It's common to hear the following recorded announcement blared from pickup trucks in Mexico City. The trucks provide the important service of purchasing your old junk and hauling it away.
...Se compran, colchones, tapones, refrigeradores, estufas, lavadoras, microondas o algo de fierro viejo que venda....Se compran, colchones, tapones, refrigeradores, estufas, lavadoras, microondas o algo de fierro viejo que venda...
Translation: "We buy mattresses, stoppers, refrigerators, stoves, washing machines, microwaves, or any old iron you want to sell."
Monday, March 12, 2012
Thursday, November 17, 2011
First sound map of Mexico City
Con base en la Norma Ambiental para la Regulación de los Niveles de Ruido en el Distrito Federal (NADF-005-AMBT-2006), la Secretaría del Medio Ambiente capitalina (SMA) presentó el primer Mapa de Ruido y Red Piloto de Monitoreo de Ruido de la Zona Metropolitana del Valle de México (ZMVM), para atender dicha problemática.
EL UNIVERSAL DF presenta cinco datos del estudio que se realizó en coordinación con la Universidad Autónoma Metropolitana Azcapotzalco (UAM) para mostrar un diagnóstico preliminar que muestre la realidad acústica de la ZMVM.
1.Sensores de ruido (micrófonos) se colocaron en 10 puntos estratégicos como parte de la Red Piloto de Monitoreo de Ruido de la Zona Metropolitana del Valle de México.
2. Se crearon 65 mil 500 bloques urbanos entre manzanas y edificios en tercera dimensión y dos mil 200 kilómetros de vialidades divididas en tres mil 400 secciones y se generaron tres mil 400 datos a partir de 350 puntos obtenidos.
3. El primer mapa en su etapa de desarrollo arrojó que existen cerca de 155 áreas cercanas a principales vialidades con problemas de ruido de las cuales en un siete por ciento es intolerable y en 85 por ciento es tolerable.
4.La segunda fase ampliará la Red Piloto de Monitoreo a 30 puntos de la ciudad y se realizará el mapa especializado en ruido en colaboración con la Dirección General de Gestión de la Calidad del Aire para dejar sentadas las bases para impulsar políticas públicas que atiendan dicha problemática.
5. Los recursos para la instalación de los instrumentos fueron de seis millones de pesos, adicional se recibieron bases de distintas dependencias que equivalen a 5 millones 300 mil pesos, que dan un total de 11 millones 300 mil pesos provenientes del Fondo Ambiental del Valle de México (FIDAM) de la Secretaría del Medio Ambiente y Recursos Naturales.
Source: Berenice Balboa, "5 datos del primer mapa de ruido del DF," El Universal, 10 de noviembre 2011
Saturday, August 20, 2011
Mexico City described, 1961.
"Along avenues that once were causeways connecting the old Aztec island capital of Tenochtitlán with mainland, the traffic boils and surges. Buses careen through the streets, with passengers clinging to roof, bumper and doorstep. Decrepit trucks, monstrously overloaded, grind their way through the maze. Taxis painted in heathenish splendor race each other, the drivers shouting obscenities or exchanging hand signals and whistles of unmistakable meaning. Antique Ford races antique Fiat. Sleek Mercedes glides beside sleek Cadillac, the conveyance of bankers and politicians. […] Small newsboys wave their papers like flags, shouting of crimes of passion, disasters on the road, scandals in the republic and the latest results of box and beisbol.
Braked tires scream. Accelerated motors roar through broken mufflers. Ambulance sirens mingle with the offkey music of curbside barrel organs. Full-throated jukeboxes blare songs of outraged love from saloons. Soap operas, singing commercials, and traditional ballads shriek from a hundred radio and television sets, each with the volume turned on full. From the sidewalks come the cries of shoeshine boys and lottery-ticket sellers - ‘Five hundred thousand for today, chief; I have your lucky number.’
The air of Mexico City is nervous, vital, hectic, dynamic, eclectic and kaleidoscopic. […]
[People] will be speaking a variety of languages as can be heard in any of the world’s capitals: the slurring slang of Mexico City itself, full of double meaning and thinly veiled abuse; lisping Castilian; precise English; pocho Spanish from the northern border country, an execrable mixture of bad Spanish and bad English; the Spanish of Mexican poets, pure, sonorous and full of glittering images; or Nahuatl, most prevalent of Mexico’s 50-odd surviving Indian languages and dialectics, sounding vaguely oriental; or Otomí, Huaxteco, Totonaco, Huichol, Tzotzil or Tarahumara. […]
Source: William Weber Johns and The Editors of LIFE, Mexico (New York: Time Incorporated, 1961).
