45 (Jaguares album)
45 is an album recorded by Mexican alternative rock band Jaguares. The album was created by Alfonso André in collaboration with Howard Willing. Recorded in Los Angeles and Mexico in June and produced in Nashville by Dave Thoenes. "Entre Tus Jardines", is the first single released. The album's title, "45", refers to the 45 million of people in Mexico who live in poverty, it is half of the country's population. Saúl Hernández Alfonso André Cesar "El Vampiro" López Marco Rentería Diego Herrera
Bajo el Azul de Tu Misterio
Bajo el Azul de Tu Misterio is a two-disc album recorded by Mexican rock band Jaguares and was nominated for a Latin Grammy in 2000. The LP was released on September 1999 under the label BMG Entertainment Mexico; the first disc is a live concert album. Band members include Saul Hernández, Alfonso André, Sabo Romo, Cesar "El Vampiro" López Garcia and Jarris Margalli. All songs written by Saul Hernández. Disc 1 Dime Jaguar - 5:15 Cuentame tu vida - 5:16 Las ratas no tienen alas - 7:46 Ayer me dijo un ave - 4:53 La celula que explota - 3:52 No dejes que... - 5:23 Quisiera ser alcohol - 5:47 De noche todos los gatos son pardos - 7:50 El milagro - 4:10 Nos vamos juntos - 5:30 Amarrate a una escoba y vuela lejos - 4:37Disc 2 Hoy - 5:22 Fin - 4:27 Tu - 4:23 Sangre - 5:20 Parpadea - 3:56 Derritete - 4:46 Mantarraya - 5:55 Tu Reino - 4:48 Adios - 5:13 No me culpes - 3:58
Jaguares is a Mexican alternative rock band formed by former Caifanes lead singer Saúl Hernández, ex-Caifan Alfonso André, two long-time friends Federico Fong and José Manuel Aguilera. Jaguares got their name from one of vocalist Saúl Hernández's dreams, in which he was singing in a jaguar's mouth. Soon after the release of their hit debut album, El Equilibrio de los Jaguares, Hernández took a break after suffering papiloma virus cancer; as a result of a year without activity, Aguilera dropped out of the band and Fong took a break from the band, as well both continue with his band La Barranca. Aguilera was replaced by César López Garcia, most famously known as "El Vampiro", invited to play in Caifanes' beginnings in the late 1980s. Lopez was the previous two-time member of Azul Violeta and Maná from 1991-1994. Sabo Romo, the ex-bassist of Caifanes, was invited to join Jaguares and he accepted. Jarris Margalli joined on rhythm guitars. After the release of their second album Bajo el Azul de Tu Misterio, Romo took a break from the band and Margalli was released from the band, leaving three as the faces of Jaguares.
In 2001 Jaguares released "Cuando La Sangre Galopa" with Chucho Merchán as bassist and Leo Muñoz as a percussionist. In 2005 Federico Fong return as bassist for the new album "Crónicas de un Laberinto". In 2007, ex-Caifan Diego Herrera was featured alongside the band for the promotion of the album. In 2007, Instant Karma: The Amnesty International Campaign to Save Darfur was released, it is a compilation album of various artists covering songs of John Lennon to benefit Amnesty International's campaign to alleviate the crisis in Darfur. In it Jaguares cover the protest song "Gimme Some Truth" from Lennon's 1971 album Imagine. In 2008 the group released the album titled "45", 45 represents the 45 million Mexicans living in poverty. In 2010, the band went into what many expected to be a temporary hiatus from the spotlight due to Saúl Hernández's desire to continue his solo career and due to the official comeback of Caifanes. On January 14, 2019, it was announced that Jaguares will reunite for a single concert as part of Machaca Fest 2019 in Monterrey, Nuevo Leon.
Saúl Hernández - Vocals/Guitars. Alfonso André - Drums - César "Vampiro" López - Lead Guitars Diego Herrera - Keyboards/Saxo Marco Rentería - Bass Federico Fong - Bass Sabo Romo - Bass Chucho Merchán - Bass José Manuel Aguilera - Lead Guitars Jarris Margalli - Rhythm & Lead Guitars Leonardo Muñoz Corona Luis Conte Stuart Hamm Jimmy Z Zavala - harmonica,tenor saxophone El Equilibrio de los Jaguares Bajo el Azul de Tu Misterio double CD, live and studio Cuando la Sangre Galopa El Primer Instinto Crónicas de un Laberinto 45 Official site Los Aliados de tu reino – club de aliados
Saúl Alfonso Hernández Estrada, is a Mexican musician, poet and the lead singer of Jaguares and Caifanes, two prominent Mexican rock en español bands. Saúl Hernández was born in the Colonia Guerrero neighborhood of Mexico City on January 15, 1964, he lost his mother at a young age and he explained that this early confrontation with death became an inspiration for many of the songs he has written. His first band was the predecessor to Caifanes. After the breakup of Las Insólitas Imágenes de Aurora, the group's demo was circulating in the Mexico City music scene; when Caifanes is formed, the initial lineup was Alfonso André in the drums, Sabo Romo in the bass and Diego Herrera in the keyboard. Alejandro Marcovich would join the band in the lead guitar; the band made its first appearance on April 11, 1987 in a forum that would catapult new bands, Rockotitlán. The event was a huge success and it marked the beginning of Caifanes. After the Caifanes breakup, Saul Hernández formed a new band in late 1995, called Jaguares, along with former Caifanes drummer Alfonso André and two long time friends, Federico Fong on bass and José Manuel Aguilera on lead guitar.
