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Ediciones Malinca (Buenos Aires) - 1959
Colección Nueva Linterna #27
Título original: The case of the beautiful body
“La ciutat batega sota els nostres peus”
Temps de Flors 2024, Girona.
Girona se convierte en un gran jardín urbano con la llegada de Temps de Flors, una fiesta primaveral que este año 2024 se celebra del 11 al 19 de mayo, ocho días para vivir todo el color y la belleza de la naturaleza. Como en todas las ediciones anteriores, la ciudad se adorna con vivos arreglos florales que engalanan edificios emblemáticos del casco histórico y un sinfín de rincones y plazas, dando vida a un espectáculo que cada año regala imágenes irrepetibles.
La 69 edición de la fiesta Temps de Flors, una exhibición de flores y plantas en jardines, calles y monumentos, regresa en 2024, llenando la ciudad de Girona con su esencia de deleite primaveral y en contacto con la naturaleza. Además de calles, plazas y escalinatas, espacios interiores como claustros, los subterráneos de la Catedral o los Baños Árabes, junto a un sinfín de patios habitualmente privados, volverán a abrir sus puertas para recibir a un público entregado.
En total, este año se pueden contemplar 109 instalaciones florales repartidas en 12 barrios gerundenses: Barri Vell, Can Gibert del Pla, Carme, Devesa, Eixample, Fontajau, Mercadal, Montilivi, Santa Eugènia, Sant Narcís, Taialà y Vall de Sant Daniel. Algunos están realizados por jardineros profesionales, mientras otros son obra de asociaciones vecinales e incluso estudiantes de colegios e institutos.
Girona becomes a large urban garden with the arrival of Temps de Flors, a spring festival that this year 2024 will be celebrated from May 11 to 19, eight days to experience all the color and beauty of nature. As in all previous editions, the city is adorned with vivid floral arrangements that adorn emblematic buildings in the historic center and countless corners and squares, giving life to a spectacle that each year provides unrepeatable images.
The 69th edition of the Temps de Flors festival, an exhibition of flowers and plants in gardens, streets and monuments, returns in 2024, filling the city of Girona with its essence of spring delight and in contact with nature. In addition to streets, squares and staircases, interior spaces such as cloisters, the basement of the Cathedral or the Arab Baths, along with an endless number of usually private patios, will reopen their doors to welcome a dedicated public.
In total, this year you can see 109 floral installations spread across 12 Girona neighborhoods: Barri Vell, Can Gibert del Pla, Carme, Devesa, Eixample, Fontajau, Mercadal, Montilivi, Santa Eugènia, Sant Narcís, Taialà and Vall de Sant Daniel. Some are made by professional gardeners, while others are the work of neighborhood associations and even students from schools and institutes.
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Spanish postcard by Ediciones Beascoa SA, Barcelona, no. 74. Image: Disney. Flit, John Smith, Pocahontas and Meeko in Pocahontas (Mike Gabriel, Eric Goldberg, 1995).
Pocahontas (Mike Gabriel, Eric Goldberg, 1995) was the 33rd Disney animated feature film and is loosely based on the life of the Native American woman of the same name. The film tells the romance between the daughter of an Algonquin chief named Pocahontas and Capt. John Smith, an English soldier, who journeyed to the New World, seventeenth-century Virginia, with other settlers to begin fresh lives. Her powerful father, Chief Powhatan, disapproves of their relationship and wants her to marry a native warrior, the tribe's dashing bachelor, Kocoum. Meanwhile, Smith's fellow Englishmen hope to rob the Native Americans of their gold. Can Pocahontas' love for Smith save the day? Pocahontas was released to mixed reactions from reviewers, who praised its animation and music but criticized its story; the film's racial overtones and historical inaccuracy also garnered a mix of condemnation and praise. However, everybody liked Meeko, Pocahontas's pet raccoon with a love of food, especially John Smith's biscuits.