Braked tires scream. Accelerated motors roar through broken mufflers. Ambulance sirens mingle with the offkey music of curbside barrel organs. Full-throated jukeboxes blare songs of outraged love from saloons. Soap operas, singing commercials, and traditional ballads shriek from a hundred radio and television sets, each with the volume turned on full. From the sidewalks come the cries of shoeshine boys and lottery-ticket sellers - ‘Five hundred thousand for today, chief; I have your lucky number.’
The air of Mexico City is nervous, vital, hectic, dynamic, eclectic and kaleidoscopic. […]
[People] will be speaking a variety of languages as can be heard in any of the world’s capitals: the slurring slang of Mexico City itself, full of double meaning and thinly veiled abuse; lisping Castilian; precise English; pocho Spanish from the northern border country, an execrable mixture of bad Spanish and bad English; the Spanish of Mexican poets, pure, sonorous and full of glittering images; or Nahuatl, most prevalent of Mexico’s 50-odd surviving Indian languages and dialectics, sounding vaguely oriental; or Otomí, Huaxteco, Totonaco, Huichol, Tzotzil or Tarahumara. […]
Source: William Weber Johns and The Editors of LIFE, Mexico (New York: Time Incorporated, 1961).
Tuesday, August 16, 2011
Rockdrigo sings the subterranean blues, 1982.
Compared to other major underground transit systems, the Mexico City metro is surprisingly quiet (at least on the platform). Since the train-car wheels use rubber tires, the deafening sounds of metal on metal so common in the New York subway are seldom heard. While the machine-made cacophony is less pronounced, people have been pretty effective at producing a complex acoustic texture of their own.
Music has long been a part of the human-generated sound culture of the Metro. In 1982 Rockridgo González recorded the now classic ode to the Mexico City underground in "Metro Balderas". He would be killed a few years later in the 1985 earthquake which devastated the city.
The song (lyrics below) speaks of love lost in the hectic Balderas station.
"METRO BALDERAS" (1982) by ROCKDRIGO GONZÁLEZ
Saquese de aqui señor operador
que esto es un secuestro y yo manejo el convoy
mejor haga caso para usted es mejor,
asi es que hagase a un lado porque ahí le voy.
Hace cuatro años que a mi novia perdí
en esas muchedumbres que se forman aqui,
la busque en los andenes y las salas de espera pero ella se perdio
en la estacion de Balderas.
En la estacion del metro balderas
ahí fue donde yo perdi a mi amor
en la estacion del metro balderas
ahí deje embarrado mi corazon
No no no no no no
fue la estacion del metro balderas
una bola de gente se la llevo
en la estacion del metro balderas
vida mia ya te busque de convoy en convoy
Mejor haga caso o le doy un balazo
no se ha dado cuenta de que estoy muy empeñado.
Ya lo dijo Freud no me acuerdo en que lado
sólo una experiencia que he experimentado
Pare usted en la ruta que me lleva al trabajo, hoy estoy dispuesto
a mandarlo al carajo
llevame hacia Hidalgo o hacia donde quieras
pero no me lleves no
por la estacion de balderas.
En la estacion del metro balderas
ahí fue donde yo perdi a mi amor
en la estacion del metro balderas,
ahí dejé embarrado mi corazon
no no no no no no no,
en la estacion del metro balderas
una bola de gente se la llevo
en la estacion del metro balderas,
vida mia ya te busque de convoy en convoy
vida mia ya te busque de convoy en convoy
vida mia te busque de convoy en convoy.
Music has long been a part of the human-generated sound culture of the Metro. In 1982 Rockridgo González recorded the now classic ode to the Mexico City underground in "Metro Balderas". He would be killed a few years later in the 1985 earthquake which devastated the city.
The song (lyrics below) speaks of love lost in the hectic Balderas station.
"METRO BALDERAS" (1982) by ROCKDRIGO GONZÁLEZ
Saquese de aqui señor operador
que esto es un secuestro y yo manejo el convoy
mejor haga caso para usted es mejor,
asi es que hagase a un lado porque ahí le voy.
