and represents an even wider variety of modern Latin musical styles. If the first is more successful, the second works better than the concept might indicate - most of the pieces specifically refer to dogs, include samples of barking, etc. Disc one features music from the film, whereas disc two features music inspired by it (and includes a few of the same artists). Amores Perros Stop, Muerte: 4:27: 2-5: Zurdok Amores Perros Una Vez Más: 3:15: 2-6: Control Machete Amores Perros De Perros Amores: 3:50: 2-7: Dover Amores Perros Love Is A Bitch: 3:21: 2-8: Bersuit Vergarabat Amores Perros Perro Amor Explota: 3:54: 2-9: Ely Guerra Amores Perros Dime Cuándo: 4:40: 2-10: Fiebre Amores. Highlights include Control Machete's funky "Si Señor" and Titán's catchy, Michael Franti-produced "Corazón," with the repeated ( Carole King-credited) lyrics "yo te quiero/mi corazón" set to a sample-heavy beat (like Iñárritu, both groups hail from Mexico). Most of the selections are performed in Spanish, with the exception of Santaolalla's gentle guitar-based instrumental interludes, British band Hollies' 1971 hit "Long Cool Woman (In a Black Dress)," and Spanish rock group Dover's "Love Is a Bitch" (a loose translation of the film's title). Just as Iñárritu, a former DJ, has smoothly woven together three seemingly disparate stories of passion, desperation, violence - and dogs - in contemporary Mexico City, Santaolalla has smoothly woven together pop, rap, techno, and other styles of music from an array of international talent (including legendary Cuban vocalist Celia Cruz) into a surprisingly cohesive whole, which, like the movie, is possibly longer than necessary - but never boring. The Oscar-nominated film has been compared to the work of Quentin Tarantino, Krzysztof Kieslowski, and Luis Buñuel. At least that is my hope for this cryptic creature with the big, striped booty…a faithful, protective friend to replace the warmth of the missing lover who can never be substituted…until the next love comes along.Argentine producer/musician Gustavo Santaolalla has compiled a soundtrack that's almost as groundbreaking as Mexican director Alejandro González Iñárritu's remarkable debut, Amores Perros. A dog leg hangs gingerly down the side of this curvaceous being, tempting my curious eye to follow upwards through the shadows to reveal a sweet nose you are most certain is cold and wet and belonging to one of the most loyal friends one could ever ask for. Past the initial obviousness, I’m pulled into looking deeper and am struck by the protective embrace this mysterious creature seems to have on our furry friend, who seems to be returning the same protective embrace to his owner. Artist Jonathan Yoerger expresses an in-your-face extravagant voluptuousness in this drawing, literally portrayed in “hindsight” – (get it? Hind sight?) - with a voluminous striped behind. With this in mind, let me introduce you to a piece that inspired me this week: a large scale graphite-on-paper framed drawing that stands over eight feet tall (yes, really).
Oh, Amores Perros! Well, my friend, I assure you nothing-and I do mean nothing can console your heartsick pangs like man’s best friend, the beloved dog. Amores Perros (Love’s a Bitch)! Ain’t it the truth…whether you are referencing that head-bangin’ Quiet Riot song from the 80s or something more high brow like the neorealist Mexican film known as the “Mexican Pulp Fiction”-OR-let’s just say these are the very words you shout drunkenly in the streets after a relationship goes awry-you know, the ones when you lay your heart bare, vulnerable to the one you love, only to have it trampled by a pack of metaphorical dogs-perros.
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