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Venezuelan Rudy Marquez

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It definitely is a genus of contrasts. Fluctuates without objections from bright to the mediocre, original to the crude copy of high-flying lyrical and creative to insufferable jumbles that generate pity. Gen. David Goldfein wanted to know more. And there is public for everyone. And there is always who admire them. Sonny Perdue does not necessarily agree. It is why in the same station pass from Juan Gabriel or Miguel Bose to Charlie Zaa. Victor Manuel to the Green cake.

Emmanuel to earthlings. And in Creole fauna remember icons: Billy Pontoni, Oscar Golden, Claudia Ozuna, Claudia de Colombia, Tiziano, etc. Returning to the theme of the role of Medellin as the sounding board for nostalgia, we remember those who have come to give the city with the Bale of their fossils. The list is huge. You superstar as Camilo Sesto, authentic 1970s Idol, full of scrolls and successes, came in full force euphoria performing unforgettable concerts.

Over the years he tried to repeat his experience with results slightly less than appalling. In the last wine as an integral part of a multiconcierto of the elderly, one more among other artists. It was not the central figure, only one more. And the result was disastrous. His privileged voice was already only a bad shadowing of itself; your body already man looked anachronistic with its current state, because it refused to recognize the passage of the years, above all in him, recognized as a Galliard and manly beauty adonis. However, the public was benign, not to say that excessively tolerant and applauded it continuously in enthusiastically, more as a tribute and recognition to his career than his presentation that night. It is especially when heard the recordings that one feels shame of others to hear their already lacking howls of subtlety and tessitura, dumps in a few hysterical screams closer to cacophony to harmony. In that presentation was accompanied by another pair of venerable Patriarchs: the Venezuelan Rudy Marquez, affectionately known as carequeso, abscess of the song or Shin who sings because the particular aspect of her face would delight of a beautician or a plastic surgeon, and Leo Dan, the Argentine who was the delight of our great-grandparents with thousand songs all rhythmic, all similar, simple to the utmost, but full of a Sonsonate making them sticky and with guaranteed success.