carlos alarcón

Perspectiva y en planta de una casa de dos recamaras de viviendas populares propuesta del fraccionamiento Lomas Pitic por ARCO S.A., Lomas Pitic, Hermosillo, Sonora, México 1950

Arq. Felipe N. Ortega con Carlos Gajon

Perspective drawing and floorplan of a proposed low cost two bedroom house in Lomas Pitic development by ARCO s.a., Lomas Pitic, Hermosillo, Sonoroa, Mexico 1950

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“While My Guitar Gently Weeps” by Santana

Guitar Heaven: The Greatest Guitar Classics of All Time (2010)

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“Now where I come from
We don’t let society tell us how it’s supposed to be
Our clothes, our hair, we don’t care
It’s all about being there… “


A night on the town 

By NeonRendezVous

January 28, 1985 

It was Monday, under the sign of Aquarius. The US president was Ronald Reagan. In that special week of January people in US were listening to “I Want To Know What Love Is” by Foreigner, “Beverly Hills Cop” was #1 at the weekend box office while “The Sicilian” by Mario Puzo was one of the best selling books. 

Two music events marked that Monday night- the 12th Annual American Music Awards (Prince’s Purple Rain won the American Music Award for Favorite Pop Album, Favorite Black Album and “When Doves Cry” won the award for Favorite Black Single) and the recording of the hit single “We Are the World” to help raise funds for Ethiopian famine relief  by a supergroup USA for Africa (United Support of Artists for Africa).

After the AMAs show, Prince along with more than forty other music stars had been invited to A&M Studios to record ”We Are The World.” A line had been written for Prince to sing and a space in the studio blocked out for him to stand next to Michael Jackson. But at some point during the course of the evening, he decided not to show up. 

Prince apparently never wanted to sing at this session: he was willing to contribute a song to the USA for Africa album, or to send Sheila E. as the Paisley Park representative, or to play guitar on the track. Until the last minute, Prince’s managers were still trying to persuade him to show up for the session. “At the American Music Awards, he keeps telling me the only thing he’ll do is play guitar,” says Bob Cavallo, one of Prince’s managers at the time. When Cavallo called up Quincy Jones to lobby for Prince to do just that, he says that Q’s angry response was “I don’t need him to fucking play guitar!” Cavallo told Prince that if he was going to skip the session, he needed to claim illness, and that no matter what, he couldn’t go out to party after the AMAs, because the publicity would be terrible if people knew he had blown off the charity gig. Prince did, in fact, head out to a club on Sunset Boulevard, where his bodyguard got into a fracas and ended up in jail; on a night where music’s biggest stars were visibly selfless, Prince was the one who stood out as selfish. He ultimately told his side of the story in the song “Hello,” the B-side to “Pop Life.”

“I was with Prince one day at his home studio, just the two of us,” says Susan Rogers, who engineered Purple Rain and Prince’s next few albums, “and he got a call from Quincy Jones asking him to come be part of ‘We Are the World.’ It was a long conversation, and Prince said, ‘Can I play guitar on it?’ And they said no, and he ultimately said, ‘Okay, well, can I send Sheila?’ And he sent Sheila. Then he said, ‘If there’s going to be an album, can I do a song for the album?’ And evidently they said yes.” 

“I mean, I sat on the phone with him for the longest time,” Lionel Richie said. “I said, ‘Prince, we’re all down waiting on you.’ He says, ‘Can I do it in a separate room?’ ‘Okay, I’ll call you back later.’ “That’s just Prince. Of course he’s not going to be at a group of singers at the time when we want him to show up.”

“I wasn’t allowed to say the real reason Prince didn’t show up”, Revolution guitarist Wendy Melvoin recently told Alan Light for the book Let’s Go Crazy. "Because he thinks he’s a badass and he wanted to look cool, and he felt like the song was horrible and for him it was all about quality control and he didn’t want to be around ‘all those muthafuckas.”

