{"id":8767,"date":"2021-09-22T00:00:53","date_gmt":"2021-09-22T04:00:53","guid":{"rendered":"https:\/\/magazineampm.com\/?p=8767"},"modified":"2021-09-21T13:48:30","modified_gmt":"2021-09-21T17:48:30","slug":"playlist-noir-canciones-criminales","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/playlist-noir-canciones-criminales\/","title":{"rendered":"Playlist Noir: Crime Songs"},"content":{"rendered":"

If they exist the <\/span>film noir<\/span><\/i>, the French fleece, the <\/span>hard-boiled<\/span><\/i>, the crime novel and the neo-policial in the domains of cinema and literature, music also has, in the Anglo-Saxon sphere, a subgenre of songs called <\/span>murder ballads<\/span><\/i> recounting the details and consequences of crimes. But these types of stories, whether inspired by real events or fictitious creations, not only feed lyrics in English but have been sung in all languages and nourish the musical traditions of any country.\u00a0<\/span><\/p>\n

In the following sample, due to the ignorance of this compiler, only the Anglo and the Latin universe are present. Luckily, I can give you enough diversity to taste bolero and salsa, trova, ballads, pop and rock. Unfortunately, my limitations again, and the prejudice of not valuing enough the musical universe of the new millennium, make me conclude the <\/span>playlist<\/span><\/i> in the final stretch of the old century, right in 1999. One last warning: this list should not be consumed by minors, individuals with heart failure and hypersensitive people.<\/span><\/p>\n

Lola <\/i>\/ Rafael Hernandez Marin The Jibarito\u00a0<\/i><\/b><\/p>\n

They say that Ram\u00f3n Grau San Mart\u00edn, then president of Cuba, looked at his watch in the middle of a speech and exclaimed: Damn, the time Lola was killed! Since then and because of a song, three in the afternoon has had the worst fame in Cuba. Interestingly, one of the most famous "Cuban" songs of all time was created by a Puerto Rican composer in 1935, but was inspired by a crime of passion that occurred in Havana. Although it has sounded like a bolero in the voices of Mar\u00eda Teresa Vera and Orestes Mac\u00edas, here we choose the version to the rhythm of son that the pianist Javier Vazquez recorded on the album <\/span>Salsa and Montuno<\/span><\/i> from 1977, sung by the very Cuban and incomparable Orlando Contreras.\u00a0<\/span><\/p>\n