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Historia Social de la música popular en Chile, 1890-1950 by JUAN PABLO GONZÁLEZ; CLAUDIOROLLEReview by: STEVE LOZALatin American Music Review / Revista de Música Latinoamericana, Vol. 30, No. 2 (FALL /WINTER 2009), pp. 247-253Published by: University of Texas PressStable URL: http://www.jstor.org/stable/40800942 .

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Reviews

■

247

JUANPABLO GONZÁLEZ AND CLAUDIO ROLLE. Historia Sudai de la mÚSÍCd

popular

n

Chile,

8go-ig$o.

diciones niversidad

atólica e Chile.

2005. 645

pp. Bibliography,

ndex,llustrations,

ompact

isc.

Recipient

f

heCasa de as Americas

remio e

Musicologia

n

2003,

his

comprehensive

tudy

s

an nnovativend

eminal ontribution

othemu-

sical

cholarship

fChile

ndLatin merica.

onzález nd

Rolle hould e

commended

or n

excellent

ynthesis

f ocial

istory

ndwhat

hey

erm

as

"musicología

opular,"ritiquing

he

global,

ntellectualoid

hat xists

in the

tudy

f

popular

music.

n

their

ords,

la música

opular

n

el mundo ..

ha

permanecido

rácticamentegno-

rada

por

a

academia,

ue

ha

prentendido

ar uenta

e a totalidad

el

campo

musical,

ividiéndolo

n

dos

grandes

reas:

música e tradición

escrita

llamada

octa, ulta,

clásica

y

músicade tradición

ral

llamada

radicional

folklórica

Esta isión

icotòmica

xcluyente

e

mantuvo

igente

n

América atina urante

asi odo

l

siglo

XX.

53)

This ssue

s addressed

ubstantially

n the

ntroductory

ssay

with

pe-

cificeferenceoChile nd tshistoricalevelopments relatedopolitical

events,

ultural

ife,

ducation

nd

institutions,

hemusic

ndustry,

nd

foreign

nfluencesn

mass ulture.

heauthors

ommenthat

la sociedad

hilena,

ransformada

aulatinamente

n

sociedad e

ma-

sas,

adaptará

us formas

e

práctica

consumo

musicales,

ando

ri-

gen

a

fenómenos

ue,

desde

os

primeros

ecenios el

siglo

XX,

han

cambiado

a

imagen

e esta

ultura,

ue

se

hace

progresivamente

ás

cosmopolita

in

perder

u fuertecento

ocal,

paradoja ue

la música

popular

abe

resolver

ien. .

.

(44)

Chapter

,

Persistencia

el

alón,"

s dedicated

ohistorical

ssessments

ofdomestic

music,

hemusical

salons" f

the

bourgeoisie

nd

working

classes,

ance

ulture,

nd

published

musical cores

nd

songs.

he con-

texts

f alon

music

anged

rom

mall

amily

omes

n

the

9th

entury

o

more

randiose

ettings

uch

s the

20th-century

alónde baile

del Club

de

la Unión

de

Santiago.

he

persistence

f he

alon s a

socialmusical

space

n

the

20th

enturyromoted

n abundance

fnew anciones

nd

other

epertoire

or

iano, uitar,

rchamber

roups.

f he

,881

hilean

musical

ieces omposed

rom

900

o

1968, 3percent

anbe classified

s

"músicanfamilia,"reated ithinhe alon radition.nadditiono erv-

ing

s a

vehicle

or

rofessional

usicians,

alon

music lso

represented

the

practice

f

music f carácter

ntimo,

encillez

ormal,

acilidade

eje-

cución

predominio

el sentimiento"

53),

ncluding

ance orms

uch s

the amacueca

nd

vals.







248

«

REVIEWS

Utilizing wide pectrumfprintulturencluding agazines,ds,

publishedong

ollections,

nd

rich

hotographs,

he uthors

istinguish

the

relationships

ftheChilean

working

nd middle

lasses,

oting

hat

"las sociedades

salones ilharmónicos

ue

se

reprodujeron

n a

pampa

chilena

ontribuyeron

desarrollar

n

carácter

rotocolar

n a relacióno-

cial

ntre l mundo brero

a clasemedia. .

(78).

De este

modo,

breros

y

burguesía

ompartían

odos

de baile

y

buenas

maneras,

stableciendo

un

marco e sociabilidadomún

nun

país

ocialmente

eterogéneo"79).