“Fuck him. What is he? A creep” – Bob Geldof

 “We begged him that night not to go out”, says Alan Leeds.” He loved going out on the town in L.A. There was a club called Carlos and Charlie’s on Sunset that was the hang at the time. It was the right place to be for the Prince crowd: Eddie Murphy hung out there; Jim Brown hung out there. We would all go there: Prince and the band, all the guys in the entourage; it was our hang in L.A.. He didn’t want to do "We Are the World” simply because if you look at Prince through the years, he’s not a joiner; he does things by himself in his own unique way. It wasn’t that he didn’t sympathize with the movement; he gave them a song. But he just wasn’t the type to go mix with everybody else. It just wasn’t in his nature to do that. And remember too that the press had really built up this Michael [Jackson]-Prince rivalry. And the fact that Michael was there with Quincy [Jones] running the show kind of made him feel like “I’ll be there in defense. I’ll be on the bench. I’ll be the B team.” I feel quite confident that that was part of his reluctance to be part of it. At any rate, we said, “OK, if you’re not going to go to the studio everybody else on the planet is going to be [at], then for God’s sake don’t go out. Don’t hit the streets because it won’t look right.” And some of us even stayed in his hotel suite hanging out after the awards that night in hopes that he would just party in his room. We did that until one or 1:30 in the morning. And when we were finally convinced he was in for the night, we left. I went back to my room with my wife, and fellas in the band went back to their rooms. Then at about three o'clock in the morning, the phone rang and it was Big Chick, his bodyguard, and he said, “Buddy, you better get up because one of our guys is in jail.” I’m like “What?” And of course the story has been well-documented that he did in fact go out and the press mobbed him and somebody threw an elbow at a photographer who had got a little too ambitious, and that bodyguard got locked up and we bailed him out the next day. It of course did exactly what we feared: It hit the press, and you had two stories. You had the whole music industry doing something good for the benefit of mankind and the adjacent story was Prince’s bodyguard getting locked up for allegedly punching a photographer at a nightclub at the same time. So it wasn’t a good look.“ 

 

*A little trivia- The video for Marvin Gaye’s “Sexual Healing” was filmed at Carlos ’n Charlie’s.

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“Jin-go-lo-ba” by Santana

Santana (1969)

When Prince steps out on the town, his many personalities are on public display. He doesn’t simply go to one place and stay there. If you are in his entourage, don’t make yourself too comfortable; you’ll be leaving shortly.
Carlos ‘n’ Charlie’s is a Mexican restaurant on the Sunset Strip. Above it, up the stairs, is the El Privado room, a private disco and bar, which hosts an intriguing game of Hollywood psychology: if you’re a popular enough celebrity, you can walk right through the door. If you’re a ravishingly beautiful woman, come in and make yourself at home. If you have money and power, you have access. Everyone else pays. The philosophy here is that the celebs draw the women, and the beautiful women attract the paying male customers. There is also another crowd, the spectators, who pay to come and watch the celebs mingle with the women.
One night after dinner at Le Dome, a posh restaurant just minutes away from El Privado, Prince and his ever-present bodyguard, Chick, made their way into the club. He and his small entourage of band members didn’t walk in but eased into the place, like cool ghosts. With Chick not even a full step behind him, Prince made his way past the small dance floor, on past the V.I.P. railing, and found his usual seat, back in the mirrored corner. He just sat there and gazed at the people. In the past, he would enter the club and send someone up to the d.j.’s booth with a cassette of some new jam that he’d recorded and try it out on this pseudo-chic crowd, but this night, he just looked. He studied the women and who they talked to. He even examined the way a couple shook it up on the dance floor.
Suddenly, the d.j. reached back in his stash and came up with James Brown’s “Bodyheat.” The ‘heat” hit Prince’s body; he wanted to dance. He slowly rose—so did Chick—and moved toward a Eurasian beauty with long dark hair who had been looking at Prince with incredible curiosity. Prince grabbed her by the hand and took her out on the dance floor. Prince put his left hand up, just in front of his chest; his right hand seemed to caress his thigh. With his feet apart just the right distance he began to rock to the groove. It was a cool sway, not much movement, but it had passion. The groove was killing the speakers.
Prince was rocking. The crowd was watching. Prince looked at Chick; Chick gave a gathering look of his eyes to the entourage. Prince simply walked away; he was outta there.
—  Steven Ivory “Prince”