Mexico City, or the City of Mexico, is the capital of Mexico and the most populous city in North America. Mexico City is one of the most important financial centres in the Americas, it is located in the Valley of Mexico, a large valley in the high plateaus in the center of Mexico, at an altitude of 2,240 meters. The city has 16 boroughs; the 2009 population for the city proper was 8.84 million people, with a land area of 1,485 square kilometers. According to the most recent definition agreed upon by the federal and state governments, the population of Greater Mexico City is 21.3 million, which makes it the largest metropolitan area of the Western Hemisphere, the eleventh-largest agglomeration, the largest Spanish-speaking city in the world. Greater Mexico City has a GDP of $411 billion in 2011, making Greater Mexico City one of the most productive urban areas in the world; the city was responsible for generating 15.8% of Mexico's GDP, the metropolitan area accounted for about 22% of total national GDP.
If it were an independent country, in 2013, Mexico City would be the fifth-largest economy in Latin America, five times as large as Costa Rica and about the same size as Peru. Mexico’s capital is both the oldest capital city in the Americas and one of two founded by Native Americans, the other being Quito, Ecuador; the city was built on an island of Lake Texcoco by the Aztecs in 1325 as Tenochtitlan, completely destroyed in the 1521 siege of Tenochtitlan and subsequently redesigned and rebuilt in accordance with the Spanish urban standards. In 1524, the municipality of Mexico City was established, known as México Tenochtitlán, as of 1585, it was known as Ciudad de México. Mexico City was the political and financial center of a major part of the Spanish colonial empire. After independence from Spain was achieved, the federal district was created in 1824. After years of demanding greater political autonomy, residents were given the right to elect both a Head of Government and the representatives of the unicameral Legislative Assembly by election in 1997.
Since, the left-wing Party of the Democratic Revolution has controlled both of them. The city has several progressive policies, such as abortion on request, a limited form of euthanasia, no-fault divorce, same-sex marriage. On January 29, 2016, it ceased to be the Federal District, is now known as Ciudad de México, with a greater degree of autonomy. A clause in the Constitution of Mexico, prevents it from becoming a state, as it is the seat of power in the country, unless the capital of the country were relocated elsewhere; the city of Mexico-Tenochtitlan was founded by the Mexica people in 1325. The old Mexica city, now referred to as Tenochtitlan was built on an island in the center of the inland lake system of the Valley of Mexico, which it shared with a smaller city-state called Tlatelolco. According to legend, the Mexicas' principal god, indicated the site where they were to build their home by presenting a golden eagle perched on a prickly pear devouring a rattlesnake. Between 1325 and 1521, Tenochtitlan grew in size and strength dominating the other city-states around Lake Texcoco and in the Valley of Mexico.
When the Spaniards arrived, the Aztec Empire had reached much of Mesoamerica, touching both the Gulf of Mexico and the Pacific Ocean. After landing in Veracruz, Spanish explorer Hernán Cortés advanced upon Tenochtitlan with the aid of many of the other native peoples, arriving there on November 8, 1519. Cortés and his men marched along the causeway leading into the city from Iztapalapa, the city's ruler, Moctezuma II, greeted the Spaniards. Cortés put Moctezuma under house arrest. Tensions increased until, on the night of June 30, 1520 – during a struggle known as "La Noche Triste" – the Aztecs rose up against the Spanish intrusion and managed to capture or drive out the Europeans and their Tlaxcalan allies. Cortés regrouped at Tlaxcala; the Aztecs thought the Spaniards were permanently gone, they elected a new king, Cuitláhuac, but he soon died. Cortés began a siege of Tenochtitlan in May 1521. For three months, the city suffered from the lack of food and water as well as the spread of smallpox brought by the Europeans.
Cortés and his allies landed their forces in the south of the island and fought their way through the city. Cuauhtémoc surrendered in August 1521; the Spaniards razed Tenochtitlan during the final siege of the conquest. Cortés first settled in Coyoacán, but decided to rebuild the Aztec site to erase all traces of the old order, he did not establish a territory under his own personal rule, but remained loyal to the Spanish crown. The first Spanish viceroy arrived in Mexico City fourteen years later. By that time, the city had again become a city-state, having power that extended far beyond its borders. Although the Spanish preserved Tenochtitlan's basic layout, they built Catholic churches over the old Aztec temples and claimed the imperial palaces for themselves. Tenochtitlan was renamed "Mexico"; the city had been the capital of the Aztec empire and in the colonial era, Mexico City became the capital of New Spain. The viceroy of Mexico or vice-king lived in the viceregal palace on Zócalo; the Mexico City Metropolitan Cathedral, the seat of the Archbishopric of New Spain, was const
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
The RCA Corporation was a major American electronics company, founded as the Radio Corporation of America in 1919. It was a wholly owned subsidiary of General Electric. An innovative and progressive company, RCA was the dominant electronics and communications firm in the United States for over five decades. RCA was at the forefront of the mushrooming radio industry in the early 1920s, as a major manufacturer of radio receivers, the exclusive manufacturer of the first superheterodyne models. RCA created the first American radio network, the National Broadcasting Company; the company was a pioneer in the introduction and development of television, both black-and-white and color. During this period, RCA was identified with the leadership of David Sarnoff, he was general manager at the company's founding, became president in 1930, remained active, as chairman of the board, until the end of 1969. RCA's impregnable stature began to weaken in the mid-1970s, as it attempted to diversify and expand into a multifaceted conglomerate.