Danceevents

ithinhe alons

epresentedvariety

f

forms

nterpreted

throughianopieces, ongs, oems,monologues,

omedy,

nd theatric

sketches,ollowedy collectiveocial vent fdancepairs ccompanied

by

wind ands r studiantinas

choral roups

ith

uitar-type

ccompani-

ment). Progressive

orkers"ended

oresist hese ancehallctivities.

n

1908

one

ournalistxpressed

he entiment

hat se educa a cabezao se

educan as extremidades"

79).

By 890

he ance

erm amacuecas

replaced y

ueca,

which

f

ourse

has becomeknown

nternationally

s thenational anceof Chile.Other

forms

hat lsoenteredhe alon

epertoire

ere he uadrilla

comprising

a

group

fdance

ouples),

imilaro he

ontradanza;

heCuban

habanera;

theGermanolka; hewaltz;he ox-trot;ndtheArgentineango,mong

many

thers.

Chapter

reviewshe

ignificant

nfluencefforms

anging

rom he

early

9th

entury

onadillao the ate

19th-century

panish

arzuela nd

the

arly 0th-centuryuplé,

ll

genres

hat an be

compared

o

the

on-

cept

fmusical heater.

eferring

othe

eading

oles nacted

n

the

uplé,

the uthors

ote hat una

cupletista

canta, aila,

y

dice',

asgos

erfor-

mativos

últiplesue

marcarán asta

hoy

l

desempeño

rtísticoelcan-

tante e música

opular"132). eading

nterpreters

f he

uplé

ncluded

Yvette uilbert

1865-1944),

esurrección

uijano

1890-1935),

aquita

Escribanoca.1895), aGoyaAuroraurificaciónañanós auffret,891-

1950),

La

Argentina

Encarnación

ópez

Júlvez,

895-1945),

nd

Raquel

Meiler

Francisca

arqués ópez,

888-1962),mong

many

thers. ne

of he

major

omposers

f he diomwasOsmánPérez reire

1880-1930),

whose

uplés

werebased on

the

"one-step,"

ox-trot,

nd

tango,

emon-

strating

hat he

uplé

was more f

performative

enre

han

song

ype,

maintaining

ts

dentitymong

istinct,

ormal

tylistics.

Chapter

is dedicatedo an evaluation

f

hemusic

ndustry

n

Chile,

focusing

specially

n the rtistic

nd social

hanges ngendered

y

ech-

nology

nd tswork orce.

he

authorsssess

his

istorical

etamorpho-

sis,notinghatlaproducciónndustrializadae vienes erviciosambió,

sustancialmente,

a cultura elmundo

ccidental,

artiendo

esde

l

plano

laboral de las relaciones

ociales,

astadeterminaruevas ormas e

mentalidad

omportamiento"

173).

adio,

ax

ylinders,

he

honograph,

records,

ecord

ompaniesforeign

nd

Chilean),

ilm

foreign,

specially







Reviews

■

249

LatinAmerican,ndChilean),hemusical rtisttar ystem,nd theor-

ganization

f

professional

ocieties f

omposers,

usicians,

ndmusical

artists

n

general,

ll

play

nto he

rich,

nalytical

iscussion

omprising

this iverse

hapter.

Chapter

looks t

"public

pace"

nd ts

elationship

o

pecific

usical

genres.

ssessed re

he oles f he

public

iesta elebrated

n the treets

and

plazas

ofvarious

ities,

municipal,

olice,

nd

military

ands,

march

repertoire

nd

parades,

ndcarnaval.

In their bservationf he

mportant

ole hat he heaternd he ircus

played

ince he

beginning

f he20th

entury,

he uthors

ote hat de

estemodo,a industriae a música opular tilizòosespacios scénicos

mas

difundidosn la

época

el teatro el circo como

plataformas

a-

turales

ara

mostrar

us estrellas"

292).

Alsoreviewed

re thenetworks

of dancehalls

nd casas de

canto,

abaret,

nd boites

a

space

for anc-

ing,

rinking

ea,

offee,

r

iquor,

nd

dining).

he most

restigious

nd

longest-lasting

oite

wasthe

Tap

Room,

which

perated

rom

932

o

1954.