During the famed "Disney Renaissance", a period that started with the release of The Little Mermaid (1989), the studio was creating modern classics with every film they released. Many at Disney had high hopes for Pocahontas (1995) upon its initial release. Then-studio head Jeffrey Katzenberg regarded it even as a more prestigious project than The Lion King (1994), and believed that it had a chance of earning an Academy Award nomination for Best Picture, following in the steps of Beauty and the Beast (1991). The design for the film is sumptuous, with mostly blues and a seamless style that never gets in the way and illustrates the action (and the feminine nature of the film) beautifully. The film was less successful commercially than was hoped. Pocahontas dealt with more adult themes and tones and did not appeal to younger children, as much as the earlier Disney hits had. However, Pocahontas did succeed at the box office, earning $346 million, and it received two Academy Awards for Best Musical or Comedy Score for Alan Menken and Best Original Song for 'Colors of the Wind'.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
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Spanish postcard by Ediciones Beascoa SA, Barcelona, no. 69. Image: Disney. John Smith and Pocahontas in Pocahontas (Mike Gabriel, Eric Goldberg, 1995).
Pocahontas (Mike Gabriel, Eric Goldberg, 1995) was the 33rd Disney animated feature film and is loosely based on the life of the Native American woman of the same name. The film tells the romance between the daughter of an Algonquin chief named Pocahontas and Capt. John Smith, an English soldier, who journeyed to the New World, seventeenth-century Virginia, with other settlers to begin fresh lives. Her powerful father, Chief Powhatan, disapproves of their relationship and wants her to marry a native warrior, the tribe's dashing bachelor, Kocoum. Meanwhile, Smith's fellow Englishmen hope to rob the Native Americans of their gold. Can Pocahontas' love for Smith save the day? Pocahontas was released to mixed reactions from reviewers, who praised its animation and music but criticized its story; the film's racial overtones and historical inaccuracy also garnered a mix of condemnation and praise. However, everybody liked Meeko, Pocahontas's pet raccoon with a love of food, especially John Smith's biscuits.
During the famed "Disney Renaissance", a period that started with the release of The Little Mermaid (1989), the studio was creating modern classics with every film they released. Many at Disney had high hopes for Pocahontas (1995) upon its initial release. Then-studio head Jeffrey Katzenberg regarded it even as a more prestigious project than The Lion King (1994), and believed that it had a chance of earning an Academy Award nomination for Best Picture, following in the steps of Beauty and the Beast (1991). The design for the film is sumptuous, with mostly blues and a seamless style that never gets in the way and illustrates the action (and the feminine nature of the film) beautifully. The film was less successful commercially than was hoped. Pocahontas dealt with more adult themes and tones and did not appeal to younger children, as much as the earlier Disney hits had. However, Pocahontas did succeed at the box office, earning $346 million, and it received two Academy Awards for Best Musical or Comedy Score for Alan Menken and Best Original Song for 'Colors of the Wind'.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
Ediciones Malinca (Buenos Aires) - 1955
Colección Nueva Pandora #13
Título original: The madam who blushed!
Spanish postcard by Ediciones Raker, Barcelona, no. 1032.
Spanish actor and writer José Campos (1936-2010) was promoted as the Spanish James Dean. He was known for such films as La cripta e l'incubo/Crypt of the Vampire (1964), the historical TV series Diego de Acevedo (1966) and Vivir a mil/Living at a thousand (1976), which he also directed. Despite the high expectations at the start of his career, his films were of very little importance
José Campos was born José Antonio Campos Boloix in 1936 in Granada, Andalucia. He studied acting at the I.I.E.C., and then made his film debut, benefiting from a certain physical resemblance to the then-recently deceased James Dean. He was given one of the most spectacular publicity campaigns in the history of Spanish cinema. For his first film, Llama un tal Esteban (Pedro L. Ramírez, 1959), the publicity read: "José Campos is a true star of today's cinema, who will mark an epoch and define a school of acting in world cinema". However, the professional career of José Campos in no way corresponded to such optimistic perspectives. He developed his film activity mainly in Barcelona in films produced by Ignacio F. Iquino or the brothers Alfonso Balcázar and Jaime Jesús Balcázar. In the early 1960s, he starred in such Spanish light entertainment films as Solteros de verano/Summer bachelors (Alfonso Balcázar, 1962) and Los castigadores/The punishers (Alfonso Balcázar, 1962). He played a juvenile delinquent in Los desamparados/The Homeless (Antonio Santillán, 1962). He co-starred with Rafael Bardem in La alternativa/The alternative (José María Nunes, 1963). For this film, he also wrote the story.
