbe ke shamshire mizare to gardane gave bahale
alllllllleyyyyyyyyyyy

Umadi Europe (har kojash!) mehmooneh khodami ! mikoshamet ageh beri jayeh digeh va behem nagi ! midooni keh man dir asabani misham vali nazar asabani besham ... Montazeretam !

[Cop]

lool jigareto eshghe to doa kon az in daneshgah tamom konamo az canada dar ram dige rangesho nabinam 10000000000000% miam tarafet no matter what

[Rasputin]

lool jigareto eshghe to doa kon az in daneshgah tamom konamo az canada dar ram dige rangesho nabinam 10000000000000% miam tarafet no matter what

tamum misheh ! to bacheh khoob va bahooshi hasti ! ayandeh khoobi hes mikonam barat ! kheili movazebe khodet bashi va hamin rah ro edameh bedeh,zoodi hame chiz tamum misheh va kamel zendegie khodet tu dasteh khodet miad.

man ham har ja bashi,ye jigh bezani,pahlootam

Fadat !

[Cop]

goooootim be ali be ghole shirazia lool

[Rasputin]

Argentine tango

Yeki digeh az un chizhaei keh man beheshoon alagheh daram tooyeh musica latina 'Argentine tango ' hast ! nazdikeh 6 sal hast keh tamrin mikonam vaghti keh vaght daram ! in yek raghseh kheili zibast va maleh adamhayeh ehsasatieh keh vaghean ba harakateh ziba va asheghaneh,ehsasateh khoodeshoon ro neshoon midan !inja say mikonam dar moredesh bishtar harf bezanam !

Argentine tango consists of a variety of styles that developed in different regions and eras, and in response to the crowding of the venue and even the fashions in clothing. Even though they all developed in Argentina and Uruguay, they were also exposed to influences reimported from Europe and North America. Consequently there is a good deal of confusion and overlap between the styles as they are now danced - and fusions continue to evolve.

In sharp contrast to ballroom tango and most other social dances, Argentine Tango relies heavily on improvisation, and in theory, every tango is improvised. Although there are many steps and sequences of steps that a tango dancer learns, every dancer is free to modify them.

Argentine Tango is danced counterclockwise around the outside of the dance floor (the so-called "line of dance"); cutting across the middle of the floor is frowned on. It can be acceptable to stop briefly in the line of dance to perform stationary figures, as long as the other dancers are not unduly impeded. (There is a saying about this: "If you look down the line of dance and there is space for you -- you are probably keeping everyone else waiting behind you.") Dancers are expected to respect the other couples on the floor; colliding with, or stepping on the feet of another couple is to be strenuously avoided. There are two sides to this: on one hand it is bad etiquette towards the other dancers (and shows your "incompetence" from a strict honor based judgment) - but even more so the leader wants to protect his lady and give her a most memorable time while dancing with him, any collision would just disturb that.

Argentine Tango is danced in a relatively close embrace, with many dancers choosing to remain in chest-to-chest (and sometimes head-to-head) contact. The walk is one of the most important elements, and dancers prefer to keep their feet in close contact with the floor at nearly all times, the ankles and knees brushing as one leg passes the other. A striking difference between Argentine tango and ballroom tango is that the follower remains upright on her axis, or may even lean toward the leader (and in a close embrace dances "chest-to-chest" with the leader). In ballroom tango this posture is unheard of. In fact, in ballroom tango the follower shyly pulls her upper body away from the leader whenever he draws her toward him.

Another interesting difference is that in Argentine tango, the leader may freely step with his left foot when the follower steps with her left foot. In English, this is sometimes referred to as a "crossed" or "uneven" walk. In ballroom tango this is unheard of and considered incorrect (unless the leader and follower are facing the same direction).

A third difference is that Argentine tango music is much more varied than ballroom tango music, allowing Argentine tango dancers to spend the whole night dancing only Argentine tango. There is a great variety of music. Canaro alone produced more than 4000 titles. Argentine Tango has its own waltz and a fast dance - called Milonga, the same name that dance parties are called.

Unlike the social version of ballroom tango which has been standardized and thus been relatively fixed in style for many decades, Argentine tango is a constantly evolving dance (even on the social dance level) and musical form, with continual innovation in Argentina and in major tango centers elsewhere in the world. These innovations may offend some traditionalists (there are quite many discussions about what still can be considered tango), but they make sure that it remains a relevant to contemporary culture and society.