Coordinates	55°45′06″N37°37′04″N
Native name	}}

|conventional_long_name = United Mexican States |common_name = Mexico |image_flag = Flag_of_Mexico.svg |alt_flag = |image_coat = Coat of arms of Mexico.svg |alt_coat = |symbol_type = Coat of arms |national_motto = |national_anthem = "Himno Nacional Mexicano"Mexican National Anthem |royal_anthem = |motto = |other_symbol_type = National seal: |other_symbol = Seal of the United Mexican States |image_map = Mexico (orthographic projection).svg |map_width = 220px |alt_map = |map_caption = |image_map2 = |alt_map2 = |map_caption2 = |capital = Mexico City |latd= 19 | latm= 03 | latNS = N |longd= 99 |longm= 22 |longEW = W |largest_city = Mexico City |official_languages = Spanish |national_languages = 62 Indigenous Amerindian languages |regional_languages = |languages_type = |languages = |ethnic_groups = - Mestizo 70% - White 15% - Indigenous 9.8%- Other 1% |ethnic_groups_year = |demonym = Mexican |government_type = }} |leader_title1 = President |leader_name1 = Felipe Calderón (PAN) |leader_title2 = Secretary of the Interior |leader_name2 = José Francisco Blake Mora |leader_title3 = Supreme Court President |leader_name3 = Juan Silva Meza |leader_title4 = |leader_name4 = |leader_title5 = |leader_name5 = |leader_title6 = |leader_name6 = |legislature = Congress |upper_house = Senate |lower_house = Chamber of Deputies |sovereignty_type = Independence |sovereignty_note = from Spain |established_event1 = Declared |established_date1 = September 16, 1810 |established_event2 = Recognized |established_date2 = September 27, 1821 |established_event3 = |established_date3 = |established_event4 = |established_date4 = |established_event5 = |established_date5 = |established_event9 = |established_date9 = |area_rank = 14th |area_magnitude = 1 E12 |area = |area_km2 = 1,972,550 |area_sq_mi = 761,606 |area_footnote = |percent_water = 2.5 |area_dabodyalign = |population_census = 112,322,757 |population_census_rank = 11th |population_census_year = 2010 |population_density_km2 = 57 |population_density_sq_mi = 142 |population_density_rank = 142nd |GDP_PPP = $1.629 trillion |GDP_PPP_rank = 11th |GDP_PPP_year = 2011 |GDP_PPP_per_capita = $15,113 |GDP_PPP_per_capita_rank = 58th |GDP_nominal = $1.041 trillion |GDP_nominal_rank = 13th |GDP_nominal_year = 2011 |GDP_nominal_per_capita = $9,489 |GDP_nominal_per_capita_rank = 58th |Gini = 51.6 |Gini_rank = |Gini_year = 2008 |Gini_category = high |HDI = 0.750 |HDI_rank = 56th |HDI_year = 2010 |HDI_category = high |currency = Peso |currency_code = MXN |time_zone = Official Mexican Timezones |utc_offset = −8 to −6 |time_zone_DST = varies |antipodes = |date_format = |DST_note = |utc_offset_DST = −7 to −5 |drives_on = right |cctld = .mx |iso3166code = |calling_code = +52 |image_map3 = |alt_map3 = |footnotes = |footnote1 = |footnote2 = |footnote7 = }} The United Mexican States (), commonly known as Mexico (pronounced ; ), is a federal constitutional republic in North America. It is bordered on the north by the United States; on the south and west by the Pacific Ocean; on the southeast by Guatemala, Belize, and the Caribbean Sea; and on the east by the Gulf of Mexico. Covering almost two million square kilometres (over 760,000 sq mi), Mexico is the fifth largest country in the Americas by total area and the thirteenth largest independent nation in the world. With an estimated population of over 112 million, it is the eleventh most populous country and the most populous Spanish-speaking country. Mexico is a federation comprising thirty-one states and a Federal District, the capital city.

In Pre-Columbian Mesoamerica many cultures matured into advanced civilizations such as the Olmec, the Toltec, the Teotihuacan, the Zapotec, the Maya and the Aztec before the first contact with Europeans. In 1521, Spain conquered and colonized the territory from its base in México-Tenochtitlan, which was administered as the Viceroyalty of New Spain. This territory would eventually become Mexico as the colony independence was recognized in 1821. The post-independence period was characterized by economic instability, the Mexican-American War and territorial cession to the United States, a civil war, two empires and a domestic dictatorship. The latter led to the Mexican Revolution in 1910, which culminated with the promulgation of the 1917 Constitution and the emergence of the country's current political system. Elections held in July 2000 marked the first time that an opposition party won the presidency from the Institutional Revolutionary Party.

Mexico is both one of the world's largest economies and a regional power, and since 1994 the first Latin American member of the Organisation for Economic Co-operation and Development (OECD), and a firmly established upper-middle income country. Mexico is considered a newly industrialized country and an emerging power. It has the thirteenth largest nominal GDP and the eleventh largest by purchasing power parity. The economy is strongly linked to those of its North American Free Trade Agreement (NAFTA) partners, especially the United States. Mexico ranks fifth in the world and first in the Americas by number of UNESCO World Heritage Sites with 31, and in 2007 was the tenth most visited country in the world with 21.4 million international arrivals.

Etymology

After New Spain won independence from Spain, it was decided that the new country would be named after its capital, Mexico City, which was founded in 1524 on top of the ancient Aztec capital of México-Tenochtitlan. The name comes from the Nahuatl language, but its meaning is not well known.

