"Livin' la Vida Loca" has been met with overwhelmingly positive reviews from music critics. Chuck Taylor from Billboard applauded the song, saying it is "so electrifying, so terrifically filled with life, that even folks at the retirement home down the street could get their groove on with couple spins", and described the song as a "frantically-paced, dance-ready track."[36] Also from Billboard, Leila Cobo ranked it as the best track of Ricky Martin (1999), calling it "Awesome". She questions, "Was there a person alive in 1999 whose jaw literally did not drop when they saw Ricky Martin strut and swivel in the video to the song whose title would come to exemplify an era and a lifestyle?"[27] In another article, she labeled it "an irresistible invitation to dance".[37] Also from the same magazine, Harley Brown wrote, "No matter what language it was in, 'La Vida Loca' was a bona fide hit."[32] In addition, Billboard staff praised the single, saying: "The big horns, the seductive bass, the debauchery in the lyrics, and Ricky Martin shaking his bon-bon: how could anyone resist this late '90s anthem penned by Robi Draco Rosa and Desmond Child?"[38]
99 Clipes Flashback Dance 90 s Vol 3
In her review for O, The Oprah Magazine, Amanda Mitchell ranked the track as Martin's second-best song on her 2019 list.[49] In 2020, MTV Argentina ranked it as one of Martin's best songs,[50] and Luca Mastinu from Optimagazine listed it as one of Martin's five greatest hits.[51] Brittany Berkowitz and Elisa Tang from Good Morning America described "Livin' la Vida Loca" as an "epic dance song",[52] and Katrina Rees from CelebMix described it as infinitely infectious.[53] Metro Weekly's Randy Shulman complimented the track, labeling it "a song with an infectious hook and a sexy, growling delivery".[54] Alejandra Torres from Hola! named its chorus "the greatest chorus of all time".[55] Rafly G. from TheThings called the song "an iconic piece of art".[56] Greg Kot from Chicago Tribune described it as "the year's most ubiquitous hit single" and wrote: "It's the kind of tune that defines the word 'pop': a jolt of instant caffeine, with its fizzy combination of surf guitar, Latin percussion and strutting horns." He also acclaimed its "canny, genre-leaping arrangement, eye-popping production, and Latin-lover lyrics".[57]
The song was certified platinum by the Recording Industry Association of America (RIAA), denoting shipments of over one million copies.[110] As of February 2000, the song has sold over 1.2 million physical copies in the United States, according to Nielsen SoundScan,[111] and although it was released years before the digital era, it has sold over 502,000 digital copies in the United States, as of January 2011.[112] The Spanish version debuted at number two on Billboard's Hot Latin Tracks chart on April 17, 1999,[113] and reached number one the following week,[114][115] becoming Martin's third number one.[116] It remained at the top for nine weeks,[37] and also reached number one and two on the US Latin Pop Songs and Tropical/Salsa charts, respectively.[115] On May 15, 1999, it became the first single ever to rule four different Billboard charts and made Martin the first act to simultaneously scale a pop, Latin, and dance chart. Two weeks later, he became the first artist to simultaneously top the Billboard 200, Hot Latin Tracks, Hot Dance Music/Club Play, Hot Dance Music/Maxi-Singles Sales, Top 40 Tracks, and the Billboard Hot 100.[117]
The accompanying music video was filmed in Los Angeles, California, and directed by American director Wayne Isham,[145][146] who had also directed the videos for Martin's previous singles "Vuelve", "The Cup of Life", and "La Bomba".[147][148] The video cost US$500,000 making it one of the most expensive music videos ever made.[149] The visual was aired on March 25, 1999, on MTV,[150] and begins with a scene, showing a car hitting a fire hydrant on the sidewalk. Then, Martin is seen wearing a black shirt and pants, walking on stage in a nightclub and performing the song and dancing to it, backed by his band, playing horns, while a group of dancers and party-ready crowd are dancing to the song.[151][152][153]
At night, a young wild woman, portrayed by Croatian model Nina Morić, sits next to Martin, as he drives a car. She lives the ultimate crazy life and drives him crazy too, and shimmies and dances nearby. Lying on a pale brown blanket, he wakes up in a cheap New York City motel, and the woman grabs his hand from the window and brings him out. They flirt and kiss, while they walk on the sidewalk, and then Martin takes his jacket off and they kiss while dancing in the rain. In one of the later scenes, Martin is distracted while driving causing him to veer in another lane, resulting in another car knocking out a fire hydrant. Several women take their clothes off and dance in the rain, which is similar to the lyrics of the song.[33] The video ends with Martin's performance on the stage.[151][152][153]
When the action takes place before the beginning of the series, the flashback is often used to show how the characters met. Occasionally, it will be combined with A Day in the Limelight, showing the true depths of a character while at the same time letting the audience see what made this person be like they are.
