Karaoke oscar aviles biography

Cultural feature

"Queen of R&B" redirects here. For the album by Kyla, see The Queen of R&B.

"Queen of Country Music" redirects here. For the Kitty Wells album, see Queen of Country Music (album).

When describing popular music artists, honorific nicknames are used, most often in the media or by fans, to indicate the significance of an artist, and are often religious, familial, or most frequently royal and aristocratic titles, used metaphorically. Honorific nicknames were used in classical music in Europe even in the early 19th century, with figures such as Mozart being called "The father of modern music" and Bach "The father of modern piano music". They were also particularly prominent in African-American culture in the post-Civil War era, perhaps as a means of conferring status that had been negated by slavery, and as a result entered early jazz and blues music, including figures such as Duke Ellington and Count Basie.

In U.S. culture, despite its republican constitution and ideology, royalist honorific nicknames have been used to describe leading figures in various areas of activity, such as industry, commerce, sports, and the media; father or mother have been used for innovators, and royal titles such as king and queen for dominant figures in a field. In the 1930s and 1940s, as jazz and swing music were gaining popularity, it was the more commercially successful white artists Paul Whiteman and Benny Goodman who became known as "the King of Jazz" and "the King of Swing" respectively, despite there being more highly regarded contemporary African-American artists.

These patterns of naming were transferred to rock and roll when it emerged in the 1950s. There was a series of attempts to find—and a number of claimants to be—the "King of Rock 'n' Roll", a title that became most associated with Elvis Presley.^[

The bolero is one of the top song styles from Latin America, as ubiquitous as the tango, the mambo, or the bossa nova. Among the genres identified in the Frontera Collection, the romantic bolero ranks No. 2, currently with more than 17,500 entries. That includes more than 70 sub-genres, such as bolero ranchero, bolero mambo, bolero rítmico, and criolla bolero, an outdated style featured on just three 78-rpm recordings.

            Most people in the U.S., regardless of cultural background, have heard a bolero at some point, even if they can’t specifically identify a song as such. Some boleros have become major hits with English lyrics.

            Agustín Lara’s world-renowned bolero “Solamente Una Vez,” written in 1941, was recorded four years later by Bing Crosby with Xavier Cugat as "You Belong to My Heart" and became a Top 10 hit for Decca Records. It was featured in the 1944 Disney film The Three Caballerossinging to Donald Duck, and was also on the soundtrack to the 2004 comedy Napoleon Dynamite, in a Spanish version by Trío Los Panchos.

            María Grever’s 1934 classic, “Cuando Vuelva a Tu Lado," became a Top 10 smash in 1959 for Dinah Washington in her English rendition, “What a Diff'rence a Day Makes."

            Many boleros have become standards in the Latin American Songbook. I have previously explored two of the most popular tunes on this blog as featured songs – “Perfidia” by Alberto Dominguez and “Sabor a Mí” by Alvaro Carrillo.

            The bolero, as a song genre, should be distinguished from the 18 century Spanish dance of the same name, which formed the basis of Ravel’s famous “Boléro,” which premiered at the Paris Opera in 1928. Almost 100 years earlier, classical composer Frédéric Chopin wrote a piano work also titled “Boléro,” but with ambiguous origins sometimes attributed to the composer’s Polish roots, prompting the description boléro à la polonaise.

            The modern bolero

David Huckfelt & The Unarmed Forces
with support from Billy Sedlmayr

7pm doors | 7:30pm show
$25 Reserved Seating / $15 Advance / $20 Day of Show + fees
21+

In a career on the road less traveled that has found him sharing stages with a staggering diversity of artists: from Mavis Staples, Emmylou Harris & Greg Brown, to Bon Iver, Arcade Fire & Gregory Alan Isakov, and more recently an impressive array of Native American musicians including John Trudell, Quiltman, Keith Secola, and Annie Humphrey, Huckfelt wanted to build a new musical community for this collection of songs. While his 2018 solo debut record “Stranger Angels” was written in complete isolation at Isle Royale National Park on Lake Superior just a few miles from the Canadian border, “Room Enough, Time Enough” was created in the borderlands of southern Arizona, in the musical mecca of Tucson, the high Sonoran Desert and one of the richest, most biodiverse ecosystems in the world. He asked Tucson producer and multi-instrumentalist Gabriel Sullivan (XIXA) to open up Dust + Stone Studios to a host of friends, contemporaries, strangers, artists, outlaws, cowboys, and Native musicians: Ojibwe ambassador of Native Americana music Keith Secola, Tucson’s own living songwriting legend Billy Sedlmayr, Giant Sand founder and head purveyor of the southwestern electric-fuzz border sound Howe Gelb; former Bob Dylan drummer Winston Watson, and Calexico hired guns Connor Gallaher on pedal steel and Jon Villa on trumpet. Together with the unmatched vocal chants of John Trudell’s constant collaborator & Warm Springs Nation Native singer Quiltman, these songs found their people and vice versa in a perfect storm of generosity, fierceness and compassion. In thousands of shows across the United States, Canada & overseas, Huckfelt’s grassroots following has grown from small-town opera houses, Midwestern barn concerts, and progressive benefit events to national tours and festival stages lik

Els xinesos a Catalunya (The Chinese in Catalonia) [1]1 — Beltrán Antolín, J.; Sáiz López, A. (2001). Els xinesos a Catalunya. Barcelona: Altafulla. , was published in 2001. It was the first piece of research to take an in-depth look at the population, especially given the need to further knowledge on how to incorporate it into the educational system. The pioneering work commissioned by the Jaume Bofill Foundation provides us with a helpful starting point for analysing the characteristics of their presence twenty years on.

In 2020, 65,048 Chinese nationals were living in Catalonia, making them the fourth-largest group of foreign residents, after Moroccans, Romanians and Italians. Like the rest of Spain, Catalonia has become a considerably more diverse society in terms of its population composition. In the year 2000, people of foreign origin accounted for just 2.9% of the total population; by 2020, that number had risen to 16.2%. The number of Chinese nationals in Catalonia has also increased its relative weight over time: in 2000, the 4,396 people of Chinese nationality accounted for 2.42% of foreign residents; by 2020, that percentage had doubled to 5.16%. Interestingly, while other nationalities saw their populations decrease during the second decade of the century, the Chinese population has increased.

Young people, families and entrepreneurship

The number of young people in the population is another noteworthy feature, with more than 20% under the age of 15. These young people include both those born in Catalonia and those who have arrived for family reunification. Occasionally, recently born infants are sent to be cared for in China by other relatives, reinforcing the family nature of this migratory pattern and its transnational characteristics [2]2 — Lamas Abraira, L. (2021). El cuidado en las familias transnacionales qingtianesas, in J. Beltrán (ed.) Asia Oriental. Transnacionalismo, sociedad y c