Monday, April 29, 2013
Qué Bonito Amor #11 (Mex 16-17.1) Monday 4/29/13
Capitulo
16: Estos Celos Can Get You Detenido
Lo
del pasado
Oscar tells Fernando he has a surprise for his "chiquita", the last song her father sang. There is excitement in the club room as the Alguys take the stage. Just
as Oscar is about to begin, Jorge Alfredo enters JNTR singing “Maria
Bonita” to the delight of Maria and everyone else except Oscar and
creepy Rubén. He's wearing her father's traje and looking so
alpha-hot all the female patrons are seriously enjoying this. So is
Don Concho, who is seeing peso signs all over the place.
Lo
de nuevo
Mendoza
Apartment: Over the sound of a sad cello, Amalia and Mancia
talk about Don Braulio and the owed back rent. She has only half the
money owed. Mancia offers to lend her the money she needs and
reminds her of what the cards said. Amalia turns her down, saying
that wouldn't be fair. She wrings her hands in pain. [Could she
have lupus?]
JNTR
Club Room: Jorge Alfredo finishes the song and is rewarded by
an embrace from Maria. The audience gives him a standing ovation.
Oscar exits to the dressing room, Concho and Mirna to the office, and
the musicians clear the stage for a folk dance act.
Maria's
Dressing Room: She cries a little as she says the audience
loved him. He takes her handkerchief and dries her tears as he tells
her that he didn't sing for the audience, but for her. He knows she
is impactada at seeing her father's traje once again where it belongs
and with the song she last associated with it. He tells her he knows
how hard it is to lose a father. To lose his love... and his trust.
Garza
Mansion (L.A.): Altagracia is not quite believing that Justo
now distrusts his own son. He goes on about those in high places
he's seen do wrong. Although it has only been a week at most, Justo
looks about ten years older than in the opening episode.
Maria's
Dressing Room: She comments that he doesn't just have problems
there, he must have left serious problems behind in Los Angeles. He
starts to explain but she stops him by touching his lips and saying
“Don't say anything. I know my mother talked to you and said to
stay away from me.” She doesn't want to know anything else. She
will help him as she promised and he will keep his promise. He tells
her he sang as a way of paying her back for what she did for him.
That was for today and he will not be back at the bar. She is
surprised because the audience loved him, but he tells her that it is
because he will have to leave and it will hurt. It's better this
way. Just as he is about to kiss her the waitresses enter, telling
her that Don Braulio is looking for her and she will have to find
another place to live. She is not of a mind to deal with him now.
Jorge Alfredo stays long enough to find out that Don Braulio is
looking for payment, then excuses himself and exits. The waitresses
tell Maria she needs to forget Jorge Alfredo, but she can't. She
loves him and thinks she always will.
Green
Room: Mirna massages his shoulders, commenting on Señor Vargas'
singing. He enters, and Don Concho semi-sarcastically comments on the
honor of his presence. He tells him that he came to pay a debt to
Maria, but won't be bothering him anymore. Don Concho asks what the
problem is. Maria's voice about the back rent echoes in Jorge
Alfredo's head and he tells Don Concho he is interested. “Can we
go in your office or do you want El Coloso listening at the door?” [He
gets wise to this very fast.]
Musicians'
Dressing Room: Oscar has a fit over Jorge Alfredo's appearance, using his favorite insult again [Salud!].
He hijacked the song!
Don
Concho's Office: He takes his place at his desk, asking what
Jorge Alfredo wants. Jorge Alfredo explains he has no money so he
borrowed the suit. He therefore needs an advance. Mirna says
“no way” and Don Concho is impactado. Jorge Alfredo starts to
walk out, but Don Concho calls him back. He's never given an advance
before but he can make an exception. He suggests two days' pay.
Jorge Alfredo tells him he needs 4,500 pesos. “That's
almost a month's pay!” says Don Concho. “I need the money, you
want me to sing here. If we can't agree, I'll go.” He turns to
leave, but Don Concho calls him back (in English) “Wait! We've got
a deal.” He takes the money out of his pocket despite Mirna's
attempt to stop him and peels off the correct number of little pieces
of paper. Before Jorge Alfredo can take it he says to him “Two
things: Not another centavo more; there will be no more advances and he must outshine Oscar on the stage. If you don't show up
you're fired. Understand?” Jorge Alfredo gets it and tells him
not to worry about it. He then exits.
Musicians'
Dressing Room: Said Coloso is still peeved at being bested by
Jorge Alfredo despite Fernando Milamores' attempt at getting him to
calm down. We get a brief flash of a pair of fighting cocks as Jorge
Alfredo enters, saying he got that Oscar wanted to sing “Maria
Bonita.” They take their jackets off as one of the others does a
rooster call. Oscar tells Jorge Alfredo that nobody but himself
changes the program as he hands his jacket to Fernando. “Nobody
takes my song,” he says as he turns his back briefly before
throwing a punch. Two of the others catch Jorge Alfredo and prop his
back up. He takes off his vest and puts it on the chair, saying.
“Yes. Maria Bonita. My Maria Bonita” and punches him back.
Fernando tries to get between them, only to be told not to interfere.
The fight is on, punctuated by Oscar catching Jorge Alfredo in the
stomach and the riposte is Jorge Alfredo getting him back in a much more sensitive place. Two of the guys catch Oscar, who laments that “el
pochito” [Salud!] is good with his hands [mañoso].