Other uch

clubs ncluded

l

Mocambo,

l

Club

de la

Medianoche,

nd

La Taberna

apri,

mong

umerous thers.

paces

hatweremore

opu-

larbut

ess

frequently

dvertised

n

the

press

were he

uintas

e

recreo,

which ere ocated ell utsidehe entral istrictsf he ity.hesemore

rural ontexts

funcionaban

esde l mediodía

asta a

madrugada

en el-

las se

podía

omer, eber,

ailar

escuchar los

mismos rtistas

orques-

tas

que

actuaban

n radio

y

boites"

341).

uring

he

1940s

Santaigo

ad

more

han 00

quintas

e recreo

ith ames uch s

El

Rosedal,

lorida,

Las

Palmeras,

opacabana,

olón,

Las Brisas

where

ioleta,

ilda,

nd

Lalo

Parra

erformed),

nita,

nd Rancho rande.

Chapterprovides

n excellentistorical

urvey

f

European

nfluence

n

song,

iting

umerous

nddiverse

xamples

rom

pain,

rance,

nd

taly.

Chapter

focuses

n "folkloree

masas,"

ssessing

arliermusical

nd/

or danceforms uch s zamacueca,hinganas,apateo,uando, onada,

canción,mazurka,

als,

nd habanera.

he authors ote

hat el mundo

campesino

sus

expresiones

frecían

. . una ineade continuidad

onel

pasado

on l sentido

e o

propio,lgo

sencial nun

período

e

ndepen-

dencia"

367).

pecific

rtistsfmusical

olklore

urveyed

nclude wo

rom

the

920s

Rosa

Cataldo,

ho

ang

onadas

nd

cuecas,

nd Blanca

ejeda

de

Ruiz,

whorecorded

0 records

or heVictorabel

n

Buenos

Aires hat

included

onadas,

anciones,

ndcuecas.

ejeda

e Ruiz ecorded

oth er

original

ompositions

nd raditionalnes

ccompaniedypiano

r

guitar

duos

nd became

model

nterpreter

f

he

popular

rban onada.

ther

artistsf thefirst ecades f the20thcenturyncluded erlinda raya,

Esther

artinez,

ndPetronila

rellana,

mong

thers.

mportant

olkloric

groups

ncluded

os Huasosde Chincolco

ernándeznd

Los Hermanos

Carter,

he atterconsiderados

or

a

prensa

omo os

padres

e a

tonada

chilena"

375).

Others ncluded

os

Quincheros,

os

Provincianos,

os







250

■

REVIEWS

Hermanos ampos,ndLos Hermanos arrientes.omeof hese roups

and others

ike hem

egan

o feature omen ocalistsuch

s

Ester oré

(Marta

upanqui onoso),

sabel

Fuentes,

nd Silvia

nfantas,

mong

th-

ers.

The uthors ake he

point

hat la

paulatinancorporación

emenina

a la vida

pública

acional

as

propias

ecesidades

e renovacióne a

in-

dustria el

espectáculo,rodujeron

n la décadade

1940

a consolidación

de la

mujer

omo

rtista el folklore"

384).

Cited

bundantly

hroughout

this

hapter

nd

othersre he

erspectives

f

Margot

oyola,

usical

rtist,

folklorist,

ance

pecialist,

nd

university

ducatorince he

950s.

Chapter,

Cancionero

atinoamericano/'

resents

n

especially

ascinat-

ing nd ignificantopic,hat f he resencend ffectsfLatin merican

musical ulturesnd artistsctive

nd/or

opularized

n

Chile.With he

advent fthemusic

ndustry

n the

1920s

and the"Americanismo"hat

began

o

permeate

atin

merica

y

he

930s,

oth ural

nd

urban

orms

representing

mestizo

atinAmerican

dentity

olidifiedariousmusical

movementsnd estheticshat

ersist

othe

present ay.

