Several songs, including "Sólido" and "Somos de Calle", were uploaded to Daddy Yankee's MySpace profile several months before the release of the soundtrack. Released as free single downloads at the time, were not announced to be included on the soundtrack until mid-Summer 2008, when promotion of the film Talento de Barrio would be disclosed. The planned musical style of the soundtrack would not be recognized until May 2008 when Daddy Yankee released the soundtrack's first single "Pose". The purpose for the soundtrack is to promote the film, A planned re-release, entitled Daddy Yankee Mundial, which later ended to be his next studio album.
The album debut with 122,000 copies worldwide.[15] The album was a commercial success across Latin American and was certified platinum in Argentina and Gold in Peru. In Argentina, the album debut and peaked at number 5. It was certified platinum for selling over 40,000 copies and was the 7th best selling album of 2009 in the country.[16] In Central America, Talento de Barrio was certified gold for selling over 5,000 copies and 250,000 digital downloads in Central America.[17] In Venezuela, it debut and peaked at number one of the retail album charts according to Recordland.[18] It also, it peaked at number 28 in Mexico Album Charts and number 12 in Ecuador.[19]
Talento de barrio sub download
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Este prólogo de José Manuel Puig Casauranc, Secretario de Educación Pública (SEP) de México en la administración callista (1924-28) al momento de la edición del libro, refleja la visión idealizada tanto de la creatividad infantil como del talento artístico innato de la raza indígena. Fue promovido por medio de la difusión de las Escuelas de Pintura al Aire Libre en la segunda mitad de los años veinte. Asimismo, sugiere la política social populista y pragmatista, seguida por la SEP bajo su dirección.El libro representa una etapa específica de las Escuelas de Pintura al Aire Libre, abiertas originalmente en 1913-14 en el barrio de Santa Anita (Ciudad de México), como alternativa de enseñanza extramuros dentro del programa de la Escuela Nacional de Bellas Artes. Posteriormente, a principios de los años veinte, esos centros fueron revividos, y permitieron el fomento de una iconografía que resaltaba tanto temas rurales como la revaloración de la arquitectura virreinal. A mediados de esa década, cuando se publica este libro, varios de los jóvenes artistas entrenados en las Escuelas se ocuparon de la dirección de sus diversos planteles, enfocándose mayormente en ellas a la enseñanza de niños y de jóvenes. Se buscaba promover una valoración estética de su entorno, con un énfasis en la expresión más que en valores formales académicos, generando obra con gran diversidad de estilos, aunque, en general, con un matiz más naïf y burdo, que, a la vez, tendrá importancia para las características formales de los artistas entrenados en la academia. 2ff7e9595c
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