Beautiful mexicanas for dating

The music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably the culture of the indigenous people of Mexico and Europe. Music was an expression of Mexican nationalism, beginning in the nineteenth century.^[1]

Many traditional Mexican songs are internationally known, including María Grever's first international hit "Júrame" ("Swear to me") and her song "Te Quiero Dijiste" (English version "Magic Is the Moonlight", written for the 1944 Esther Williams film Bathing Beauty), "La Noche de los Mayas" ("The Night of the Maya"), "Huapango" by Moncayo, "Sobre las Olas" ("Over the Waves"), "La Sandunga", "Cielito Lindo" ("Beautiful Sweetheart"), "Perfidia", "Bésame Mucho" ("Kiss Me a Lot"), "Solamente una vez" (English version "You Belong to My Heart"), "Esta Tarde Vi Llover" (English version "Yesterday I Heard the Rain"), "Somos Novios" (English version "It's Impossible" (We Are Dating), "¡Ay, Jalisco, no te rajes!" ("Jalisco, Don't give up!"), Lilongo, and "Jesusita en Chihuahua" ("Jesusita in Chihuahua").

Other famous songs include "México Lindo y Querido" ("Beautiful, Beloved Mexico"), "Jarabe Tapatío' (known internationally as "The Mexican Hat Dance"), "Flor de azalea" ("Azalea flower"), "Dulce Patria" ("Sweet Fatherland"), "Rayito de Luna" ("Little Moonbeam"), "Malagueña Salerosa," "El Rey" ("The King"), "El Triste" ("The Sad One"), La llorona ("The Weeping Woman"), "El reloj", ("The Clock"), "Pelea de Gallos en la Feria de San Marcos" ("The Cockfight at San Marcos Fair"), "Cien Años" ("One Hundred Years"), "Esclavo y Amo" ("Slave and Master"), "Cucurrucucú Paloma" ("Cucurrucucu Dove"), "La Ley del Monte" ("The law of the Countryside"), "La Bikina", "Por Debajo de la Mesa" ("Under the Table"), "La Media Vuelta," ("Half a Turn Around"), "Son de Difuntos" ("The music of the dead"), "La Bamba", "Amor Eterno" ("Eternal Love"), and "Simplemente Amigos" ("Just Friends").

History of Mexican music[edit]

Los Folkloristas a musical group formed in Mexico City in 1966 and dedicated to the research, execution, and dissemination of traditional Latin American music. Since its creation, almost fifty musicians have passed through the group.

The foundation of Mexican music comes from its indigenous sounds and heritage. The original inhabitants of the land used drums (such as the teponaztli), flutes, rattles, conches as trumpets and their voices to make music and dances. This ancient music is still played in some parts of Mexico. However, much of the traditional contemporary music of Mexico was written during and after the Spanish colonial period, using many old world influenced instruments. Many traditional instruments, such as the Mexican vihuela used in Mariachi music, were adapted from their old world predecessors and are now considered very Mexican.

There existed regional and local musical traditions in the colonial period and earlier, but a national music began to develop in the nineteenth century, often with patriotic themes of national defense and against foreign invaders. Conservative general and president Antonio López de Santa Anna brought a Catalan music master, Jaime Nunó, from nearby Cuba to create a network of military bands on a national scale. He composed the music to the Mexican national anthem. During the French Intervention in Mexico, which placed Maximilian of Habsburg on the throne of the French empire in Mexico, many musicians accompanied his entourage and he established the National Conservatory of Music in 1866.

Liberal President Benito Juárez saw the need to create military bands.^[2] Village brass bands proliferated in the late nineteenth century, with concerts in town squares, often on a central kiosk.^[3] During the Porfiriato, musical styles expanded, with Mexican national music, cosmopolitan music brought by foreign elites, and European regional music such as polkas, mazurkas, and waltzes, as well as opera overtures. Musicians had access to and used sheet music, indicating musical literacy. In some indigenous regions, new music and bands helped bring a level of unity. In Oaxaca, a waltz, "Dios nunca muere" (God never dies) became the state's anthem, linking regional patriotism with God.^[4] A variety of musical styles from elsewhere were incorporated into Mexican popular music in the nineteenth century, including Afro-Caribbean rhythms from Cuba and Haiti. Music, dance, and poetry flourished in the Porfiriato. Mexico's National Conservatory of Music was strongly influenced by Italian masters, who gave way to French influence at the turn of the twentieth century.