The

geographic

roximity

f

Argentina,

eru,

ndBolivia as nfluenced

much f he

popular

musical

bsorption

n

Chile,

rom he bandas e ne-

gros

riollos

rgentinos

nformadosla turca"

422)

o he

yaravíeruano-

boliviano.n a 1932 erformancet theTeatroMunicipaleSantiago,os

Cuatro uasos

nterpreted

rgentineangos,

anciones

mexicanas,

ancio-

nes

cubanas,

asillos

olombianos,

nd

yaravíeseruanos.

n

the

940s

Los

Quincheros

ere

erformingrepertoire

hatncluded oleros nd

Cuban

guarachas,

nd

n

1930

CamilaBariwas

performing

repertoire

f

polkas

parqaguayas,

odifias maxixes

rasileños,

aravíes

cuatorianos,

idali-

tas

rgentinas,

ndbailecitos

olivianos,

inging

n

Spanish,

uechua,

nd

Guaraní

nd

dressing

nthe

raditional

olivian

hola.

One

of he

rincipal

musical

glues"

as the

guitar,

hich

epresented

una

plataforma

nstru-

mental omún

ara

l

repertorio

olklóricoatinoamericano"

423).

As the

instrumentftheChilean onada ndcueca, twas also the nstrument

of

young

musicians hodesired

o

play

habaneras,

umbas,

oleros,

an-

gos,milongas,

oropos,

ambucos,

asillos,

ambas, hacareras,ancheras,

spirituals,

orridos,

uapangos,

arabes,

nd

pasodobles.

The authors ite hree atinAmericanountriess

having

he

major

musical

mpact

n

Chile

during

hefirst alf f he20th

entury:

exico,

Argentina,

nd

Peru,

los

que penetran

on

mayor rofundidad

n a socie-

dad

hilena,

enerando

odos

articulares

e

apropiación,

ransformación

ypráctica

ocal"

425).

The

major

nfluencef Mexicanmusic

n

Chilefrom heend of the

1930sthroughhe1950swas that f Mexican inema, speciallyhose

films

ortraying

heMexican raditionsf the

charro,

he

ranchera,

nd

themariachi.

tarring

n

these ilms ere

ingers

uch s Tito

Guizar,

osé

Mojica,

Jorge egrete,

edro

nfante,

nd

Miguel

Aceves

Mejia.

Negrete

toured hile

n

1946,

nd one witness tated hat la visita e

Negrete







Reviews

■

25 1

Chiledemostróueuna estrella e la canción odíaproducironmoción

pública"

428).

By

he nd f he

930s,

arious hilean

roups pecializing

in rancheras

mong

therMexican

enres egan

o

emerge.

he Mexican

corrido

lso became

ighly

opular,

o the

point

hat hilean

inger

ua-

dalupe

el Carmen

Esmeralda

onzález

etelier,

917-1987)

as awarded

the

irst isco eOro

n

Chile

n

1954

or

er

949

RCAVictor

ecording

f

"Ofrenda,"

corrido

omposed y

Jorge

andy

hat old

175,000

opies.

AstheChilean onada

nd

ueca

became

opular

n

Argentina,

he can-

cionero

riollo

rgentino"

as ikewise

ighly

opularized

n

Chile

y

uch

artistss Carlos

Gardel,

osé

Razzano,

aúl

Salinas,

Atahualpa upanqui,Hilario uadros,ndmanythers.hemost opularf heArgentineolk-

loric

enres uring

he irstalf

f he 0th

entury

as he

anchera,

rigi-

nally

erived

rom hemazurka.

nother

usic/dance

orm hat

ained

wide

popularity

n

Chile

was the

vals,

n

both

ts

Argentine

nd Peruvian

context.

he authors ave

noted hat los

compositores

intérpretes

hil-

enosbebieron

e ambas

uentes,

ncluyendo

n su

repertorio,

anto l

fino

vals

riollo e

a Costa el Pacífico

omo l recio

als

anguero

el

Riode

la Plata"

442).Among

he

many

rtistso

perform

n Chile rom

930

o

1950

were he rio

MachuPicchu

whose

members

layed

arp

nd

cha-

rango), a Chalaquitasingerf Peruvianolklore),nd AliciaLizárraga,

Miss

Radio erú

943.

Asthe uthors

ote,

much

f his nfluence

romhe

"cancionero

atinoamericano"

ould

ventually

ead o

hybrid

deas

mong

Chilean

musicians,

.g.,

he

Nueva anción

hilena f

he

970s.

Chapter

,

thefinal ection

n

this

book,

ssesses

hevast

diversity

f

"modern"

ance

musical

tyles

hat ave

een

popularized

n

Chile

uring

the

ime rame

xamined,

890

to

1950.