They throw him back into the fray at Jorge Alfredo who declares
himself for Maria. The fight continues.
Don
Concho's Office: Mirna isn't happy about the advance Don Concho
just gave to Jorge Alfredo. Don Concho, however, believes that this
will hold him. Not to mention that Jorge Alfredo is in love with
Maria. “I'll handle any problems as they come.” He says. He
talks about how Jorge Alfredo will have to learn how to do mariachi
serenatas and that the rivalry between him and Oscar will fill the
place every night which means mucho dinero in their future. This
pleases Mirna and it looks like they're about to get busy in a way
we'd rather not observe.
Musicians'
Dressing Room: Another quick flash image of fighting cocks and
we're back to the battle between our two alphas, with their
colleagues showing no desire to stop it. Susanito runs in, warning
them that Don Concho is on his way. Jorge Alfredo and Oscar get up
from the floor and Fernando separates them, handing over
handkerchiefs because they both have bloody noses from the fight.
Susanito admits he did this to stop the fight, which threatens to
resume until Mirna enters. She yells at them to stop acting like
animals and get back to work. However, she tells Oscar to stay
behind; he can't go out and sing with his face like that. The other guys obey and exit. She gets Oscar to sit still
for her to clean up the bloody nose as she tells him he is to take
Jorge Alfredo along to give the serenata that night.
Club
Room: Don Concho joins his wife and daughter at their table.
We spot Rubén at another table. Don Concho talks about how this
place will sing like never before. Lourdes comments that although
the new guy is poor he has presence. Don Concho anticipates that the
place will be full every night from then on. Lourdes recognizes
Jorge Alfredo's traje and says “I'm sure that's the one Pedro was
wearing when he was killed.” [Ay, dios, do we have to worry
about whether it's cursed?] Don
Concho is pensativo.
Musicians'
Dressing Room: Oscar is not happy about this demand, but Mirna
isn't backing down. She tells him he needs to bring Jorge Alfredo
with him tonight. Not yet in uniform because he's still in mariachi
boot camp. She leans in and does the kitty growl, calling him
“Gallito,” playfully punching his jaw before she exits. After
she's out of the room he winces at the pain and talks to himself
about not needing a collaborator on a serenata and that tonight El
Pochito [Salud!] will learn
who's boss.
Bathroom:
Jorge Alfredo looks in the mirror and tries to repair the damage.
Elvira enters without knocking and embraces him from behind in an
overconfident attempt at seduction. He starts to tell her to back
off when she notices the bloody nose. At her query he says he fell.
She compliments his performance. He thanks her then asks her to
leave because her father should not find her there. She thinks he's
rejecting her over Maria and then tells him Maria is a whore. [My,
how this one can think she's so superior in her ramerawear.]
Jorge Alfredo begins to protest the insult but she silences him the
same way Maria did before [Oh, the presumption!], going on
about how Maria has had many lovers; just ask anyone! He looks at
her with suspicion.
Maria's
Dressing Room: Someone knocks and she says “Enter.” The
long-haired waitress [I think her name is Ana] enters to tell
her that Don Rubén is outside wanting to see her and Don Concho
wants her to comply. Maria is not happy about this, but picks up
her case and jacket and exits wordlessly.
Bathroom:
Elvira has the gall to tell Jorge Alfredo that Maria is the mistress
of Rubén del Olmo. “Very soon you will know whom your 'bonita'
really is,” says this perra before exiting. Jorge Alfredo's
expression here causes us to question his IQ for the second time. As
she steps out into the corridor and spots Maria and Ana she pauses
before they see her, during which Jorge Alfredo has closed the door
behind her. She goes up to the door, saying “Thanks, love; that
was delicious!” before sashaying past Maria and Ana. She hangs out
long enough behind them to see Jorge Alfredo exit the bathroom in the
full traje trying to talk to Maria and Maria shutting him down,
saying she doesn't ever want to see him again. She and Ana do an
about face to exit, Ana snubbing Jorge Alfredo, who is left confused.
Musicians'
Dressing Room: The other guys return and Oscar tells them they
are on serenata duty that night. Jorge Alfredo arrives just in time
to hear this. Oscar bounces El Bartono from that night's gig, causing him to lose his bonus pay for the night and
this is about their previous disagreement over Jorge Alfredo being part of this gig. Jorge Alfredo
doesn't like this childish crap, telling Oscar to keep their problems
away from the other guys. They go nose to nose (almost) with Oscar
telling him “I'm king around here and what I say goes” and he
sends Genaro (El Bartono) off.
Club
Room: Don Concho arrives at his regular table, knowing that
Elvira is up to something. He warns her to stay put. Lourdes backs
him up, but excuses herself to talk to Mirna. Maria walks through
the room to Don Rubén's table, which will be the worst decision of
the night. He says something about her job interview the next day.
She tries to get out of talking to him, but the flower vendor enters
and he buys the last bouquet of yellow roses from her. Maria tries
to refuse them, but Don Concho arrives to hand them to her in relay.