Following the Revolution, Venustiano Carranza, leader of the winning Constitutionalist faction of the Revolution, mandated that the National Conservatory "recover the national" in its musical education, abandoning rather than privileging foreign music.Younger Mexican composers emerged, including Carlos Chávez, Silvestre Revueltas, and Luis Sandi, who developed Mexican "art music." Chávez was a prolific composer and one who embraced creating Mexican orchestral music drawing on revolutionary corridos, and composed an Aztec-themed ballet. He became the director of the National Conservatory of Music, which became affiliated with the Ministry of Education (SEP). Revueltas composed music for the new, emerging Mexican cinema, and Sandi created choral works, creating music for civic events, as well as incorporating indigenous music from the Yaqui and Maya regions in his compositions.^[5] Chávez is seen as the driving force behind the split between of Mexican art music and traditional styles, privileging art music. However, traditional or folkloric music continues to be popular, and the Ballet Folklórico de México, established in 1952, performs regularly at Bellas Artes.

Traditional folk music[edit]

Mexican traditional folk music can be classified in two aspects:

• By types of musical forms and styles: corrido, canción Ranchera, Yucatecan trova, Son Huasteco, Yucatecan jarana, Son Jarocho, Mexican Danzón, Mexican Bolero, Son istmeño, Son Jaliscience, Chilena, Son calentano, Son Planeco, and Canto cardenche.
• By types of ensembles: banda, Yucatecan trio, conjunto calentano, conjunto huasteco, conjunto jarocho, conjunto norteño, Yucatecan jarana ensemble, mariachi, and marimba.

Band otomi with instruments made out of Calabash.

Its formal structure is based on the alternation of instrumental sections and the singing of short poetic units called coplas. The mode is usually major, with harmonic vocabulary mostly limited to progressions drawing from I, IV, II7, V and V5. Triple meter (6/8, 3/4, or a combination of both) predominates, with many exceptions in duple meter.^[6]

Son is performed most often by giant ensembles in which string instruments predominate, with notable region-specific exceptions like marimba ensembles and wind ensembles.

Mexican Son music developed from the mixing of Spanish music with indigenous music of different regions, hence the music exhibited much variation across the country, in rhythm, melody, and instrumentation.^[7] Mariachi can be considered one type of Mexican son. Mexican son also includes various miscellaneous styles. The guitar is universally present in nearly all Mexican son subgenres. Other instruments may include trumpets, violins, and accordions.

• Abajeño music from Jalisco, Colima, and Michoacán. Indigenous communities have produced their own variants of Mexican son, which is otherwise a primarily mestizo genre. The Purépecha (from Michoacán) are known for the sones abajeños, which are often played alongside pirekuas, a form of native love song. Famous bands include Atardecer and Erandi.
• Chilena from the Costa Chica regions in Guerrero and Oaxaca.
• Istmeños originates from the Zapotecs of Oaxaca and is known for love songs, and the people's sones istmeños, which are sung in both Zapotec and Spanish. The music has been popularized, primarily by pop stars from outside the area, including Lila Downs.
• Son calentano is a melodically complex violin music from the Balsas River Basin of southern Mexico. Juan Reynoso is especially popular, and has won the National Prize for Arts and Sciences.
• Sones de arpa grande developed in an arid, hot area of western Mexico. It is dominated by a harp, accompanied by violins and guitars. Originally confined to poor rural areas and urban brothels, sones de arpa grande is now popular among the suburban and urban middle- and upper-class audiences. Juan Pérez Morfín and Beto Pineda are the best-known performers.
• Son Huasteco music, from the Huasteca territory, this music is played in the states of Hidalgo, Veracruz, San Luis Potosí and Zacatecas and the fiddle is accompanied with jarana huasteca and huapanguera. Two guitarists sing in a falsetto with accompaniment by a violin. Improvisation is common. Los Camperos de Valle, Harmonia Huasteca, Los Hermanos Calderon and Trio Tamazunchale are especially influential performers.
• Son Jarocho music comes from the Veracruz area, and is distinguished by a strong African influence. International acclaim has been limited, including the major hit La Bamba. The most legendary performer is Graciana Silva, whose releases on Discos Corason made inroads in Europe. Southern Veracruz is home to a distinct style of Jarochos that is characteristically lacking a harp, is played exclusively by requinto or jaranaguitars, and is exemplified by the popular modern band Mono Blanco.
• Son Jalisciense is from Jalisco and Colima and has both instrumental and versed songs in this form, mostly in major keys. Most performers consider this 3/4, but some consider it alternating 3/4 and 6/8.