Noting

hat

n

the20th

entury,

modern

ance

would o

onger

mmigrate

oChile

rom

aris,

ondon,

r

Madrid,

utfrom

uenos

Aires,

io de

Janeiro,

exico,

a

Habana,

nd

New

York,

onzález

ndRolle ocus

n the rrival

f even atin

merican

danceformss well s five romNorth merica:ango, olero,maxixe,

samba,

umba,

onga, uaracha,

akewalk,

ne-step,

himmy,

harleston,

and

foxtrot.he

uthors ake

n

analytical

nd

elegant

bservation

hat

las

migraciones

musicales

mediatizadas

roducidas

l

interior e

América

atina,

ueden

er

onsideradas

omo

unode os factores

ás

influyentes

n el

proceso

e

transculturación

mericanista

e os habi-

tantes e

estecontinente.

s así

como,

orteando

ronteras

aturales,

económicas

políticas,

a

música

opular

a

ogrado

ntegrar

l

pueblo

latinoamericano

ntorno

experiencias

oncretas,

ueapelan

l

cuerpo,las emociones as ideas;que congreganomunidadesn torno la

celebración

al

romance;

que

son

portadoras

e

puntos

e

vista,

en-

sibilidades

modosde

comportamiento

ompartidos

or

una comuni-

dad

dispersa eográficamente,

ero

unida

por

un

pasado

y

un destino

común.

451)







252

■

REVIEWS

Following heintroduction,he nexteight ectionsof thechapter re

dedicated

o detailedhistorical

ssessments of the

tango

35

pages),

bo-

lero

(180),

músicos

negros

(8),

maxixe and samba

(7),

rumba,

conga

y

guaracha

15),

nfluencias orteamericanas

14),

bandas de

swing 9),

and

foxtrotl

jazz

huachaca

(11).Among

the voluminous

ist

of artists nd

other ndividuals r

groups

evaluated

n

these

eight

ections re the fol-

lowing

elect

examples:

Tango:

Roberto

irpo,

Alberto

Castillo,

Hugo

del

Carril,

Pepe

Aguirre,

Osmán Pérez

Freire,

Carlos

Gardel,

José

Razzano,

Atilio

Copelli,

Libertad

Lamarque,

Mercedes

Simone,

Orquesta Típica

Buenos

Aires,

Enrique

Santos

Discepolo, Orquesta Típica

de Porfirio

Díaz, AlbertoRavera,MiguelCaló, NatalioTursi,Tânia; Bolero:Agustín

Lara,

Benny

Moré,

AlfonsoOrtiz

Tirado,

Juan

Arvizu,

edro

Vargas,

José

Mojica,

María

Grever,

Gonzalo

Curiel,

Consuelo

Velásquez,

Elvira

Rios,

Margarita

ecuona,

Wilfredo

ernández,

Trío

Los

Panchos,

Leo

Marini,

Raúl

Videla,

Sonia

y Myriam;

Músicos

negros:

Josephine

Baker,

sidro

Benítez,

JoeO'Quendo

y

sus Africans

wingers,

Bola de Nieve

Ignacio

Jacinto

illa);

Maxixe

y

samba: Choro

Carioca,

Duque y Gaby,

Armando

Carrera,

anda da

Lua,

Carmen

Miranda,

Radamés

Gnatalli,

BuddyDay,

Dorival

Caymmi,

Los Indios

Tabajaras;

Rumba,

conga

y

guaracha:

Enríe

Madriguera,Orquestadel Casino de La Habana, AntonioMachín,Don

Aspiazú,

Moisés

Simons,

Lecuona Cuban

Boys,

Orquesta

Siboney,

am

Brown,

Rita

Montaner,

Dámaso

Pérez

Prado,

Benny

Moré,

Orquesta

Aragón,

Xavier

ugat,

Myrta

ilva;

nfluencias

orteamericanas: athaniel

Cox,

Vernon nd Irene

Castle,

Armando

Carrera,

arlos

Melo,

José

Bohr,

Josephine

aker;

Bandas de

swing:

The

Royal

Orchestra,

ablo

Garrido,

Louis

Armstrong,

on

Roy,

Esteban

Eitler,

ernando Morello

y

su Or-

questa,

Duke

Ellington,

ount

Basie,

Benny

Goodman,

TommyDorsey,

Ink

Spots,

Andrew

isters;

Del

foxtrot

l

jazz

huachaca: Max

Glucksmann,

Armando

Carrera,

Los Estudiantes

Rítmicos,

autaro

Andino,

Quinteto

SwingHot de Chile,LuchoCordova, sidroBenítez,Roberto arra.