The man who was so smart about how the drama of the mariachi love
triangle would be good for business now kowtows – literally – to
this snake in wolf's clothing as he exits. Rubén offers to see
Maria home and she tries to reject the offer as Jorge Alfredo and
Oscar arrive [How quickly JA has changed into his civilian
clothes] and see him handling Maria's hair, talking about how
pretty it is. Neither of these two fighting cocks like what they
see, but they remain surprisingly calm as Rubén wins the battle only
because Maria doesn't like to argue. She finally exits with Rubén
and Oscar uses this as an opportunity to turn in the knife that
Elvira placed before. Jorge Alfredo starts to leave, only to be
briefly intercepted by Elvira, who says “Now do you believe she is
his lover or do you want to see more?” He looks back at Oscar
briefly and exits without saying a word to her. She exchanges a
brief glance with Oscar before returning to her parents' table. The
band is performing “Guadalajara” as she sits down at the table,
smirking. Bitch.
Street:
Oscar follows Jorge Alfredo outside, taunting him about himself not
being his only rival. Rubén is rich, don't you know? Jorge Alfredo
scowls. Rubén is following Maria home, with her resisting yet
another attempt of his to get her into his car. She finally gets
him to back down, he wishes her good night and departs. She gives
the flowers to a young couple passing by and continues on home.
The
Mariachimobile passes by. Jorge Alfredo is in the seat behind Oscar
(probably Genaro's usual spot) remembering the sight of Rubén
handling Maria's hair. The guy next to him passes a bottle to him,
suggesting he not worry about Bartono and have a drink. He
graciously refuses, causing Oscar to slam on the brake and make a
comment about not being a baby pigeon [pichón]
and have a drink. [Salud!] The others encourage him, but that flask must
contain some pretty bad stuff to judge by Jorge Alfredo's reaction at
the first sip. The others laugh. Jairo makes some comment about
Oaxaca.
Garza
Mansion: Altagracia looks sadly at a family photo. Justo
enters in his robe; neither one is able to sleep. He speculates
about whether he is at fault over Santos' criminal behavior. After
going on about how this looks to society he finishes with “What did
I do wrong?” Altagracia tells him nobody is at fault here. He thinks Santos will either be a permanent fugitive or come back and get arrested; he sees no other choices. Wendy
leans against a pillar, crying as she listens to the rest of her
parents' conversation. “Santos and Wendy couldn't have had a
better father than you,” Altagracia says. Wendy thinks “Where
are you, Santos? Why don't you return to face us?”
Mendoza
Apartment: Amalia sits down, in pain again. She tells the
concerned Maria she can't sleep until she's home. They start to go
to the bedroom and Maria pauses by the glass shrine case, which is
empty. She starts talking about how Jorge Alfredo looked and sounded
when he sang in the bar. It made her cry to see this.
High
Rent District: The guys have arrived in front of a major
high-rise and Oscar asks the client – a bald, nerdy fellow with
glasses – the reason for the serenata. He tells him that this is
to commemorate the first time his ex cheated on him with his best
friend. “I gave her the best years of my life, helped her in
everything, was faithful, studied hard. Even paid for plastic surgery in the best clinic in Mexico." Oscar says
something like he's uneducated, but will defend him down to the
[client's] last body part. The client is drunk; he has a bottle in
hand. Meanwhile Jorge Alfredo is now three sheets to the wind and
working on another bottle. Fernando, who has been listening to the
conversation between Oscar and the client, approaches Jorge Alfredo
and tells him to calm down. Oscar is only goading him because he's
jealous. This can't be the first time! Jorge Alfredo tells him this
is the first time he's in love. Unlike Oscar. “And you know what
the worst of it is? Today I lost her.”
Mendoza
Apartment: Maria continues to talk about how great it was when
Amalia suddenly experiences pain in her right shoulder. She goes
back to the couch and sits down, saying this pain gets worse every
day.
High
Rent District: Jairo has doubts that the lady will pay
attention under the circumstances. [Lo siento, but I couldn't
make out what Jorge Alfredo said as he finished the tequila.]
The client – Don Ezekiel, as they address him – promises to pay
double if his ex appears at the window. Oscar tells Jorge Alfredo if
he sings this song he is one of them. Fernando is concerned, knowing
that Jorge Alfredo is completely wasted. He pockets the empty bottle
and asks for another, [Por dios, Santos, what are you thinking?]
takes another swig, and Oscar gloats a bit. He finally tells the
guys to start playing. We flies on the wall collectively hold our
breath. Despite having consumed enough to qualify as an Irishman on
St Patrick's Day, Jose Alfredo doesn't miss a note as he sings about
pretenses, deception, and love gone wrong. When they stop playing,
they wait expectantly and... nada. Oscar quietly taunts him about
how Don Concho will be bien enojado when he hears about this. The
client is then hit on the shoulder by a shoe thrown out the window by
his rival.
Mendoza
Apartment: Amalia gets into bed after having taken a sedative
and Maria worries about tomorrow. Amalia smiles and says she will be
better tomorrow, but Maria feels her wrists, saying they're swollen.
She excuses herself to study for an exam and we see the smile
disappear as she exits.