Hace cuatro años que a mi novia perdí
en esas muchedumbres que se forman aqui,
la busque en los andenes y las salas de espera pero ella se perdio
en la estacion de Balderas.
En la estacion del metro balderas
ahí fue donde yo perdi a mi amor
en la estacion del metro balderas
ahí deje embarrado mi corazon
No no no no no no
fue la estacion del metro balderas
una bola de gente se la llevo
en la estacion del metro balderas
vida mia ya te busque de convoy en convoy
Mejor haga caso o le doy un balazo
no se ha dado cuenta de que estoy muy empeñado.
Ya lo dijo Freud no me acuerdo en que lado
sólo una experiencia que he experimentado
Pare usted en la ruta que me lleva al trabajo, hoy estoy dispuesto
a mandarlo al carajo
llevame hacia Hidalgo o hacia donde quieras
pero no me lleves no
por la estacion de balderas.
En la estacion del metro balderas
ahí fue donde yo perdi a mi amor
en la estacion del metro balderas,
ahí dejé embarrado mi corazon
no no no no no no no,
en la estacion del metro balderas
una bola de gente se la llevo
en la estacion del metro balderas,
vida mia ya te busque de convoy en convoy
vida mia ya te busque de convoy en convoy
vida mia te busque de convoy en convoy.
Tuesday, August 2, 2011
Porfirio Díaz to Thomas Edison, 1909.
On August 15th, 1909, authoritarian Mexican president Porfirio Díaz sent Thomas Edison a thank you note for having shipped him a phonograph from the Edison laboratory. Rather than use the written word, Díaz opted to record his own voice on a wax cylinder. The voice recording, which has now been digitized, is believed to be one of the oldest (possibly the first) of its kind produced in Mexico.
What follows is the recording, provided by the Archivo Sonoro (archivosonoro.org), as well as the transcript.
Transcription of Díaz's voice note:
Introduction
Contestación que el Sr. General Porfirio Díaz, Presidente de la República Mexicana, da a una carta del señor Tomás A. Edison.
Porfirio Diaz
Chapultepec, agosto 15 de 1909. Sr. Tomás A Edison (estimado y buen amigo): Me refiero a su grata 8 de julio.
Yo también como usted recuerdo con placer el tiempo aquel en que tuve la satisfacción de conocerle y conocer sus atrevidos experimentos, haciéndome partícipe de su fe inquebrantable en el gracioso porvenir de la ciencia empírica. Fue allá en su patria, en los primeros días de la luz eléctrica en nueva york, y desde entonces presentí en usted al héroe del talento, al triunfador del trabajo, al que más tarde habría de someter a disciplina el fuego arrebatado por Franklin a los cielos para perpetuar acá en la tierra en sus maravillosos aparatos fonográficos la cariñosa voz de los seres amados reproduciendo todos los ritmos, todos los acentos y todas las modulaciones del lenguaje humano. Me es grato complacerle porque tengo en muy alta estimación a los grandes benefactores de la humanidad, y usted es uno de ellos, porque usted ha creado nuevas fuentes de felicidad, de bienestar y de riqueza para el género humano utilizando las más poderosas fuerzas conocidas: luz, electricidad, trabajo y genio. Su amigo, que con orgullo estrecha su mano, Porfirio Díaz.
What follows is the recording, provided by the Archivo Sonoro (archivosonoro.org), as well as the transcript.
Transcription of Díaz's voice note:
Introduction
Contestación que el Sr. General Porfirio Díaz, Presidente de la República Mexicana, da a una carta del señor Tomás A. Edison.
Porfirio Diaz
Chapultepec, agosto 15 de 1909. Sr. Tomás A Edison (estimado y buen amigo): Me refiero a su grata 8 de julio.
Yo también como usted recuerdo con placer el tiempo aquel en que tuve la satisfacción de conocerle y conocer sus atrevidos experimentos, haciéndome partícipe de su fe inquebrantable en el gracioso porvenir de la ciencia empírica. Fue allá en su patria, en los primeros días de la luz eléctrica en nueva york, y desde entonces presentí en usted al héroe del talento, al triunfador del trabajo, al que más tarde habría de someter a disciplina el fuego arrebatado por Franklin a los cielos para perpetuar acá en la tierra en sus maravillosos aparatos fonográficos la cariñosa voz de los seres amados reproduciendo todos los ritmos, todos los acentos y todas las modulaciones del lenguaje humano. Me es grato complacerle porque tengo en muy alta estimación a los grandes benefactores de la humanidad, y usted es uno de ellos, porque usted ha creado nuevas fuentes de felicidad, de bienestar y de riqueza para el género humano utilizando las más poderosas fuerzas conocidas: luz, electricidad, trabajo y genio. Su amigo, que con orgullo estrecha su mano, Porfirio Díaz.