The book ncludes

as addendummaterial

section n fuentes hat

n-

cludes a

bibliography,

uentes

mpresas,

conography,

ilmography,

ral

sources,

cores and

songbooks, iscography,

nd name

and title ndexes.

Also included s an

excellently roduced

udio

compact

disc

comprising

26 tracks

f various ndustrial

ecordings

elative o differentectionsof

thebook.

In

sum,

Historia ocialde a música

opular

e

Chile,

890-1950

s a mas-

terful

pus

of

highly

etailedmusical and

historical esearch nd social

analysis.

t

should also be notedthat

onsiderablemusical

analysis

s

in-

cluded althoughn moderate mounts)forvarious ectionsdedicated o

particular

musical

styles

nd

contexts. he book s a

major

contributiono

Chilean

scholarship,

atin

American

tudies,

popular

music

studies,

nd







Reviews

■

253

to he ields fhistorical usicologi thnomusicology,olklore,esthetics,

cultural

tudies,

nd

political

cience.

Juan

abloGonzález nd Claudio

Rolle

ave

provided

s

with rich

em;

we can

now wait he econd ol-

ume

ssessing

he

period

rom

950

o2000.

¡Felicidades

STEVE LOZA

University

fCalifornia-Los

ngeles

EDITED

BY MARIA GEMBERO USTÁRROZ

AND EMILIO

ROS-FABREGAS.

La músicayel Atlántico:RelacionesmusicalesentreEspaña yLatinoamérica

[Music

nd

heAtlantic:

usicalRelations

etween

pain

nd Latin

America].

ranada:

he

University

f

Granada.

007.605 pp.

In La música

el

Atlántico,

ditors

MaríaGembero

stárroz

nd Emilio

Ros-Fabregas

resent

0

essays ymusicologists

f

Spanish

nd diverse

American

ackgrounds

overing

broad

ange

f

opics.

everal

f he

on-

tributorsre

former

tudents

fthe ditors

t the

University

f

Granada,

Spain.

Most f

he rticleseal

with

spects

fWestern

rt

music,

specially

of

he 6th

o18th enturies

ather

han ernacular

usic,

nd

hey

nvolve

archivalatherhan thnographicesearch. s such, his olumemay e

of

more nterest

o scholars

f

Hispanic

aroque

nd

Classical

music han

to

ethnomusicologists

er

e.

In

several

f

he

rticles,

hemain

ontribu-

tion

may

e

the

presentation

f

original

rimary

ata

from uch

rchival

sources

ather

han he

dvancement

f

ny articular

rgument

r

hesis,

and

the conclusions"

ections

end o

be brief

nd

provisional

ather

han

grandiloquent.

evertheless,

ollectively

he

rticles

emind s

of hedra-

matic

xtent

o

which

Hispanic

music

ulture

f he olonial

eriod

was a

thoroughly

ransatlantic

ntity,

nd

hey rovide

uchnuance

nd

histori-

cal

detail

egarding

he ocal

nd

ntercontinental

lows

ndefflorescences

ofmusicwithinhatulture.

Following

succinct

ntroduction

y

the

editors,

he

rticlesreat

he

following

opics:

he

ypicalatterns,

otivations,

nddestinations

f

pro-

fessional

musicians

who

migrated

etween

pain

and

the Americas

n

the olonial

eriod Gembero

stárroz);

he

musical ctivities

atronized

in

the

1500s

by

he

wealthy

edina idonia

amily

f

Andalusia,

nclud-

ing

their

mployment

fenslaved

merindian

nd

Afro-atin

musicians

trained

n Western

usic

Gómez

ernández);

hemusical

atronage

xer-

cised

y

n

nfluential

amily

fGranada

uring

nd fter

heir nrichment

in

Peru

Castilloerreira);spects

f

relations

etweenathedral

usic

n

Cádizand n theAmericasn the1600-1700S Diez Martínez); villan-

cico

the

Hispanic ough

ounterpart

o a

cantata)

omposed

n

1745

y

Pedro

Rabassa

nd

evidently

ntended

or

erformance

n

Mexico

Isusi

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