High
Rent District: Don Ezekiel taunts his rival, ending with the
word “impotente.” The man throws the other shoe at him, but he
and the guys all get out of the way. Don Ezekiel laughs. One of the
guys slaps Jorge Alfredo on the back in a way that means “Well
done!” Oscar says, “Well, somebody woke up” and Don Ezekiel
says “And I will pay double.” He takes out his money and peels
off the appropriate amount, which he hands to Oscar, along with a
check. He then gets hit from behind by his rival [Really, did he
levitate down to the sidewalk?] and now we have police sirens and
two cars arrive. Oscar tells the guys he will handle it. One cop
tells him that a neighbor called with a noise [alboroto]
complaint. Oscar tells him they had done a serenata on commission,
they're finished, and they're about to leave. Don Ezekiel threatens
his rival, who tells the police that these guys have been there for
three hours [Mentiroso] singing insulting songs. Jorge Alfredo makes his worst
mistake of the night by going after this guy saying things like “What
can you expect when you steal your friend's wife? If you stole mine
I wouldn't be singing rancheras.” He then tries (not seriously) to
take the cop's pistol. Oscar gloats at this. The cop doesn't. He
asks Jorge Alfredo “Are you bothering this man?” and he answers
“No. I was just saying that it's better to deal with this in
rancheras than with bullets.” Fernando tries to defuse the
situation by telling Jorge Alfredo “not another word” and leading
him away. But – mala suerte – they caught this cop on a bad
night as he decides to arrest Jorge Alfredo for his disrespect. He
even looks at him, saying he looks familiar. He tells one of the
others to cuff him. Jorge Alfredo hears his father's voice, warning
him that the police are looking for him. The police cuff him while
Oscar gloats once again.
Capitulo
17, Part 1
High
Rent District: Fernando tries explaining things to the police. However, Oscar pulls
a fast one, saying that Jorge Alfredo is not one of them and was interfering
with their work and they've never seen him before. The rest of them
are cobardes and let him get away with this. The police start to take Jorge
Alfredo away.
Mendoza
Apartment: Maria tries to study but can't. She can't get the image of that
ramera Elvira out of her mind when she sashayed down the corridor
backstage at JNTR. Lagrimas.
High
Rent District: Fernando defends Jorge Alfredo, saying he didn't
cause any problem. He sympathized with their client, got caught up in the moment, and besides that he
sings really well. The cop decides to release him.
Mendoza
Apartment: Maria cries again, still thinking of Jorge Alfredo.
High
Rent District: Jorge Alfredo sings “Qué
Bonito Amor” in a higher voice than he should [almost like the
falsetto range of Alejandro Fernández],
but it's good enough to convince the police. He thinks about Maria
as he does so. The police applaud, one of them saying he'll release him on the condition that he will be available if he needs his services. Don Ezekiel holds Jorge Alfredo back a second and pays him
extra. He tries to refuse, then thinks better of it and accepts the money. When he catches up with the others Oscar wants to prevent him
entering the car. Fernando cuts that off at the pass, telling him
that it doesn't look good that he didn't defend Jorge Alfredo. The law of the
barrio is that there is no trouble among them. This almost gets into
an argument, but Jorge Alfredo stops that, leading Fernando away.
Mendoza
Apartment: Maria looks at the money in her wallet, wondering
what she is going to do about Don Braulio.
High
Rent District: Fernando has figured out what Jorge Alfredo s problem is
and stops him taking another drink, telling him he did well. His
pager or cell phone rings, he checks it, then disappoints us by
leaving Jorge Alfredo to continue to drown his sorrows, saying he will get over
the jealousy and “see you later.” [Con amigos como eso, no
necessites enemigos]. Jorge Alfredo takes another swig from the bottle.
Oscar's
Apartment (corridor): He gets back, somewhat annoyed at the
interaction with the police. Elvira waits to ensnare him in her web,
but he's not in the mood. She makes the rooster joke at him and he
makes it clear he's angry with el pochito [¡Salud!]. Her expression says
she's not giving up yet.
HRD
/ Mendoza Apt: To the background of a recording of a song about
forgiveness Jorge Alfredo starts to take another drink, then stops himself.
Somehow he walks all the way to Maria's. He puts the bottle into a
hanging flowerpot and knocks on her door. She had fallen asleep over
her books. She gets up, opens the door, and slips outside when she
sees it's him. She is a combination of annoyed and concerned when
she realizes he is drunk. He tells her he is in love with a woman
who is playing with his heart. “Well, that woman's done well,”
she replies. “Because you always play with them.” She accuses
him of not knowing how to love. He pleads guilty but says that this
woman could teach him to. Little by little, with her kisses,
caresses, and words. She can't face him as she asks “You love her
that much?” “Do you really want to know?” He goes on to say
“Yes. So much that I will never love another woman. Punto.”
[We have to start wondering if he has sobered up more than he is
letting on.] She wipes the tears off her face and tells him
she's glad he's suffering now because of all the suffering he's
caused women before. She doesn't want to hear about his past conquests, so she goes
inside. Without locking the door, because he follows her. She is
not in the main room. He closes the door quietly, steadies himself,
and spots the photo of Maria and her mother. He falls to his knees,
saying “How could you be so dumb as to not see I'm in love with you? You of the courageous
heart?” and assorted other endearments until he says “If only
you could hear me...” and she is at the door behind him. They make
up, each admitting their love for each other and kiss. [Obviously neither
one has taken any lessons here from Scarlett and Rhett.]
Avances
The street becomes a palenque... and an accident scene.
