Search results
Results from the WOW.Com Content Network
Most notable covers are by Les Paul, under the title "Johnny Is the Boy for Me" (1952) in English, by Edith Piaf (1953) and Vaya con Dios (1988) as "Johnny, tu n'es pas un ange" in French, and by Zvonko Bogdan as "Svaku ženu volim ja" (1988) in Serbo-Croatian.
Abridged version played before a football game at RFK Stadium, Washington, D.C., in 2011. In 1866, at the initiative of doctor Francisco Dueñas, who at the time was President of the Republic, the first national anthem of El Salvador was created by Cuban doctor Tomás M. Muñoz, who wrote the lyrics, and Salvadoran musician Rafael Orozco, who composed the music.
In the Palm of Your Hand (Spanish: En la Palma de Tu Mano) is a 1951 Mexican crime drama film directed by Roberto Gavaldón. [1] [2] The film received eleven nominations and won eight Ariel Awards in 1952, including Best Picture and Best Director. [3] It was shot at the Churubusco Studios in Mexico City.
Zapata: El sueño del héroe is the soundtrack for the Mexican film Zapata: El sueño del héroe and was released in May 2004, to accompany the release of the film. The lead single was the song "Lucharé por tu amor" by Alejandro Fernández and reached the top ten of the Billboard Latin Pop Airplay chart.
"Yo Soy Boricua, Pa' Que Tu Lo sepas!" (English: I am Puerto Rican, so that you know!) is a song composed in 1995 by Joel Bosch or (Bosh) a.k.a. Taino. [1] [2] The song was born out of a moment of frustration and pride, as Taino overheard an engineer insulting Puerto Ricans in English during a recording session. [3]
"Me Gustas Tú" is the second single from Manu Chao's second solo album, Próxima Estación: Esperanza. One of the artist's most popular songs worldwide, Its lyrics have a simple but catchy structure and are mostly in Spanish with parts of the chorus in French.
¿Y Tu Abuela Donde Esta? ( ¿Y tu agüela, aonde ejtá? in the Puerto Rican dialect) is a poem by Puerto Rican poet Fortunato Vizcarrondo [ 1 ] [ 2 ] (1899 – 1977), [ 3 ] which has been recorded both as songs and as poetry by many Latin American artists, most notably the Afro-Cuban artist Luis Carbonell. [ 1 ]
For example, "Hay que tener cojones para hacer eso" ("it takes cojones to do that"). It is sometimes used, at least in Spain, as a suffix, complement or termination to a word or name in order to confer it a derisive or overbearing quality. For instance: el Marcos de los cojones ("That fucking guy Marcos"), ¡Dame ya la maleta de los cojones!