In Italy, José Campos appeared in the horror film La cripta e l'incubo/Crypt of the Vampire (Camillo Mastrocinque, 1964) starring Christopher Lee. Though only superficially faithful to Joseph Sheridan Le Fanu's famous novella, 'Carmilla', the film was praised for its consistent visual distinction and unity of mood. Ma Cortes at IMDb: "A scary and ghastly film with a lot of thrills, chills, and ominous bloodsuckers. Interesting screenplay full of twists and turns." He appeared in an episode of the popular historical series Diego de Acevedo (Ricardo Blasco, 1966) about Spain during the 19th century. He also appeared in the crime films Yo no soy un asesino/I am not a murderer (José María Zabalza, 1968) and Homicidios en Chicago/Homicides in Chicago (José María Zabalza, 1969). After a long interval, José Campos returned to the screen with Vivir a mil/Living at a thousand (1976), which he both wrote and directed and which starred his son, Juan Carlos Campos. He then acted in the Spanish comedy Visanteta, estáte quieta/Visanteta, be quiet (Vicente Escrivá, 1979) starring Maria Rosaria Omaggio. He only played a supporting part, credited as Josep Campos. He had an even smaller, uncredited part in the sex comedy Consultorio sexológico/Sex Clinic (José Antonio Villalba, 1980). His final film was the thriller El enigma del yate/The enigma of the yacht (Carlos Aured, 1983). José Campos died in 2010 in Madrid, Spain. He was 76. His daughter is Marie Cozannet, who also works in the film industry.
Sources: Ma Cortes (IMDb), Enciclopedia del Cine Español (Spanish), Film Affinity and IMDb.
And, please check out our blog European Film Star Postcards.
Spanish postcard by Ediciones JRB, no. 191/10. Photo: Frank Powolny / 20th Century Fox. Publicity still for Will Success Spoil Rock Hunter? (Frank Tashlin, 1957).
Some Hollywood stars were much more popular in Europe than at home. A fabulous example is sweet Jayne Mansfield (1933-1967), one of Hollywood's original platinum blonde bombshells. Although most of her American films did not do much at the European box offices, Jayne herself was a sensation whenever she came to Europe to promote her films. During the 1960s when Hollywood had lost its interest in her, Jayne continued to appear cheerfully in several European films.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
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Ediciones Malinca (Buenos Aires) - 1964
Colección Kaput #1
Título original: La foire aux asticots
Kaput es un seudónimo de Frédéric Dard
Ediciones Reservada (Buenos Aires) - 1966
Colección Collar #53
Título original: Vultures over playwood
Spanish postcard by Ediciones Beascoa, S.A., Barcelona. Illustration: Disney. Publicity still for One Hundred and One Dalmatians (Clyde Geronimi, Hamilton Luske, 1961).
One Hundred and One Dalmatians (Clyde Geronimi, Hamilton Luske, 1961), often abbreviated as 101 Dalmatians, is an American animated adventure film produced by Walt Disney and based on the 1956 novel The Hundred and One Dalmatians by Dodie Smith. The 17th Disney animated feature film, the film tells the story of a litter of Dalmatian puppies who are kidnapped by the villainous Cruella de Vil, who wants to use their fur to make into coats. Their parents, Pongo and Perdita, set out to save their children from Cruella, all the while rescuing 84 additional puppies that were bought in pet shops, bringing the total of Dalmatians to 101.