José Manuel Aguilera was involved in Jaguares' first studio album. In 1996, Saúl Hernández sang a duet with Algerian raï singer Khaled; the song, called Ki Kounti, is sung in Arabic and Spanish. Since its formation, Jaguares has been one of "rock en español" premier bands with both critical and commercial success. Towards the end of 2010, Saúl Hernández reconciled with former Caifane guitarrist Alejandro Marcovich and announced their return for the Vive Latino 2011 festival, which marked the reunion of the original band members. On January 14, 2019, it was announced that Jaguares will reunite for a single concert as part of Machaca Fest 2019 in Monterrey, Nuevo Leon
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Mexicans are the people of the United Mexican States, a multiethnic country in North America. The Mexica founded Mexico-Tenochtitlan in 1325 as an altepetl located on an island in Lake Texcoco, in the Valley of Mexico, it became the capital of the expanding Mexica Empire in the 15th century, until captured by the Spanish in 1521. At its peak, it was the largest city in the Pre-Columbian Americas, it subsequently became a cabecera of the Viceroyalty of New Spain. Today the ruins of Tenochtitlan are located in the central part of Mexico City; the modern nation of Mexico achieved independence from the Spanish Empire. This led to what has been termed "a peculiar form of multi-ethnic nationalism"; the most spoken language by Mexicans is Mexican Spanish, but some may speak languages from 68 different indigenous linguistic groups and other languages brought to Mexico by recent immigration or learned by Mexican immigrants residing in other nations. In 2015, 21.5% of Mexico's population self-identified as being Indigenous or Indigenous.
There are about 12 million Mexican nationals residing outside Mexico, with about 11.7 million living in the United States. The larger Mexican diaspora can include individuals that trace ancestry to Mexico and self-identify as Mexican; the Mexican people have varied origins and an identity that has evolved with the succession of conquests among Amerindian groups and by Europeans. The area, now modern-day Mexico has cradled many predecessor civilizations, going back as far as the Olmec which influenced the latter civilizations of Teotihuacan and the much debated Toltec people who flourished around the 10th and 12th centuries A. D. and ending with the last great indigenous civilization before the Aztecs. The Nahuatl language was a common tongue in the region of modern Central Mexico during the Aztec Empire, but after the arrival of Europeans the common language of the region became Spanish. After the conquest of the Aztec empire, the Spanish re-administered the land and expanded their own empire beyond the former boundaries of the Aztec, adding more territory to the Mexican sphere of influence which remained under the Spanish Crown for 300 years.
Cultural diffusion and intermixing among the Amerindian populations with the European created the modern Mexican identity, a mixture of regional indigenous and European cultures that evolved into a national culture during the Spanish period. This new identity was defined as "Mexican" shortly after the Mexican War of Independence and was more invigorated and developed after the Mexican Revolution when the Constitution of 1917 established Mexico as an indivisible pluricultural nation founded on its indigenous roots. Mexicano is derived from the word Mexico itself. In the principal model to create demonyms in Spanish, the suffix -ano is added to the name of the place of origin, it has been suggested that the name of the country is derived from Mextli or Mēxihtli, a secret name for the god of war and patron of the Mexicas, Huitzilopochtli, in which case Mēxihco means "Place where Huitzilopochtli lives". Another hypothesis suggests; this meaning might refer to Tenochtitlan's position in the middle of Lake Texcoco.
The system of interconnected lakes, of which Texcoco formed the center, had the form of a rabbit, which the Mesoamericans pareidolically associated with the Moon. Still another hypothesis suggests that it is derived from the goddess of maguey; the term Mexicano as a word to describe the different peoples of the region of Mexico as a single group emerged in the 16th century. In that time the term did not apply to a nationality nor to the geographical limits of the modern Mexican Republic; the term was used for the first time in the first document printed in Barcelona in 1566 which documented the expedition which launched from the port in Acapulco to find the best route which would favor a return journey from the Spanish East Indies to New Spain. The document stated: "el venturoso descubrimiento que los Mexicanos han hecho"; that discovery led to the Manila galleon trade route and those "Mexicans" referred to Criollos and Amerindians alluding to a plurality of persons who participated for a common end: the conquest of the Philippines in 1565.
A large majority of Mexicans have been classified as "Mestizos", meaning in modern Mexican usage that they identify neither with any indigenous culture nor with a Spanish cultural heritage, but rather identify as having cultural traits incorporating elements from indigenous and Spanish traditions. By the deliberate efforts of post-revolutionary governments the "Mestizo identity" was constructed as the base of the modern Mexican national identity, through a process of cultural synthesis referred to as mestizaje. Mexican politicians and reformers such as José Vasconcelos and Manuel Gamio were instrumental in building a Mexican national identity on the concept of mestizaje. Since the Mestizo identity promoted by the government is more of a cultural identity than a biological one it has achieved a strong influence in the country, with a good number of biologically white people identifying with it, leading to being considered Mestizos in Mexico's demographic investigations and censuses due the ethnic criteria having its base on cultural traits rather than biological ones.
A similar situation occurs regarding the d