Tito Puente and Celia Cruz, "Cuba y Puerto Rico" (1966) As Puente's working relationship with La Lupe became more contentious, he began to turn to Celia Cruz, another Cuban vocalist who had.. Ego conflicts and her increasing temper tantrums in 1968 led Puente to exchange La Lupe for the more conventionally professional and reliable Celia Cruz. With the firm support of Tico Records.
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:quality(75)/cloudfront-us-east-1.images.arcpublishing.com/elcomercio/XDANN6H2ZBCPJAVRBIQBLT6OFY.jpg "La Lupe compartió su tiempo con Celia Cruz, fue opacada por ella y llegó a grabar “La flor de")
La Lupe compartió su tiempo con Celia Cruz, fue opacada por ella y llegó a grabar “La flor de
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Here is a description of a typical La Lupe show in Havana, from writer Guillermo Cabrera Infante: "The woman would hit and scratch herself, and later bite herself, her hands, and her arms. Unhappy with this musical exorcism, she would throw herself against the background wall, hitting it with her fists and with one or two movements of her.. By 1957 La Lupe was the rage in the thriving competitive nightlife in La Habana. Rare archival footage showcases Lupe's peers - Perez Prado, Beni More with Mongo Santamaria, a young Celia Cruz. Helio Orovio, the noted Cuban musicologist describes La Habana in the late 50's as having the most "intense" nightlife, in the midst of the.