Dodie Smith wrote the book The Hundred and One Dalmatians in 1956. When Walt Disney read it in 1957, it immediately grabbed his attention, and he promptly obtained the rights. Smith had always secretly hoped that Disney would make it into a film. Originally released to theatres on 25 January 1961, by Buena Vista Distribution, One Hundred and One Dalmatians was a box office success, pulling the studio out of the financial slump caused by Sleeping Beauty, a costlier production released two years prior. Aside from its box office revenue, its commercial success was due to the employment of inexpensive animation techniques—such as using xerography during the process of inking and painting traditional animation cels—that kept production costs down. The film was re-released theatrically in 1969, 1979, 1985, and 1991. The film's total domestic lifetime gross is $145 million, and its total worldwide gross is $215 million. One Hundred and One Dalmatians was first released on VHS in 1992, as part of the Walt Disney Classics video series. Two months later, it had sold 11.1 million copies. At the time, it was the sixth best-selling video of all time.It was remade into a live-action film in 1996. Disney has announced that another live-action film is in development, but it will focus on the origin of Cruella de Vil. Emma Stone is set to play Cruella. Hal Erickson at AllMovie: "101 Dalmatians represents the Disney animation staff at its very best, and as a bonus introduces the world to Cruella De Vil, one of the greatest movie villains--cartoon or "real"--of all time."
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
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PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
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THANKS / Muchas gracias!!.
Ediciones Malinca (Buenos Aires) - 1955
Colección Nueva Pandora #9
Título original: Case of the cancelled redhead
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PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
Spanish postcard by Ediciones Raker, Barcelona, no. 26. José Campos in Solteros de verano/Summer bachelors (Alfonso Balcázar, 1962).
Spanish actor and writer José Campos (1936-2010) was promoted as the Spanish James Dean. He was known for such films as La cripta e l'incubo/Crypt of the Vampire (1964), the historical TV series Diego de Acevedo (1966) and Vivir a mil/Living at a thousand (1976), which he also directed. Despite the high expectations at the start of his career, his films were of very little importance
José Campos was born José Antonio Campos Boloix in 1936 in Granada, Andalucia. He studied acting at the I.I.E.C., and then made his film debut, benefiting from a certain physical resemblance to the then-recently deceased James Dean. He was given one of the most spectacular publicity campaigns in the history of Spanish cinema. For his first film, Llama un tal Esteban (Pedro L. Ramírez, 1959), the publicity read: "José Campos is a true star of today's cinema, who will mark an epoch and define a school of acting in world cinema". However, the professional career of José Campos in no way corresponded to such optimistic perspectives. He developed his film activity mainly in Barcelona in films produced by Ignacio F. Iquino or the brothers Alfonso Balcázar and Jaime Jesús Balcázar. In the early 1960s, he starred in such Spanish light entertainment films as Solteros de verano/Summer bachelors (Alfonso Balcázar, 1962) and Los castigadores/The punishers (Alfonso Balcázar, 1962). He played a juvenile delinquent in Los desamparados/The Homeless (Antonio Santillán, 1962). He co-starred with Rafael Bardem in La alternativa/The alternative (José María Nunes, 1963). For this film, he also wrote the story.
In Italy, José Campos appeared in the horror film La cripta e l'incubo/Crypt of the Vampire (Camillo Mastrocinque, 1964) starring Christopher Lee. Though only superficially faithful to Joseph Sheridan Le Fanu's famous novella, 'Carmilla', the film was praised for its consistent visual distinction and unity of mood. Ma Cortes at IMDb: "A scary and ghastly film with a lot of thrills, chills, and ominous bloodsuckers. Interesting screenplay full of twists and turns." He appeared in an episode of the popular historical series Diego de Acevedo (Ricardo Blasco, 1966) about Spain during the 19th century. He also appeared in the crime films Yo no soy un asesino/I am not a murderer (José María Zabalza, 1968) and Homicidios en Chicago/Homicides in Chicago (José María Zabalza, 1969). After a long interval, José Campos returned to the screen with Vivir a mil/Living at a thousand (1976), which he both wrote and directed and which starred his son, Juan Carlos Campos. He then acted in the Spanish comedy Visanteta, estáte quieta/Visanteta, be quiet (Vicente Escrivá, 1979) starring Maria Rosaria Omaggio. He only played a supporting part, credited as Josep Campos. He had an even smaller, uncredited part in the sex comedy Consultorio sexológico/Sex Clinic (José Antonio Villalba, 1980). His final film was the thriller El enigma del yate/The enigma of the yacht (Carlos Aured, 1983). José Campos died in 2010 in Madrid, Spain. He was 76. His daughter is Marie Cozannet, who also works in the film industry.