Supplemental:
Lyrics
Maria
Bonita
Acuérdate
de Acapulco
De aquellas noches
María bonita, María del alma
Acuérdate que en la playa
Con tus manitas
Las estrellitas las enjuagabas
Tu cuerpo del mar juguete
Nave al garete
Venían las olas lo columpiaban
Mientras yo te miraba
Lo digo con sentimiento
Mi pensamiento me traicionaba
Te dije muchas palabras
De esas bonitas
Con que se arrullan los corazones
Pidiendo que me quisieras
Que convirtieras en realidades mis ilusiones
La luna que nos miraba ya hacia ratito
Se hizo un poquito desentendida
Y cuando la vi escondida
Me arrodille pa' besarte
Y así entregarte toda mi vida
Amores habrás tenido
Muchos amores
María bonita, María del alma
Pero ninguno tan bueno Ni tan honrado
Como el que hiciste que en mi brotara
Lo traigo lleno de flores
Como una ofrenda
Para dejarlo bajo tus plantas
Recíbelo emocionada
Y júrame que no mientes
Porque te sientes idolatrada
De aquellas noches
María bonita, María del alma
Acuérdate que en la playa
Con tus manitas
Las estrellitas las enjuagabas
Tu cuerpo del mar juguete
Nave al garete
Venían las olas lo columpiaban
Mientras yo te miraba
Lo digo con sentimiento
Mi pensamiento me traicionaba
Te dije muchas palabras
De esas bonitas
Con que se arrullan los corazones
Pidiendo que me quisieras
Que convirtieras en realidades mis ilusiones
La luna que nos miraba ya hacia ratito
Se hizo un poquito desentendida
Y cuando la vi escondida
Me arrodille pa' besarte
Y así entregarte toda mi vida
Amores habrás tenido
Muchos amores
María bonita, María del alma
Pero ninguno tan bueno Ni tan honrado
Como el que hiciste que en mi brotara
Lo traigo lleno de flores
Como una ofrenda
Para dejarlo bajo tus plantas
Recíbelo emocionada
Y júrame que no mientes
Porque te sientes idolatrada
Guadalajara
Guadalajara,
Guadalajara;
Guadalajara, Guadalajara.
Tienes el alma de provinciana,
hueles a limpia rosa temprana;
a verde jara fresca del rio;
son mil palomas, tu caserio.
Guadalajara, Guadalajara,
hueles a pura tierra mojada.
¡Ay!, colomitos lejanos.
¡Ay!, ojitos de agua, hermanos.
¡Ay!, colomitos inolvidables,
inolvidables como las tardes
en que la lluvia desde la loma
no nos dejaba ir a Zapopan.
¡Ay, Tlaquepaque pueblito!
Sus olorosos jarritos
hacen mas fresco el dulce tepache
para la birria, junto al mariachi,
que en los parianes y alfarerias
suena con triste melancolia.
¡Ay!, ¡ay!, ¡ay!; ¡ay!, ¡ay!, ¡ay!
¡Ay!, ¡ay!, ¡ay!; ¡ay!, ¡ay!, ¡ay!
Guadalajara, Guadalajara.
Guadalajara, Guadalajara.
Tienes el alma de provinciana,
hueles a limpia rosa temprana;
a verde jara fresca del rio;
son mil palomas, tu caserio.
Guadalajara, Guadalajara,
hueles a pura tierra mojada.
¡Ay!, colomitos lejanos.
¡Ay!, ojitos de agua, hermanos.
¡Ay!, colomitos inolvidables,
inolvidables como las tardes
en que la lluvia desde la loma
no nos dejaba ir a Zapopan.
¡Ay, Tlaquepaque pueblito!
Sus olorosos jarritos
hacen mas fresco el dulce tepache
para la birria, junto al mariachi,
que en los parianes y alfarerias
suena con triste melancolia.
¡Ay!, ¡ay!, ¡ay!; ¡ay!, ¡ay!, ¡ay!
¡Ay!, ¡ay!, ¡ay!; ¡ay!, ¡ay!, ¡ay!
Guadalajara, Guadalajara.
El
desinfle
Llegó
el desinfle que me esperaba
ya no te quiero verdad de Dios,
ya me hacen circo tus monerías
y me endemonia escuhar tu voz.
Las pretenciosas, las ingreidas
terminan siempre en el desamor
y a ti chatita nada te queda
que te defienda de ese dolor.
Es el destino pa' qué negarlo
lo que ahora sirve mañana no,
antes te quise por tus encantos
pero eso chata se desinfló...
Ya no te quiero, ya no me gustas
ahora me asustas, me das horror
y en mis corrales ya no hay portillo
donde entren vacas de tu color...
Yo en los amores, como en los coches,
cambio modelos por diversión,
y usted señora para mi gusto,
es un modelo que ya pasó.
Es el destino pa' qué negarlo
lo que ahora sirve mañana no,
antes de quise por tus encantos
pero eso chata uhu...
Ya se acabó.
ya no te quiero verdad de Dios,
ya me hacen circo tus monerías
y me endemonia escuhar tu voz.
Las pretenciosas, las ingreidas
terminan siempre en el desamor
y a ti chatita nada te queda
que te defienda de ese dolor.
Es el destino pa' qué negarlo
lo que ahora sirve mañana no,
antes te quise por tus encantos
pero eso chata se desinfló...
Ya no te quiero, ya no me gustas
ahora me asustas, me das horror
y en mis corrales ya no hay portillo
donde entren vacas de tu color...
Yo en los amores, como en los coches,
cambio modelos por diversión,
y usted señora para mi gusto,
es un modelo que ya pasó.
Es el destino pa' qué negarlo
lo que ahora sirve mañana no,
antes de quise por tus encantos
pero eso chata uhu...
Ya se acabó.
Labels: QBA
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My apologies for the varied type sizes and any errors; the latter will be corrected in the morning.
I thought it was time to put in a drink signal and it will be every time Oscar insults Jorge Alfredo/Santos.