Tuesday, July 26, 2011
Elías Zavaleta, the voice of "ricos y deliciosos tamales oaxaqueños"
It is hard to imagine that there is a resident of Mexico City who is not familiar with the voice recording employed by nearly all of the city's hawkers of tamales: "Lleve sus ricos y deliciosos tamales oaxaqueños. Ya llegaron sus ricos y deliciosos tamales oaxaqueños. Pida sus tamales calientitos". Few, however, are aware of the identity of this ubiquitous yet enigmatic spokesperson for the tamal.
According to Cynthia Ramírez, the voice is that of former tamalero Elías Zavaleta. Nearly 20 years ago, at the age of 17, he recorded the famous refrain on a tape cassette. Passed around among acquaintances, over time the tape was copied and eventually distributed far beyond Zavaleta's circle of friends.
Today a copy of the tape can be purchased for around 300 pesos. Zavaleta earns no royalties for the use of his voice.
Source: Cynthia Ramírez, "Elías Zavaleta, la voz de los tamales oaxaqueños," Letras Libres, Septiembre 21, 2009 <http://www.letraslibres.com/beta/blogs/elias-zavaleta-la-voz-de-los-tamales-oaxaquenos>
According to Cynthia Ramírez, the voice is that of former tamalero Elías Zavaleta. Nearly 20 years ago, at the age of 17, he recorded the famous refrain on a tape cassette. Passed around among acquaintances, over time the tape was copied and eventually distributed far beyond Zavaleta's circle of friends.
Today a copy of the tape can be purchased for around 300 pesos. Zavaleta earns no royalties for the use of his voice.
Source: Cynthia Ramírez, "Elías Zavaleta, la voz de los tamales oaxaqueños," Letras Libres, Septiembre 21, 2009 <http://www.letraslibres.com/beta/blogs/elias-zavaleta-la-voz-de-los-tamales-oaxaquenos>
Thursday, July 21, 2011
Street Cries, 1858.
The soundscape of Mexico City in 2011 is no doubt quite different than it was in the mid-19th century. Yet one of the striking features of everyday life in the metropolis, is the persistence of street criers. It is quite common on city streets, for example, to hear hawkers announcing the sale of ice and water, and at night, tamales. I was therefore pleasantly surprised when I ran across the following excerpt published by pioneer anthropologist Frederick Starr, the majority of which he had transcribed from the classic book, Life in Mexico by Mandame Calderon de la Barca. It becomes clear in reading the piece, that the network of hawkers and street criers of the 1850s was eminently and understandably more complex than its current incarnation. Nevertheless, a certain level of continuity seems apparent.
STREET CRIES.
Street cries are numerous, characteristic, and curious in the capital city. So far as I know, they have never been carefully studied. It is impossible to enter here upon such a study. An interesting paragraph, published in 1858, may be quoted for preservation of customs of that date (Manual del viajero en Mejico, pp. 131-133. Marcos Arróniz : Paris, 1858. This is, by the way, copied after Madame Calderon de la Barca: see Life in Mexico, pp. 53, 54).