Corrido[edit]

Corrido music is a popular narrative song of poetry form, a ballad. Various themes are featured in Mexican corridos, and corrido lyrics are often old legends (stories) and ballads about a famed criminal or hero in the rural frontier areas of Mexico. Some corridos may also be love stories there are also corridos about women (La Venganza de Maria, Laurita Garza, La tragedia de Rosita, and la adelita) and couples, not just about men. Some even talk about fiction or a made-up story by the composer. Contemporary corridos written within the past few decades feature more modern themes such as drug trafficking (narcocorridos) and immigration.

A common example is la Cucaracha, which derives from an Arabic sailors' song from the Moors from before the Reconquista. The corrido has a rhythm similar to that of the European waltz; corridos, like rancheras, have introductory instrumental music and adornos interrupting the stanzas of the lyrics. However, unlike rancheras, the rhythm of a corrido remains fairly consistent, rancheras can be played at a variety of rhythms. Corridos often tell stories, while rancheras are for dancing. Groups who sing corridos include Los Invasores de Nuevo León and Los Alegres de Terán.

By types of ensembles[edit]

Conjunto jarocho[edit]

Ensemble specialized in Son Jarocho. It consists of jarana jarocha, requinto jarocho, arpa, pandero.

Conjunto huasteco[edit]

Ensemble specialized in Son Huasteco. It consists of guitarra huapanguera, jarana huasteca, violin.

Conjunto de marimba[edit]

Ensemble specialized in folk music of traditional marimba. It consists of marimba, double bass and drums.

Mariachi[edit]

Mariachi is an ensemble that consists of guitarrón, vihuela, guitar, violins and trumpets. Between 1940 and 1960 mariachi and rancheras originated in the western states of the country.

This folk ensemble performs ranchera, son de mariachi, huapango de mariachi, polka, corrido, and other musical forms. It originated in the southern part of the state of Jalisco during the 19th century.^[8] The city of Guadalajara in Jalisco is known as the "Capital of Mariachi".^[9] The style is now popular throughout Mexico and the Southwestern United States, and is considered representative of Mexican music and culture.^[10]

This style of music is played by a group consisting of five or more musicians who wear charro suits. The golden age of mariachi was in the 1950s, when the ranchera style was common in movies. Mariachi Vargas played for many of these soundtracks, and the long-lived band's long career and popular acclaim has made it one of the best-known mariachi. These movies became very popular in Latin America and mariachi's became very popular in places such as Colombia and Peru until this date.^[11]

There are different theories as to the provenance of the word mariachi. Some say it comes from the French word mariage because it was the type of music often played at weddings and by most folk people by the name of Evan Strout. However, mariachi originates from a part of Mexico that the French never visited and, even if they had, it began before their arrival in 1864. Another theory is that the word comes from the indigenous name of the Pilla or Cirimo tree, whose wood is used to make guitars. It has also been said that the name comes from a festival in honor of a virgin known as Maria H. that musicians played for and that over time they were given this name.^[8]

The traditional mariachi band consists of the violin, the vihuela, guitar, a guitarrón (large bass guitar) and a trumpet. Other instruments may also be seen in a mariachi band, such as the flute, French horn, accordion, or organ are used. These instruments are used for specific arrangements.^[12]

Mariachis playing at the Tenampa in Mexico City

Mexican music was popularized in the United States in the late 1970s as part of a revival of mariachi music led by performers like Linda Ronstadt, Vikki Carr and Pepe Aguilar.^[13] Other famous mariachi performers include José Alfredo Jiménez, Jorge Negrete, Pedro Infante, Javier Solís, Miguel Aceves Mejía, Lola Beltrán, Antonio Aguilar, Flor Silvestre, Lucha Villa, Vicente Fernández, Pedro Fernández, Alejandro Fernández, Aida Cuevas, Pablo Montero and Lupita Infante. A well known examples of Mexican music in the United States is the Jarabe Tapatío (called the Mexican Hat Dance in the United States). Other well known mariachi songs are Guadalajara, "La Culebra" (The Viper), Las alazanas (The alazans) and Son de la negra.