The company suffered enormous financial losses in the mainframe computer industry and other failed projects such as the CED videodisc. In 1986, RCA was reacquired by General Electric, which over the next few years liquidated most of the corporation's assets. Today, RCA exists as a brand name only. RCA originated as a reorganization of the Marconi Wireless Telegraph Company of America. In 1897, the Wireless Telegraph and Signal Company, was founded in London to promote the radio inventions of Guglielmo Marconi; as part of worldwide expansion, in 1899 American Marconi was organized as a subsidiary company, holding the rights to use the Marconi patents in the United States and Cuba. In 1912 it took over the assets of the bankrupt United Wireless Telegraph Company, from that point forward it had been the dominant radio communications company in the United States. With the entry of the United States into World War One in April 1917, the government took over most civilian radio stations, to use them for the war effort.
Although the overall U. S. government plan was to restore civilian ownership of the seized radio stations once the war ended, many Navy officials hoped to retain a monopoly on radio communication after the war. Defying instructions to the contrary, the Navy began purchasing large numbers of stations outright. With the conclusion of the conflict, Congress turned down the Navy's efforts to have peacetime control of the radio industry, instructed the Navy to make plans to return the commercial stations it controlled, including the ones it had improperly purchased, to the original owners. Due to national security considerations, the Navy was concerned about returning the high-powered international stations to American Marconi, since a majority of its stock was in foreign hands, the British largely controlled the international undersea cables; this concern was increased by the announcement in late 1918 of the formation of the Pan-American Wireless Telegraph and Telephone Company, a joint venture between American Marconi and the Federal Telegraph Company, with plans to set up service between the United States and South America.
The Navy had installed a high-powered Alexanderson alternator, built by General Electric, at the American Marconi transmitter site in New Brunswick, New Jersey. It proved to be superior for transatlantic transmissions to the spark transmitters, traditionally used by the Marconi companies. Marconi officials were so impressed by the capabilities of the Alexanderson alternators that they began making preparations to adopt them as their standard transmitters for international communication. A tentative plan made with General Electric proposed that over a two-year period the Marconi companies would purchase most of GE's alternator production. However, this proposal was met with disapproval, on national security grounds, by the U. S. Navy, concerned that this would guarantee British domination of international radio communication; the Navy, claiming it was acting with the support of President Wilson, looked for an alternative that would result in an "all-American" company taking over the American Marconi assets.
In April 1919 two naval officers, Admiral H. G. Bullard and Commander S. C. Hooper, met with GE's president, Owen D. Young, asking that he suspend the pending alternator sales to the Marconi companies; this move would leave General Electric without a buyer for its transmitters, so the officers proposed that GE purchase American Marconi, use the assets to form its own radio communications subsidiary. Young consented to this proposal, effective November 20, 1919, transformed American Marconi into the Radio Corporation of America; the new company was promoted as being a patriotic gesture. RCA's incorporation papers required that its officers needed to be U. S. citizens, with a majority of its stock held by Americans. RCA retained most of the American Marconi staff, although Owen Young became the new company's head as the chairman of the board. Former American Marconi vice president and general manager E. J. Nally become RCA's first president. Nally's term ended on December 31, 1922, he was succeeded the next day by Major General James G. Harbord.