I thought it was time to put in a drink signal and it will be every time Oscar insults Jorge Alfredo/Santos.
I haven't read the recap yet, UA, but will look forward to it! When I was watching tonight's episode I thought how you were going to write the recap and how much I'd enjoy that. Fistfights and drunken serenades! Very fun!
Urban Anthropologist, "Estos celos Can Get You Detenido" was a great title for Cap. 16. Great to see the lyrics to tonight's songs. I'll be singing tonight!
I loved Jorge Alfredo singing for his freedom!!!!!
Jarifa
La Joya del Norte
I loved Jorge Alfredo singing for his freedom!!!!!
Jarifa
La Joya del Norte
Permalink posted by 
: Tuesday, April 30, 2013 at 1:31:00 AM EDT
: Tuesday, April 30, 2013 at 1:31:00 AM EDT
Me, too, Elvira--UA got the perfect episode, fistfights, drunk scenes, and declarations of love--and great singing to boot.
UA--I loved your whole last paragraph, but then I'm a sucker for romantic scenes.
Hey Anon207--As of tonight we know Maria's dad was wearing the suit when he was killed. Hmmmm.
Anita, La Dama del Queso
UA--I loved your whole last paragraph, but then I'm a sucker for romantic scenes.
Hey Anon207--As of tonight we know Maria's dad was wearing the suit when he was killed. Hmmmm.
Anita, La Dama del Queso
This series deserves photos and screencaps. It's so colorful and mariachi suits are so impressive. They make average guys attractive and handsome guys look like royalty.
BTW, in case this wasn't mentioned yet, Genaro -- El Bartono -- is played by Rafael Negrete, the grandson of Jorge Negrete, who was married to Maria Felix. She is credited with having dubbed Pablo Montero as "El Charro Guapo."
BTW, in case this wasn't mentioned yet, Genaro -- El Bartono -- is played by Rafael Negrete, the grandson of Jorge Negrete, who was married to Maria Felix. She is credited with having dubbed Pablo Montero as "El Charro Guapo."
I have to do my recap for Amores before reading this one, but wanted to say...
El Ganador del primer round!! en la esquina roja/negra!! El POCHO!!!
El Ganador del primer round!! en la esquina roja/negra!! El POCHO!!!
I have a feeling 'El Baritono' here is going to take the place of 'Sigi' from LHDM. He certainly is taking sides with Jorge Alfredo.
And although Fernando keeps repeating he is buddies with Coloso for many years, he also keeps repeating he is on the side of justice... hmmmm...
And although Fernando keeps repeating he is buddies with Coloso for many years, he also keeps repeating he is on the side of justice... hmmmm...
Marta, this is making me think that Oscar was originally meant to be someone older and on the way out. Pablo Montero is only 38 and looks younger, so the ultimate conflict between him and Santos will be about their a$$et$ once he knows his real identity. He's a near-flawless beauty so the only advantage Santos can have over him is dinero and position.
Which don't appear to be very important to Maria.
Thanks to Eli was just able to update this to include the lyrics to "El Desinfle", the song that got the extra dinero.
We can probably assume that 90% of the songs in this series were recorded at least once by Don Vicente.
Which don't appear to be very important to Maria.
Thanks to Eli was just able to update this to include the lyrics to "El Desinfle", the song that got the extra dinero.
We can probably assume that 90% of the songs in this series were recorded at least once by Don Vicente.
I thought it was pretty funny that Oscar and Jorge Alfredo kept using the lyrics of Maria Bonita during their 'cock fight' interchange.
'Quieres que te cante Maria Bonita??'
'Acuerdate de Acapulco' (when Oscar punched him in stomach)
'Aunque te duela, 'Maria de mi alma'!!' (when Jorge Alfredo kept poking Oscar that he had won Maria over Oscar despite Oscar's fit about it).
'Quieres que te cante Maria Bonita??'
'Acuerdate de Acapulco' (when Oscar punched him in stomach)
'Aunque te duela, 'Maria de mi alma'!!' (when Jorge Alfredo kept poking Oscar that he had won Maria over Oscar despite Oscar's fit about it).
UA, I too noticed Don Justo's quick aging during the first week or so of novela time.
You can also tell with the picture of the family they show on the table just before Justo's argument with his wife.
You can also tell with the picture of the family they show on the table just before Justo's argument with his wife.
UA, I think 38 is about the right age for Oscar, and I too think PM looks younger than that...
JA should be younger though. not much but younger.
JA should be younger though. not much but younger.
UA--I must have been reading the recap with only one eye last night, this one sounds very much enriched and expanded.
Good one--Estos celos can get you detenido.
I'm beginning not to like Amalia's parenting. She seems to have done a super creditable job so far, but her character is taking on the common trait of controlling their lives in order for them "not to get hurt." There is a hint of poor me, look how I suffer, but don't tell anyone, I don't want to be a burden to my daughters. How else does she think Maria is going to earn enough to pay the rent? Oh, yes, pimp her out to Don Ruben, ask him to stay for dinner, thank him for offering Maria the job with benefits.
Jorge Alfredo did a creditable job as a fighting cock and a moony-eyed drunk. Kudos. He was just lucky the patrulla didn't take him in just to let him dry out and then, and then, and then, meet the Commandante Malo (or was it Izquierdo). BTW, they were at JNTR to celebrate some lieutenant's promotion or award, but they certainly didn't provide any sweaty moments for Viewerville.