In Mexico City, the center of mariachi music remains Garibaldi Plaza. The plaza fills with mariachi musicians to solicit gigs from individual songs for passers-by to being hired for events such as weddings and baptisms. They even stand on Eje Central in front of the plaza to flag down passing cars. In 2010, the government renovated the plaza to make it more tourist-friendly, adding new paving, gardens, police, security cameras, painted facades, and a museum dedicated to mariachi and tequila. Although mariachis can be hired in Mexico City over the phone or on the internet, many people still prefer to come to the plaza, hear the musicians and haggle over the price. About 2,500 mariachis hold union cards to work in the plaza, but as many as 4,000 may circulate through on a busy weekend.^[14]

In 2011 UNESCO recognized the music as an Intangible Cultural Heritage, joining six others of this list from Mexico.^[15]

Conjunto norteño[edit]

Ensemble specialized in norteño music, it consists of diatonic accordion, bajo sexto, double bass and drums. Another important music style is musica norteña, from northern Mexico, which has been the basis for such subgenres as musica de banda. Musica Norteña, like musica Tejana, arose in the 1830s and 40s in the Rio Grande region, in the southern Texas. Influenced by both Bohemian music and immigrant miners, its rhythm was derived from European polkas, which were popular during the 1800s. This type of Mexican music has derived from singers like Los Relámpagos del Norte, Ramon Ayala, Los Tigres del Norte, Los Tucanes de Tijuana, Polo Urías, Conjunto Primavera, Narciso Martínez, El Potro de Sinaloa, and Calibre 50.

Banda[edit]

Banda Sinaloense at the start of 1900.

Banda music was made with the imitation of military bands that were imported during the Second Mexican Empire, headed by emperor Maximilian I of Mexico in the 1860s. Polish and German immigrants established themselves in the state of Sinaloa. It was further popularized during the Mexican Revolution when local authorities and states formed their own bands to play in the town squares.

Revolutionary leaders like Pancho Villa, also took wind bands with them wherever they went. Banda has to this day remained popular throughout the central and northern states. It has, however, diversified into different styles due to regions, instruments and modernization. Today people associate banda with Sinaloense.

Although banda music is played by many bands from different parts of Mexico, its original roots are in Sinaloa, made popular by bands from Sinaloa.

Banda Sinaloense experienced international popularity in the 1990s. Unlike tamborazo Zacatecano, Sinaloense's essential instrument is the tuba. Sometimes an accordion is also included. Some well-known artists are Banda el Recodo, Banda Cuisillos, La Arrolladora Banda El Limón, Banda Los Recoditos, Banda Machos, Banda Maguey, El Coyote y Su Banda Tierra Santa, Banda Carnaval, Banda MS, Julio Preciado, Graciela Beltrán, Julión Álvarez, Espinoza Paz, and Juan Francisco Elizalde Valencia etc. Mexican group Calibre 50 receive an award by streaming service Pandora Radio for being the first artists to surpass a billion streams each in that platform.^[16]

Tamborazo Zacatecano[edit]

Tamborazo Zacatecano ("drum-beat from Zacatecas") is a banda style traditionally played by two trumpets, two saxophones, and the al bass drum. An outstanding example is La Marcha de Zacatecas (The March of Zacatecas) by Genaro Codina Fernández, the anthem of the State of Zacatecas and considered the second national anthem of Mexico. Tamborazo is closely related to traditional brass Banda. However, Tamborazo uses saxophones instead of clarinets. Another difference from banda is that Tamborazo uses its drum consistently, as opposed to banda which distributes the use of the other instruments throughout a song. Tamborazo originated in Villanueva in the state of Zacatecas. Tamborazo bands: Tamborazo Jerez 75, Tamborazo Los Originales de Jerez and Tamborazo Pancho Villa.

Duranguense[edit]

Duranguense is a genre of Mexican music. It is popular among the Mexican-American community in the United States. Duranguense is closely related to the Mexican styles of banda and norteño. The main instruments, which are held over from banda, are the saxophone, trombone, and bass drum. However, what sets the duranguense ensemble apart from banda is the addition of synthesizers to play both melodies and the tuba bassline. The tempo is also noticeably faster than banda or norteño. Among the duranguense elements carried over from other genres is el tamborazo; a heavy percussion line consisting of the bass drum and varied snare drum rolls. Duranguense groups and singers in Mexico are El Trono de México, Patrulla 81, AK-7, Remmy Valenzuela, and Ariel Camacho.