Sources: Ma Cortes (IMDb), Enciclopedia del Cine Español (Spanish), Film Affinity and IMDb.
And, please check out our blog European Film Star Postcards.
Galería: Galería Elba Benítez
Artista: Fernanda Fragateiro
Título: Paper Slice
Año: 2017
Técnica: Papel de libros de arte sobre contrachapado
Medidas: 10 x 30 x 0,2 cm
Ed.única
arteBA 2017
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arteBA Fundación permite la utilización en los medios de las imágenes subidas a su espacio en Flickr.
Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza arteBA Fundación.
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Mayo 2010 - (Cantabria)
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Spanish postcard by Ediciones Tarjefher, no. 206. Photo: Epoca Films / Foto Guzman.
Spanish singer and actress Rocío Dúrcal (1944–2006) was called the ‘Queen of Ranchera’, the traditional Mexican song. She began in the 1950s as a child star and as a teenager, she appeared in a series of popular Spanish 1960s musicals. Later she focused on her musical career, became a star in Mexico and Latin America and won for her albums with rancheras and ballads several Latin Grammy awards.
Rocío Dúrcal was born María de los Ángeles de las Heras Ortiz in Madrid, Spain, in 1944. She was born and raised in Spain in the bosom of a working-class family. At the age of 10, ‘Marietta’ took part in the radio show, Conozca a sus Vecinos (Meet Your Neighbours). In these shows, she charmed the audience with her clear and melodic voice that also made her a winner in many other radio contests that she participated in those years. She was secretly supported by her paternal grandfather, who believed in her talent and was her first fan. In 1959, with the approval of her parents, she participated in the television program Primer Aplauso (First Applause). For the contest she sang the traditional song La sombra vendo. Manager Luis Sanz was impressed by her talent and personality and signed her up. Soon after, she started taking singing and dancing lessons with Lola de Aragón and Alberto Lorca. From that time, Maria began working as Rocío Durcal. Durcal is taken from a town in the province of Andalucia in southern Spain. Her new name was used for the first time in her debut film, the musical Canción de Juventud/Song of Youth (Luis Lucia, 1961). The film was a huge box office hit in Spain and in other Spanish-speaking countries. Soon followed another film vehicle, Rocío de La Mancha (Luis Lucia, 1963) and a record deal with Phonogram (now Universal Music). At this time many other young singer-actors in Spanish films were popular, including Raphael, Marisol, and the twin sisters, Pili and Mili. The songs Dúrcal performed in her films served to make her debut album, Las películas de Rocío Dúrcal (The films of Rocío Dúrcal, 1962). It was the start of a successful recording career. Durcal traveled to Mexico, Venezuela, Puerto Rico and the United States where she appeared on The Ed Sullivan Show. In her fourth film, Tengo 17 años/I am 17 (José María Forqué, 1964), Dúrcal abandoned the role of child star. That same year, she made her stage debut in Un domingo en Nueva York (A Sunday in New York), in which she proved to be a good theatrical actress. In 1965 she filmed Más bonita que ninguna/Prettier than any (Luis César Amadori, 1965) for which the pop group Los Brincos (considered at the time as the Spanish version of The Beatles) wrote some songs. In 1966, she shared the spotlight with Enrique Guzmán in the film Acompáñame/Accompany me (Luis César Amadori, 1966). She began to perform duets with such singers as Jaime Morey and Amalia de Isaura. Then she co-starred in the film Amor en el Aire/Love in Flight (Luis César Amadori, 1967) with Argentine singer-songwriter Palito Ortega and Fernando Rey. The following year, she filmed Cristina Guzmán (Luis César Amadori, 1968), the first of her films that was aimed at an adult audience. She plays the double role of a young widow with a child, is asked to replace a missing woman, and of course the missing woman who suddenly returns.