I hope they have a better story line for Justo and Altagracia than just sitting around their Hollywood (haha) mansion wringing their hands in despair. It was interesting, though, that Justo alluded to corruption in very high places in Mexico.
Anita, La Dama del Queso
Good one--Estos celos can get you detenido.
I'm beginning not to like Amalia's parenting. She seems to have done a super creditable job so far, but her character is taking on the common trait of controlling their lives in order for them "not to get hurt." There is a hint of poor me, look how I suffer, but don't tell anyone, I don't want to be a burden to my daughters. How else does she think Maria is going to earn enough to pay the rent? Oh, yes, pimp her out to Don Ruben, ask him to stay for dinner, thank him for offering Maria the job with benefits.
Jorge Alfredo did a creditable job as a fighting cock and a moony-eyed drunk. Kudos. He was just lucky the patrulla didn't take him in just to let him dry out and then, and then, and then, meet the Commandante Malo (or was it Izquierdo). BTW, they were at JNTR to celebrate some lieutenant's promotion or award, but they certainly didn't provide any sweaty moments for Viewerville.
I hope they have a better story line for Justo and Altagracia than just sitting around their Hollywood (haha) mansion wringing their hands in despair. It was interesting, though, that Justo alluded to corruption in very high places in Mexico.
Anita, La Dama del Queso
I don't think that there is any malice in Amalia's parenting; she isn't Gabriela Elizondo. However, she runs the risk of becoming more and more paranoid and that would bring more overprotection.
It's good that Maria is so independent. It looks like Paloma will be like her.
I don't think Amalia is intentionally pimping out Maria, but Don Concho is. Someone needs to tell him that any loss he thinks he's going to suffer on Don Ruben he will be making up the deficit with the soap opera he created by hiring Jorge Alfredo.
Does anyone else see a lack of coincidence that Don Ruben's wife's name is Lorena?
It's good that Maria is so independent. It looks like Paloma will be like her.
I don't think Amalia is intentionally pimping out Maria, but Don Concho is. Someone needs to tell him that any loss he thinks he's going to suffer on Don Ruben he will be making up the deficit with the soap opera he created by hiring Jorge Alfredo.
Does anyone else see a lack of coincidence that Don Ruben's wife's name is Lorena?
I was a bit dsappointed last night. Nothing seems to be happening to advance the stoty. Maria cries, JA cries, Justo's wife and daughter have never done anything but cry and are still at it, Oscar schemes, calls names and throws punches, Amelia moans about her kids, Concho's slutty daughter makes the moves on two guys.
Yes great music but the story at this point seemed to be dragging for me. Absolutely nothing is being done to discover who framed JA. Guess i'll suck it up for a few more days and see if things start to move.
Yes great music but the story at this point seemed to be dragging for me. Absolutely nothing is being done to discover who framed JA. Guess i'll suck it up for a few more days and see if things start to move.
Permalink posted by : Tuesday, April 30, 2013 at 12:34:00 PM EDT
: Tuesday, April 30, 2013 at 12:34:00 PM EDT
UA - Terrific recap.
The serenata/highrise scene was hilarious. Really enjoying Fernando Milamores. Glad he saved Jorge Alfredo from himself and the police.
Amalia doesn't want her daughter to get hurt as she was. But I'm sure if Amalia had to do it all over again, she still would have married Maria's father.
The serenata/highrise scene was hilarious. Really enjoying Fernando Milamores. Glad he saved Jorge Alfredo from himself and the police.
Amalia doesn't want her daughter to get hurt as she was. But I'm sure if Amalia had to do it all over again, she still would have married Maria's father.
Hey thanks for the lupus shout out! My kid sister has lupus and is having a hard time right now, I think it would be awesome if a telenovela could bring some attention to it, especially when you consider that lupus seems to love Latinas.
I too love Milamores, sure, he might be a skank but he's our skank and he does seem to have a sense of right and wrong.
I too love Milamores, sure, he might be a skank but he's our skank and he does seem to have a sense of right and wrong.
Decie and those who feel this novela is stalling... remember that everyone in the mariachi was against Jorge Alfredo in the beginning... but it takes time for people to get to know each other's real self and turnaround a relationship from hatred to mutual respect and admiration... so give it time.. Same goes for relationship between JA and Amalia. Amalia needs to learn the same lesson most of the parents in episodes of 'La Rosa de Guadalupe' have, that parents can't decide for their children who is friend and who is fo, it comes back to haunt them.
I too think in MC nothing is happening, though. Hopefully Justo will turn around and begin to dig into the 'evidence' and find the loopholes just like Santos would have if he were there. They are wasting Juan Ferrara as an actor so far... writers need to give his character 'substance', and the 'goodness' that Santos supposedly inherited and was given as example. So far he has no points.
I too think in MC nothing is happening, though. Hopefully Justo will turn around and begin to dig into the 'evidence' and find the loopholes just like Santos would have if he were there. They are wasting Juan Ferrara as an actor so far... writers need to give his character 'substance', and the 'goodness' that Santos supposedly inherited and was given as example. So far he has no points.
sorry, i will correct myself. Fernando and Baritono (or was it the other curly hair mustache guy?) were more even/fair in the beginning, they supported Maria letting JA make the call to MC.
Niecie, Amalia probably still would marry Pedro; you're right.
I was holding my breath once Jorge Alfredo got smashed and I'm still hoping this doesn't lead to alcoholism.
Eli, I once knew a back woman who had it. She ended up retiring early and then I lost track of her.