Popular music of folk roots[edit]

Grupera[edit]

Grupera (or onda grupera) is a genre of Mexican popular music. It is influenced by the styles of cumbia, norteño, and ranchera, and reached the height of its popularity in the 1980s, especially in rural areas.

The music has roots in the rock groups of the 1960s but today generally consists of five or fewer musicians using electric guitars, keyboards and drums. Artists in this genre include Los Yonics, Los Temerarios, Los Bukis, La Mafia, Ana Bárbara, Alicia Villarreal, Mariana Seoane, Grupo Bryndis, Marco Antonio Solís, Lidia Ávila, Los Caminantes, Los Humildes, La Migra, Liberación, Pegasso, and Grupo Mojado. The music increased in popularity in the 1990s and became commercially viable, and is now recognized in some Latin music awards ceremonies such as Lo Nuestro and the Latin Grammy Awards.

The original wave of Mexican rock bands got their start mostly with Spanish covers of popular English rock songs. After this initial stage they moved on to include in their repertoire traditional ranchera songs, in addition to cumbia, and ballads. Thus the 1970s saw the rise of a number of grupera bands that specialized in slow ballads and songs that up to that point had only been sung with mariachi. Among these we can include Los Muecas, Los Freddys, Los Babys, etc.

Popular music[edit]

Pop[edit]

During the 1960s and 1970s most of the pop music produced in Mexico consisted of Spanish-language versions of English-language rock-and-roll hits. Singers and musical groups like Angélica María, Johnny Laboriel, Alberto Vázquez, Enrique Guzmán or Los Teen Tops performed cover versions of songs by Elvis Presley, Paul Anka, Nancy Sinatra and others.

The Mexican music market serves as a launching pad to stardom for many non-Mexican artists who are interested extending the market-range of their music.^{[citation needed]} For the last thirty years,^[when?] Mexican pop music has been led by teen pop bands and their former members. Specially teen pop bands of the last decades have been Timbiriche, OV7, Sentidos Opuestos and RBD. Unlike teen pop bands elsewhere, the Mexican audience tends to prefer mixed-gender combos over boys or girls bands.^{[citation needed]}

In 2000, the century saw the crossover of some of Mexican recording artist like Paulina Rubio and Thalía into the English music industry, with bilingual albums, compilation album, that included hit songs in English and Spanish language, and the firsts solo English-language albums by this Mexican pop artist. The best recording crossover artist has been Paulina Rubio with her first English-language album being Border Girl released on June 18, 2002. Thalia has collaborated with American singer of traditional pop standards Tony Bennett in a duet for the song "The Way You Look Tonight". Viva Duets is the studio album by Tony Bennett, released in October 2012. It consists of electronically assembled duets between Bennett and younger singers from various genres like Frank Sinatras "Duets II". In Duets II, Sinatra personally invited Luis Miguel to participate on a duet in the album for the song "Come Fly with Me". Luis Miguel has been dubbed several times by the press and the media as the "Latin Frank Sinatra".^[17]

The best-known Mexican pop singers are José María Napoleón, Juan Gabriel, Lucía Méndez, Ana Gabriel, Daniela Romo, Marco Antonio Solís, Yuri, Gloria Trevi, Lucero, Angélica Rivera, Luis Miguel, Sasha Sokol, Thalía, Paulina Rubio, Alessandra Rosaldo, Reyli, Bibi Gaytán, Edith Márquez, Fey, Aracely Arámbula, Irán Castillo, Lynda Thomas, Natalia Lafourcade, Paty Cantú, Anahí, Maite Perroni, Dulce María, Ximena Sariñana, Yuridia, Daniela Luján, Belinda Peregrín, Sofía Reyes, Kika Edgar, Carlos Rivera and groups like Camila, Sin Bandera, Ha*Ash, Jesse & Joy, Belanova, Playa Limbo, and Jotdog.