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Baile de Máscaras
Baile de Máscaras is the fourth album recorded by Mexican rock band Maldita Vecindad y los Hijos del Quinto Patio. The LP was released on May 1996 under the BMG label. "Viva mi desgracia" "El Chulo" "Por ahí" "Vuelta tras vuelta" "No les creo nada" "El dedo" "Salta pa"trás" "Ojos negros" "Cenizas" "El Vigilante" "Aunque" "Don Palabras" "Vida vidrio" "Canción Omaha" "Lamento" Roco - vocals Pato - bass Pacho - drums Sax - saxophones
Mostros is the fifth and last studio album recorded by Mexican rock band Maldita Vecindad y los Hijos del Quinto Patio. The LP was released on September 1998 under the BMG label. El Malasuerte Patineto El Cocodrilo El Teporocho Camaleón El Barzón Caer El Tieso y la Negra Soledad 2 de Octubre Tatuaje Mostros Sirena Roco - vocals Aldo - guitars Pato - bass Pacho - drums Sax - saxophones
Ska is a music genre that originated in Jamaica in the late 1950s and was the precursor to rocksteady and reggae. It combined elements of Caribbean mento and calypso with American rhythm and blues. Ska is characterized by a walking bass line accented with rhythms on the off beat, it was developed in Jamaica in the 1960s when Prince Buster, Clement "Coxsone" Dodd, Duke Reid formed sound systems to play American rhythm and blues and began recording their own songs. In the early 1960s, ska was popular with British mods, it became popular with many skinheads. Music historians divide the history of ska into three periods: the original Jamaican scene of the 1960s. There are multiple theories about the origins of the word ska. Ernest Ranglin claimed that the term was coined by musicians to refer to the "skat! skat! skat!" Scratching guitar strum. Another explanation is that at a recording session in 1959 produced by Coxsone Dodd, double bassist Cluett Johnson instructed guitarist Ranglin to "play like ska, ska", although Ranglin has denied this, stating "Clue couldn't tell me what to play!"
A further theory is that it derives from Johnson's word skavoovie, with which he was known to greet his friends. Jackie Mittoo insisted that the musicians called the rhythm Staya Staya, that it was Byron Lee who introduced the term "ska". Derrick Morgan said: "Guitar and piano making a ska sound, like'ska, ska," After World War II, Jamaicans purchased radios in increasing numbers and were able to hear rhythm and blues music from Southern United States cities such as New Orleans by artists such as Fats Domino and Louis Jordan. Domino's rhythm, accentuating the offbeat as in the song "Be My Guest", was a particular influence; the stationing of American military forces during and after the war meant that Jamaicans could listen to military broadcasts of American music, there was a constant influx of records from the United States. To meet the demand for that music, entrepreneurs such as Prince Buster, Coxsone Dodd, Duke Reid formed sound systems; as the supply of unheard tunes in the jump blues and more traditional R&B genres began to dry up in the late 1950s, Jamaican producers began recording their own version of the genres with local artists.
These recordings were made to be played on "soft wax", but as demand for them grew some time in the second half of 1959 producers such as Coxsone Dodd and Duke Reid began to issue these recording on 45rpm 7-inch discs. At this point the style was a direct copy of the American "shuffle blues" style, but within two or three years it had morphed into the more familiar ska style with the off-beat guitar chop that could be heard in some of the more uptempo late-1950s American rhythm and blues recordings such as Fats Domino's "Be My Guest"; this "classic" ska style was of bars made up of four triplets but was characterized by a guitar chop on the off beat—known as an upstroke or'skank'—with horns taking the lead and following the off-beat skank and piano emphasizing the bass line and, playing the skank. Drums kept the bass drum was accented on the third beat of each four-triplet phrase; the snare would accent the third beat of each 4-triplet phrase. The upstroke sound can be found in other Caribbean forms of music, such as mento and calypso.
Ernest Ranglin asserted that the difference between R&B and ska beats is that the former goes "chink-ka" and the latter goes "ka-chink". One theory about the origin of ska is that Abby Greene created it during the inaugural recording session for his new record label Wild Bells; the session was financed by Duke Reid, supposed to get half of the songs to release. The guitar began giving rise to the new sound; the drums were taken from traditional Jamaican marching styles. To create the ska beat, Prince Buster flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar. Prince Buster has explicitly cited American rhythm and blues as the origin of ska: Willis Jackson's song "Later for the Gator", Duke Reid's number-one spin "Hey Hey Mr. Berry", to this day by an unidentified artist and with this given title, the joke amongst surviving Jamaican soundmen who were there at the time being that "This is the one Duke took to the grave with him"; the first ska recordings were created at facilities such as Federal Records, Studio One and WIRL Records in Kingston, Jamaica with producers such as Dodd, Prince Buster, Edward Seaga.
The ska sound coincided with the celebratory feelings surrounding Jamaica's independence from the UK in 1962. Until Jamaica ratified the Berne Convention for the Protection of Literary and Artistic Works, the country did not honor international music copyright protection; this created a large number of cover reinterpretations. One such cover was Millie Small's version of the R&B/shuffle tune, "My