Cheyenne singer biography sample

2002 single by Chayanne

"Torero" (Bullfighter) is a Latin pop/dance song written by Estéfano and Marcello Azevedo and performed by Puerto Rican singer Chayanne. It was released as the first single from the singer's greatest hits album Grandes Éxitos. The song became a success in Spain where it peaked at number-one. It also became a huge success in all of Latin American and the USA Latin and dance charts. It peaked number one in all of the Spanish-speaking countries.

Chart performance

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Weekly Charts

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Year-end charts

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Certifications

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Music video

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A music video, directed by Pablo Croce and produced by María Inés Vélez ^[7] was shot on February 28, 2002 in Buenos Aires, Argentina.^[8] The video was nominated for Latin Grammy Award for Best Short Form Music Video losing to Frijolero by Motolov.^[9]

References

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Unlike the old saying, Conner Youngblood doesn’t write what he knows. He is a 28-year-old Yale graduate, born in Dallas and currently living in Nashville. You would not, however, learn that information—or anything that describes his personal lifestyle—from listening to his full-length debut Cheyenne. “I tried to write songs about chicks... and I think it’s just kind of boring,” he once quipped, eschewing the need to fit what might be on his mind into his work. Instead, Youngblood creates ambient folk soundscapes—songs that blossom gently with intricate musical details and enigmatic lyrics.

He sings with the intimacy of a bedroom artist whose eyes are focused solely out the window at something a bit too far away to make out. Cheyenne, as a result, is impressionistic—when you look closer and closer, it’s not as astounding as it is from a distance. But he imbues these songs with a sensory feeling—like he’s figuring out an event’s significance simply by recalling whatever tiny memories stick in his head. A track like “Los Angeles” sets only a bit of the scene in the actual city. He recalls some moments (“Wednesday morning/Miss an early flight”) and an ever-telling “she,” but it’s largely ambiance. What’s more telling is the contrast between Youngblood’s hushed half-falsetto a

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