Rock[edit]

The Mexican rock movement started in the late 1940s and early 1960s, rapidly becoming popular, and peaking in the 1969 and 1990s with real authentic sounds and styles. One of the early Mexican rock bands came out of the predominantly Mexican barrio community of East Los Angeles, "Los Nómadas" (The Nomads). They were the first racially integrated Rock and Roll band of the 1950s, consisting of 3 Mestizo boys, Chico Vasquez, Jose 'J.D.' Moreno, Abel Padilla, and a Caucasian boy Bill Aken (Billy Mayorga Aken).

The adopted son of classical guitarist Francisco Mayorga and Mexican movie actress Lupe Mayorga, Aken was mentored by family friend, jazz guitarist Ray Pohlman and would later become rocker Zane Ashton, arranging music and playing lead guitar for everybody from Elvis to Nina Simone. His association with the other three boys would be a lifelong one and they stayed together as a band for more than thirty years. Mexican Rock combined the traditional instruments and stories of Mexico in its songs. Mexican and Latin American rock en español remain very popular in Mexico, surpassing other cultural interpretations of rock and roll, including British rock.

In the 1960s and '70s, during the PRI government, most rock bands were forced to appear underground, that was the time after Avándaro (a Woodstock-style Mexican festival) in which groups like El Tri, Enigma, Los Dug Dug's, Javier Bátiz and many others arose. During that time Mexican Carlos Santana became famous after performing at Woodstock. During the 80s Nar Mattaru formed in 1995 in Monterrey. N.L. and 90s many Mexican bands went to the surface and popular rock bands like Santa Sabina, Café Tacuba, Caifanes, Control Machete, Fobia, Los de Abajo, Molotov, Maná, Ely Guerra, Julieta Venegas and Maldita Vecindad achieved a large international following.

Zoé the band has achieved success in Mexico and most Spanish-speaking countries

The latter are "grandfathers" to the Latin ska movement. Mexico City has also a considerable movement of bands playing surf rock inspired in their outfits by local show-sport lucha libre.^{[citation needed]} In the late 1990s, Mexico had a new wave "resurgence" of rock music with bands like Jumbo, Zoé, Porter, etc., as well as instrumentalists Rodrigo y Gabriela and Los Jaigüey the band of Santa Sabina's bass player, Poncho Figueroa, along with brothers Gustavo Jacob & Ricardo Jacob in the late 2000s.

Extreme metal has been popular for a long time in Mexico, with bands such as Dilemma, Exanime formed in 1985 in Monterrey. N.L. The Chasm, Xiuhtecuhtli, Disgorge, Brujeria, Transmetal, Hacavitz, Sargatanas, Mictlayotl, Yaoyotl, Ereshkigal, Xibalba, and Calvarium Funestus. The Mexican metal fanbase is credited with being amongst one of the most lively and intense, and favorites for European metal bands to perform for.

Alejandra Guzmán's 26 years of artistic career, with more than 10 million albums sold, 16 released albums and 30 singles in radio's Top 10 hits, has earned her the title of La Reina del Rock (The Queen of Rock). She is the daughter of two Latin entertainment legends: movie icon Silvia Pinal and rock and roll legend Enrique Guzmán, from whom she inherits her talent and passion for arts, music, dance and constant spiritual growth, but in the real mexican vision her as seen like a pop singer, not real rock.

Latin alternative[edit]

Lila Downs in the "National Sor Juana Festival" 2007.

An eclectic range of influences is at the heart of Latin alternative, a music created by young players who have been raised not only on their parents' music but also on rock, hip-hop and electronica. It represents a sonic shift away from regionalism and points to a new global Latin identity.

The name "Latin alternative" was coined in the late 1990s by American record company executives as a way to sell music that was -literally—all over the map. It was marketed as an alternative to the slick, highly produced Latin pop that dominated commercial Spanish-language radio, such as Ricky Martin or Paulina Rubio.

Artists within the genre, such as Rodrigo y Gabriela, Carla Morrison, Café Tacuba, Hello Seahorse!, Porter, Juan Son, Austin TVLila Downs, Paté de Fuá, Julieta Venegas and Jenny and the Mexicats have set out to defy traditional expectations of Latin music.

Mexican ska[edit]

Ska entered Mexico in the 1960s, when both small bands like Los Matemáticos and big orchestras like Orquestra de Pablo Beltrán Ruíz recorded both original ska tunes and covers of Jaimacan hits.^[18] After early new wave bands of the early eighties like Ritmo Peligroso and Kenny y los Eléctricos