“The dawn of day is announced in the streets of Mexico by the sad and monotonous cry of a multitude of carboneros (charcoal-sellers), who stand at the doorways and cry with all the force of their lungs: Carbosiu ! (carbon senor) 'charcoal sir.' A little later is heard the melancholy voice of the mantequilla (butter) sellers, who without stopping in their march cry Mantequia . . . mantequia de á real y dia medio (Butter . . . butter at a real and a half). Cesina buena! (good salt beef) is the announcement with which the carnicero (butcher) interrupts him, with a harsh and inharmonious voice: this in turn alternates with the fastidious and prolonged cry of the sebera or woman who buys tallow from the kitchens, who placing a hand over her left cheek, shrieks into each doorway : Hay sebooooooo: (Is there tall-o-o-o-w?) Hardly has she disappeared, when the cambista enters, an Indian woman who exchanges one effect for another, and cries in a lower key and without prolongation of syllables: Tejocotes por venas de chile! . . . tequesquite por pan duro (Tejocotes for veins of chili . . . washing soda for hard bread). Tejocotes are small yellow fruits: veins of chili are the insides of red peppers. With this a buhonero, or perambulating dealer in notions, arrives, who having entered the patio cries out his long list of wares, in a penetrating voice, while he seeks the ladies with his eyes: Agujas, alfilereres, dedales, tejeras, botones de camisa, bolitas de kilo? But he is rivalled almost before his echoes have died away by the frutero (fruit-dealer), who in thunder tones names over his wares. Meantime at the corner a woman sings this little lay: Gorditas de horno calientes, mi alma! . . . Gorditas de homo! (Corncakes hot from the oven, my love! . . . Corncakes from the oven!). The makers of mats or petates of Puebla appear to have no other market than Mexico to dispose of them: thus they all scatter themselves through the streets and cry out in a uniform manner: Petates de la Pueeeebla! . . . jabon de la Pueeeebla: (Mats of Puebla . . . soap of Puebla). In competition with these, those who sell the rush goods made at Hochimilco cry out in turn in rasping voices: Petates de cinco vaaaras! Petates de á media y tlaco (Mats of five yards length! mats at eight pence). Nor is midday free from these troublesome cries: a beggar mumbles blasphemies for a bit of bread; a blind man recites a miraculous romance for the same object; at the same time the penetrating cry of an Indian woman is heard, which lacerates the ears, announcing: Melcuiiiiii (melcocha) (honey-cake); that of the quesero (cheesemonger) who with all the force of his windpipe gives forth: Requeson y melado bueno! . . . Reqeson y queso fresco (curds and good honey . . . curds and fresh cheese); and the gentle clamor of the dulcero (vendor of sweets) who after his special nomenclature offers á dos palanquetas . . . á dos condumios . . . caramelos de espelma . . . bocadilla de coco (two for a cent seed candy cakes . . . two for a cent pea-nut bars . . . fine sugar caramels . . . slices of cocoanut), narrative often interrupted by drunken tremulousness in his voice, or by the shrill cry (according to the age of the individual) of the numerous sellers of lottery tickets who offer for a half real el ultimo billetito que me ha quedado para esta tarde (the last little ticket I have left this afternoon) . . . and this 'last’ never is finished. The same cries are common in the afternoon: but that of tortillas de cuajada (curd-tortillas) and the funereal lament of the nevero (ice man) who announces with sepulchral voice, A los canutos nevadas! (ices in little cylinders) belong especially to this part of the day. In the rainy season, Indians run through the streets at their peculiar dog-trot, crying: No mercan nilatzilio, with which cry they announce their sale of jilotes (hot boiled com) and the nueceras (nutsellers) theirs with the simple: Toman nues? (will you have nuts? ). At night they cease, but others follow; the chestnut-sellers in winter cry through the streets in a strong well-controlled voice: Castaña asada y cosida: castaña asada (chestnuts roasted and boiled! roasted chestnuts). The pateras (duck-selling women) with the pretty song, which they repeat every moment, some remaining at the corners; the juileras (crawfish-sellers) and those who sell tamalitos sernidos (fine flour tamales), and tamalitos queretanos (sweet coffee tamales), mingle their cries with innumerable others of still other sellers; an infernal hubbub which gradually diminishes as night advances. But the king of street-cries, the most powerful because it dominates all, is at noonday: A las bueeenas cabeezas calieeeeentes de horno! (Good sheep-heads hot from the oven!)”
Reference: Frederick Starr, Catalogue of a collection of objects illustrating the folklore of Mexico (Publications of the Folklore Society, 1899), pp. 15-17.
STREET CRIES.
Street cries are numerous, characteristic, and curious in the capital city. So far as I know, they have never been carefully studied. It is impossible to enter here upon such a study. An interesting paragraph, published in 1858, may be quoted for preservation of customs of that date (Manual del viajero en Mejico, pp. 131-133. Marcos Arróniz : Paris, 1858. This is, by the way, copied after Madame Calderon de la Barca: see Life in Mexico, pp. 53, 54).