Like Bart, Homer is a polyglot, someone with the ability to pick up languages fairly quickly, perhaps even a hyper polyglot (a polyglot fluent in more than six languages). He has been shown to speak Spanish, Chinese, Penguin[91] and Drunk[92] and when he and Bart were imprisoned in Japan for a seemingly short amount of time due to unknowingly assaulting Emperor Akihito, he was able to speak the language fluently by the time he left.[93] He was also able to pick up a few Indian words by watching Apu and Manjula argue (though it is highly likely that he wrongly interpreted some part of their argument, as Homer claimed he thinks "Manjula" is some kind of spaceship, though the other word interpreted by Homer, Saala, does mean "jerk" in some sense in Hindi[94]).[95] He was also shown to mimic people's voices especially well. This was evidenced in a flashback in Grampa vs. Sexual Inadequacy, where Homer, after watching a televised speech made by then-President John F. Kennedy, proceeded to flawlessly mimic Kennedy's speech pattern and mannerisms.
Returning to Bikini Bottom, Mr. Krabs decides to put SpongeBob in charge of decorating the Krusty Krab. Squidward reminds Mr. Krabs what had happened the other time SpongeBob got to decorate (which then cuts to a flashback of SpongeBob's former decorating failure), but this time he was going to use the resources that he already had in the restaurant including napkins, ketchup, mustard, and inflatable Krabby Patties as balloons. Meanwhile, Patrick had been hired by Mr. Krabs as security. They then went to the freezer to see the ice sculpture SpongeBob had made for the Krabby Patty. After entering the freezer, the door accidentally gets locked behind them, thus trapping them. The four of them decide to bust into the air ducts in an effort to escape.
While in the air ducts, Mr. Krabs finds a wrapper from an older Patty. Mr. Krabs then had a flashback of an old black and white Krusty Krab commercial. SpongeBob and the gang then go into the Krusty Krab surveillance room. On many monitors, they see that SpongeBob, Patrick, and Squidward's houses were on camera. Mr. Krabs acts as though he doesn't know why there are hidden cameras, although it is heavily referred that he is responsible for them. At that very moment, it's revealed that there are two men recording them from behind as they appear on one of the monitors. Mr. Krabs then suggests that they split up to find a way out. Mr. Krabs goes it alone while the other three stick together. Ultimately they just end up all together again a few moments later. Meanwhile, Plankton had reached the Krusty Krab and was searching through the air ducts to find a way to the formula, but he was having no such luck. Plankton eventually falls right into the duct the gang is in as Act 2 ends there.
Back with the gang, SpongeBob remembers the time that Mr. Krabs had first told him the formula. Plankton leans in, in an attempt to find out what the formula is but the Mr. Krabs in the flashback grabs Plankton and throws him down an air duct. After moving further through the air ducts, Squidward remembers the days before SpongeBob lived in Bikini Bottom, but SpongeBob interrupts him to remind him how great it was when he first moved in. Mr. Krabs' wallet then begins going crazy over all of the loose change he isn't earning from the customers waiting in line outside, so Mr. Krabs lets the wallet go so it can get to the money, only to be picked up by an unsuspecting man. Patrick then pulls out a radio transmitter he had taken from Sandy. They then attempt to call Sandy and have her come rescue them but Patrick destroys the transmitter after he thinks that Sandy is trapped inside it. As SpongeBob then remembers the time that he and Sandy got married through a flash-back, only for it to be revealed that the whole thing was just a play.
During Act 4, when the player arrives at the Supply Port where REX's remains are, taking a picture of REX's left leg will unveil a ghost of Gray Fox while he was a Cyborg Ninja. His calling Snake to warn him about the claymore mines and tank in the canyon area was also an unlockable audio flashback.
BRYANT, Willie: KDAY;KALI. Known as the "Mayor of Harlem" when he was a New York dj, he started out as part of a dance team playing the "original" Apollo, strip joints and nite clubs. He loved to help up-and-coming talent. Composer, conductor and singer who led his own dance band from 1933 to 1939, and again from 1946 to 1948. He also worked as a disc jockey and as a master of ceremonies. Joining ASCAP in 1960, he composed the popular songIt's Over Because We're Through. 2ff7e9595c
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