[PDF] Like Two Mexicans Dancingl
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Beginning in the 1930s, an innovative surge rippled through the emergingconjunto tradition, as performers like Narciso Martinez (known as "thefather" of the modern conjunto), Santiago Jimenez, Lolo Cavazos, andothers began to strike out in new stylistic directions. This new surge ofinnovation must be attributed, at least in part, to the active commercialinvolvement of the major recording labels in the music of the Hispanic Southwest.From the 1920s, companies such as RCA Victor (Bluebird), Decca, Brunswick,and Columbia (Okeh) began exploiting the musical traditions in the HispanicSouthwest, hoping to repeat the success they had experienced with AfricanAmerican music since the early '20s. Under the commercial impetus of thebig labels, which encouraged record and phonograph sales, radio programming,and especially public dancing (much of it in cantinas, to the dismay ofAnglos and "respectable" Texas Mexicans), musicians like NarcisoMartinez began to experiment. By the end of the 1930s, the conjunto hadbegun to evolve into the stylistic form the ensemble reached during itsmature phase in the post-World War II years.
Without a doubt, the most important change came in the 1930s, when NarcisoMartinez began his recording career. Searching for a way to stamp his personalstyle on the accordion, Martinez abandoned the old, Germanic technique byvirtually avoiding the bass-chord buttons on his two-row accordion, concentratinginstead on the right hand, treble melody buttons. His sound was instantlydistinctive and recognizable. Its brighter, snappier, and cleaner tone contrastedwith the older sound, in which bajo sexto and the accordionist's left handboth played bass-and accompaniment, creating a "thicker," drone-likeeffect. Martinez left bassing and chordal accompaniment to the bajo sextoof his most capable partner, Santiago Almeida.
". . . at that time there was a division--that he who liked theorchestra hated the conjunto. That's the way it was: 'Who's going to play,a conjunto? Oh no!' Those who went with Balde Gonzalez [a middle-class orchestra]were not going to go over here with a conjunto." (personal interviewwith the author)
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The current ESB-MACC facility has insufficient space to host the myriad of community activities available or desired. As such, staff & storage areas are inadequate in providing support. Existing public space is in need of interior updates and building expansion to improve functionality to better meet present and future needs. Connectivity to the hike and bike trails, Lady Bird Lake, and pedestrian walkways and surrounding neighborhood are needed to activate the plaza and draw patrons to the facility. This new addition shall pay homage to the late renowned Mexican design architect, Teodoro González de León, who designed the current facility. The project shall also successfully integrate with the urban context of the newly gentrified area. Lastly, a grand promenade is needed to better define the entrance and to signify this as a premier cultural destination for visitors and citizens alike.
The relationship between days at liberty and international crossings was also investigated for one representative teleost (blue marlin) and one shark (whale shark). We selected these two species because both displayed non-resident behavior and regularly moved to areas outside the U.S. GoM. Also, these two species had the greatest number of daily positions for individuals tagged in the U.S. GoM. Days at liberty were binned into 10-d periods for each individual and then the percent of individuals displaying international movement was estimated for each 10-d bin up to 200 days. Once an individual crossed into the territorial waters of either Cuba or Mexico, it retained the international migrant designation for the remainder of the deployment period. Locally weighted scatterplot smoothing (LOWESS) was used as the non-parametric regression method to describe non-linear relationships between days at liberty and the likelihood of an international crossing for both species. 2b1af7f3a8