“The dawn of day is announced in the streets of Mexico by the sad and monotonous cry of a multitude of carboneros (charcoal-sellers), who stand at the doorways and cry with all the force of their lungs: Carbosiu ! (carbon senor) 'charcoal sir.' A little later is heard the melancholy voice of the mantequilla (butter) sellers, who without stopping in their march cry Mantequia . . . mantequia de á real y dia medio (Butter . . . butter at a real and a half). Cesina buena! (good salt beef) is the announcement with which the carnicero (butcher) interrupts him, with a harsh and inharmonious voice: this in turn alternates with the fastidious and prolonged cry of the sebera or woman who buys tallow from the kitchens, who placing a hand over her left cheek, shrieks into each doorway : Hay sebooooooo: (Is there tall-o-o-o-w?) Hardly has she disappeared, when the cambista enters, an Indian woman who exchanges one effect for another, and cries in a lower key and without prolongation of syllables: Tejocotes por venas de chile! . . . tequesquite por pan duro (Tejocotes for veins of chili . . . washing soda for hard bread). Tejocotes are small yellow fruits: veins of chili are the insides of red peppers. With this a buhonero, or perambulating dealer in notions, arrives, who having entered the patio cries out his long list of wares, in a penetrating voice, while he seeks the ladies with his eyes: Agujas, alfilereres, dedales, tejeras, botones de camisa, bolitas de kilo? But he is rivalled almost before his echoes have died away by the frutero (fruit-dealer), who in thunder tones names over his wares. Meantime at the corner a woman sings this little lay: Gorditas de horno calientes, mi alma! . . . Gorditas de homo! (Corncakes hot from the oven, my love! . . . Corncakes from the oven!). The makers of mats or petates of Puebla appear to have no other market than Mexico to dispose of them: thus they all scatter themselves through the streets and cry out in a uniform manner: Petates de la Pueeeebla! . . . jabon de la Pueeeebla: (Mats of Puebla . . . soap of Puebla). In competition with these, those who sell the rush goods made at Hochimilco cry out in turn in rasping voices: Petates de cinco vaaaras! Petates de á media y tlaco (Mats of five yards length! mats at eight pence). Nor is midday free from these troublesome cries: a beggar mumbles blasphemies for a bit of bread; a blind man recites a miraculous romance for the same object; at the same time the penetrating cry of an Indian woman is heard, which lacerates the ears, announcing: Melcuiiiiii (melcocha) (honey-cake); that of the quesero (cheesemonger) who with all the force of his windpipe gives forth: Requeson y melado bueno! . . . Reqeson y queso fresco (curds and good honey . . . curds and fresh cheese); and the gentle clamor of the dulcero (vendor of sweets) who after his special nomenclature offers á dos palanquetas . . . á dos condumios . . . caramelos de espelma . . . bocadilla de coco (two for a cent seed candy cakes . . . two for a cent pea-nut bars . . . fine sugar caramels . . . slices of cocoanut), narrative often interrupted by drunken tremulousness in his voice, or by the shrill cry (according to the age of the individual) of the numerous sellers of lottery tickets who offer for a half real el ultimo billetito que me ha quedado para esta tarde (the last little ticket I have left this afternoon) . . . and this 'last’ never is finished. The same cries are common in the afternoon: but that of tortillas de cuajada (curd-tortillas) and the funereal lament of the nevero (ice man) who announces with sepulchral voice, A los canutos nevadas! (ices in little cylinders) belong especially to this part of the day. In the rainy season, Indians run through the streets at their peculiar dog-trot, crying: No mercan nilatzilio, with which cry they announce their sale of jilotes (hot boiled com) and the nueceras (nutsellers) theirs with the simple: Toman nues? (will you have nuts? ). At night they cease, but others follow; the chestnut-sellers in winter cry through the streets in a strong well-controlled voice: Castaña asada y cosida: castaña asada (chestnuts roasted and boiled! roasted chestnuts). The pateras (duck-selling women) with the pretty song, which they repeat every moment, some remaining at the corners; the juileras (crawfish-sellers) and those who sell tamalitos sernidos (fine flour tamales), and tamalitos queretanos (sweet coffee tamales), mingle their cries with innumerable others of still other sellers; an infernal hubbub which gradually diminishes as night advances. But the king of street-cries, the most powerful because it dominates all, is at noonday: A las bueeenas cabeezas calieeeeentes de horno! (Good sheep-heads hot from the oven!)”
Reference: Frederick Starr, Catalogue of a collection of objects illustrating the folklore of Mexico (Publications of the Folklore Society, 1899), pp. 15-17.
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