In 1970, Rocío Dúrcal married Philippine musician Antonio Morales, better known as Júnior, a former member of Los Brincos. He would later manage her singing career. In 1972, Morales began a series of television shows in Spain and Latin America singing with his wife as a duo. Their first child, Spanish actress Carmen Morales de las Heras, was born in 1970. After the birth of their second child, Antonio Morales de las Heras, in 1974, Morales decided to give up his career to devote time to their children. In 1979 they had their third child, Shaila Morales de las Heras, who is now also a singer under the stage name of Shaila Dúrcal. Dúrcal continued her film and singing career. During the 1970s she appeared in such films as the musical La novicia rebelled/The Rebellious Novice (Luis Lucia, 1971) and the French-Spanish thriller Dites-le avec des fleurs/Say it with flowers (Pierre Grimblat,1974), starring Delphine Seyrig. Her final film was the drama Me siento extraña/I feel strange (Enrique Martí Maqueda, 1977). In 1977, Dúrcal signed a contract with Ariola Eurodisc, from then on dedicating herself to her musical career. That year, while in Mexico, she met the Mexican singer-songwriter Alberto Aguilera Valadez, better known as Juan Gabriel. He convinced her to perform a popular Mexican style known as ranchera. They recorded a whole album of rancheras entitled Rocío Dúrcal canta a Juan Gabriel. Backed by the Mexican band, Mariachi América, this resulted in unexpected hits, popularity and awards, not only in Spain and Mexico, but also in Latin America and in the Hispanic community of the United States. Dúrcal and Juan Gabriel decided to continue to record rancheras together. Dúrcal's album named Canta A Juan Gabriel Volumen 6 (1984) is among the top ten best-selling albums in the history of Mexico. For this album Rocío Dúrcal received her first Grammy Award nomination. The collaboration of Dúrcal with Juan Gabriel was interrupted by disagreements between the artists and because of problems of Juan Gabriel with his record label, so Dúrcal continued to record albums with other songwriters such as Marco Antonio Solís and Rafael Pérez Botija. She moved from rancheras to romantic ballads. In 1988 she recorded the album Como Tu Mujer with producer Marco Antonio Solis.
In 1990, Rocío Dúrcal recorded her first album on CD format entitled Si Te Pudiera Mentir. In 1991, Durcal offered a concert at the National Auditorium in Mexico City, recorded in a double disc El Concierto... En Vivo. Between 1992 and 1993 she recorded the album Desaires, produced by the Mexican singer and songwriter Joan Sebastián. In this album she reprises ranchera. With this album, released simultaneously in Mexico, the United States, Colombia, Venezuela and Spain, she made a promotional world tour. In 1995 she launched her production Hay Amores Y Amores, with songs written and produced by the Argentine Roberto Livi. For this album she was nominated again for a Grammy Award in the category Best Latin Pop Album. In 1997 the double album Juntos Otra Vez brought Rocío Dúrcal and Juan Gabriel together again for the last time. In 1998, under the direction of her discoverer Luis Sanz, she starred in the Spanish TV Show Los negocios de mamá. In 2000, she celebrated 40 years in the industry. In that year she returned to ranchera music with the album Caricias, under the production of songwriter and producer Bebu Silvetti. In 2001 Rocío Dúrcal recorded Entre Tangos Y Mariachi, again produced by Bebu Silvetti, an album that includes 10 of the most famous Argentine tango arrangements interpreted with ranchero/bolero style like her previous album. In the summer of 2001 Dúrcal made a successful tour in Spain, after 13 years of no shows in Spain. In 2001 Dúrcal recorded Dama, Dama for Mujer, an album released by BMG Music Spain as part of a campaign to raise funds for an organization against breast cancer. In 2002, she performed a concert at the National Auditorium in Mexico, which was recorded in the double album En Concierto... Inolvidable. The album was nominated for a Latin Grammy Award. In 2003, the artist received another Latin Grammy Award nomination for her album Caramelito, produced by Kike Santander. In May 2004 she returned to Spain to record what would be her last album Alma Ranchera, which was nominated for a Latin Grammy Award, but did not win. A year later she received a Latin Grammy Award for musical excellence. Dúrcal had been diagnosed in 2001 with uterine cancer. In 2006, Rocío Dúrcal died at her home in Madrid. She was 61.
Sources: Drago Bonacich (AllMusic), Francisca Guilarbigos (IMDb), Wikipedia and IMDb.
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PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.