Amalia shows several key symptoms of the disease. According to Web MD it can also be mistaken for other conditions.
I just imagined novela writers doing all manner of searches for symptom sets to provoke discussions like this one.
I was holding my breath once Jorge Alfredo got smashed and I'm still hoping this doesn't lead to alcoholism.
Eli, I once knew a back woman who had it. She ended up retiring early and then I lost track of her.
Amalia shows several key symptoms of the disease. According to Web MD it can also be mistaken for other conditions.
I just imagined novela writers doing all manner of searches for symptom sets to provoke discussions like this one.
UA, Great recap and up to your usual high quality.
I made the following comments before on Jardinera's recap, but it was late....
I am following the recaps closely, because the TN itself is a little trying to watch. Mr Mena agrees :(
This is such a beanie tightening TN. It views more like a mariachi musical than a TN, with the over the top scenery and very frequent "scene and theme song" story development.
I can understand the lighted VdeG, but the glass case for the mariachi suit is really something. In Mexico, I have typically scene curio cabinets (big and little, with and without glass), shrines, wall shelf shrines, but never the glass case like this. Whew! Go figure.
I do really like the wardrobe for the mariachi group, particularly Maria's. Stunning IMO.
Nuff said,
Mena
I made the following comments before on Jardinera's recap, but it was late....
I am following the recaps closely, because the TN itself is a little trying to watch. Mr Mena agrees :(
This is such a beanie tightening TN. It views more like a mariachi musical than a TN, with the over the top scenery and very frequent "scene and theme song" story development.
I can understand the lighted VdeG, but the glass case for the mariachi suit is really something. In Mexico, I have typically scene curio cabinets (big and little, with and without glass), shrines, wall shelf shrines, but never the glass case like this. Whew! Go figure.
I do really like the wardrobe for the mariachi group, particularly Maria's. Stunning IMO.
Nuff said,
Mena
There are only a few things I have had issues with in this novela:
1. Santos should not have run. He should also have realized that there was something fishy about Giuliano advising him to.
2. Nobody in her right mind would display a mariachi suit in a glass case in a sunny room. It should be packed into a box like a bridal gown for preservation purposes. In a case like that sun exposure would be very damaging.
3. Don Concho should really be upset at his daughter's taste in clothes.
1. Santos should not have run. He should also have realized that there was something fishy about Giuliano advising him to.
2. Nobody in her right mind would display a mariachi suit in a glass case in a sunny room. It should be packed into a box like a bridal gown for preservation purposes. In a case like that sun exposure would be very damaging.
3. Don Concho should really be upset at his daughter's taste in clothes.
Urban, you will find that lupus attacks Latinas and African Americans more than any other groups and of course it likes women more than it does men. I know that the pain from the arthritis can be horrible as my sister once got an attack that was so bad she could not tie her shoe laces, it would be interesting to see a telenovela give this illness some attention, maybe a heroine dealing with lupus? Sure, she'd spend half the novela in bed, but hey,lol.
Wow, I wasn't expecting Jorge Alfie to be such a fun drunk. Good thing he was a lucky one, too.
I am still making up my mind about this TN. It is moving way too slowly for me and I have only watched a few of them. The sets seem nightmarish. I don't care for musicals, so that's another obstacle because this really seems like one to me. However, the bonita tune got stuck in my head last night, so who knows. I may be a goner.
I am still making up my mind about this TN. It is moving way too slowly for me and I have only watched a few of them. The sets seem nightmarish. I don't care for musicals, so that's another obstacle because this really seems like one to me. However, the bonita tune got stuck in my head last night, so who knows. I may be a goner.
I don't like American "Broadway" musicals because I think they're puerile. This doesn't fit in that category because the characters are musicians and the music is relevant to the story. In fact, I think it's a character of its own.
There are certain sets I find difficult to take such as the insane contrast between the Garza mansion (sterile) and the Mendoza apartment (too colorful).
There are certain sets I find difficult to take such as the insane contrast between the Garza mansion (sterile) and the Mendoza apartment (too colorful).
UA, I think it is just a personal thing about musicals and the sets/look of this TN. This sure isn't one that has grabbed me right away, but I am still in the wait and see mode. Thanks for the recaps - I've enjoyed them very much.
UA, So noted on your opinion of American musicals.
From my recent viewing experiences of musicals at the LA Music Center, I would say there are actually some recent rock musicals where the music and musician are the story and the story is the musician and the music. And you may find them more grown up than the old-school tap dance musicals. Backbeat and American Idiot come to mind ...
OT: These TNs sure do a great job of highlighting tequila without having to be as obvious as Tostitos.
From my recent viewing experiences of musicals at the LA Music Center, I would say there are actually some recent rock musicals where the music and musician are the story and the story is the musician and the music. And you may find them more grown up than the old-school tap dance musicals. Backbeat and American Idiot come to mind ...
OT: These TNs sure do a great job of highlighting tequila without having to be as obvious as Tostitos.
Telenovela actor/actress when they are still kid
http://masquetelenovelas.blogspot.com/2013/04/asi-eran-de-ninos-los-famosos-de-las.html
http://masquetelenovelas.blogspot.com/2013/04/asi-eran-de-ninos-los-famosos-de-las.html
Permalink posted by : Tuesday, April 30, 2013 at 10:28:00 PM EDT
: Tuesday, April 30, 2013 at 10:28:00 PM EDT
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