Anáhuac is the term used by the Aztecs to refer to the territory they dominated, e.g. the empire as a whole, including tributary peoples; and as such was among the terms proposed for the name of the new country prior to independence, as in, for example, Congress of Anáhuac, another name for the Congress of Chilpancingo.

Mēxihco was the Nahuatl term for the heartland of the Aztec Empire, namely, the Valley of Mexico, and its people, the Mexica, and surrounding territories which became the future State of Mexico as a division of New Spain prior to independence; compare Latium. It is generally considered to be a toponym for the valley which became the primary ethnonym for the Aztec Triple Alliance as a result, or vice versa. It has been suggested that it is derived from Mextli or Mēxihtli, a secret name for the god of war and patron of the Aztecs, Huitzilopochtli, in which case Mēxihco means "Place where Mēxihtli lives".

Another hypothesis suggests that the word Mēxihco derives from the mētztli ("moon"), xictli ("navel", "center" or "son"), and the suffix -co (place), in which case it means "Place at the center of the moon" or "Place at the center of the Lake Moon", in reference to Lake Texcoco. The system of interconnected lakes, of which Texcoco was at the center, had the form of a rabbit, the same image that the Aztecs saw in the moon. Tenochtitlan was located at the center (or navel) of the lake (or rabbit/moon). Still another hypothesis suggests that it is derived from Mēctli, the goddess of maguey.

The name of the city-state was transliterated to Spanish as México with the phonetic value of the x in Medieval Spanish, which represented the voiceless postalveolar fricative . This sound, as well as the voiced postalveolar fricative , represented by a j, evolved into a voiceless velar fricative during the sixteenth century. This led to the use of the variant Méjico in many publications in Spanish, most notably in Spain, whereas in Mexico and most other Spanish–speaking countries México was the preferred spelling. In recent years the Real Academia Española, which regulates the Spanish language, determined that both variants are acceptable in Spanish but that the normative recommended spelling is México. The majority of publications in all Spanish-speaking countries now adhere to the new norm, even though the alternative variant is still occasionally used. In English, the x in Mexico represents neither the original nor the current sound, but the consonant cluster .

The official name of the country has changed as the form of government has changed. On two occasions (1821–1823 and 1863–1867), the country was known as Imperio Mexicano (Mexican Empire). All three federal constitutions (1824, 1857 and 1917, the current constitution) used the name Estados Unidos Mexicanos—or the variants Estados Unidos mexicanos and Estados-Unidos Mexicanos, all of which have been translated as "United Mexican States". The term República Mexicana, "Mexican Republic" was used in the 1836 Constitutional Laws.

History

Ancient cultures

The earliest human remains in Mexico are chips of stone tools found near campfire remains in the Valley of Mexico and radiocarbon-dated to ca. 21,000 BCE. Around 9,000 years ago, ancient indigenous peoples domesticated corn and initiated an agricultural revolution, leading to the formation of many complex civilizations. Between 1,800 and 300 BCE, many matured into advanced pre-Columbian Mesoamerican civilizations such as: the Olmec, Izapa, Teotihuacan, Maya, Zapotec, Mixtec, Huastec, Purepecha, Totonac, Toltec and Aztec: Mexica, which flourished for nearly 4,000 years before the first contact with Europeans.

These civilizations are credited with many inventions and advancements in fields such as architecture (pyramid-temples), mathematics, astronomy, medicine and theology. The Aztecs were noted for practicing human sacrifice on a large scale. At its peak, Teotihuacan, containing some of the largest pyramidal structures built in the pre-Columbian Americas, had a population of more than 150,000 people. Estimates of the population before the Spanish conquest range from 6 million to 25 million.

At the time of Spanish contact, Teotihuacan was no longer occupied, although the site was well-known; the population of the Aztec Empire and its immediate predecessors had become centered on Lake Texcoco, also in the Valley of Mexico, where the island city of Tenochtitlan was founded in 1325.

New Spain

In the early 16th century, from the landing of Hernán Cortés, the Aztec civilization was invaded and conquered by the Spaniards. Unintentionally introduced by Spanish conquerors, smallpox ravaged Mesoamerica in the 1520s, killing millions of Aztecs, including the emperor, and was credited with the victory of Hernán Cortés over the Aztec empire. The territory became part of the Spanish Empire under the name of New Spain. Mexico City was systematically rebuilt by Cortés following the Fall of Tenochtitlan in 1521. Much of the identity, traditions and architecture of Mexico were created during the colonial period.

Independence

On September 16, 1810, independence from Spain was declared by priest Miguel Hidalgo y Costilla, in the small town of Dolores, Guanajuato. The first insurgent group was formed by Hidalgo, the Spanish viceregal army captain Ignacio Allende, the militia captain Juan Aldama and "La Corregidora" Josefa Ortiz de Domínguez. Hidalgo and some of his soldiers were captured and executed by firing squad in Chihuahua, on July 31, 1811. Following his death, the leadership was assumed by priest José María Morelos, who occupied key southern cities.

In 1813 the Congress of Chilpancingo was convened and, on November 6, signed the "Solemn Act of the Declaration of Independence of Northern America". Morelos was captured and executed on December 22, 1815. In subsequent years, the insurgency was near collapse, but in 1820 Viceroy Juan Ruiz de Apodaca sent an army under the criollo general Agustín de Iturbide against the troops of Vicente Guerrero. Instead, Iturbide approached Guerrero to join forces, and in 1821 representatives of the Spanish Crown and Iturbide signed the "Treaty of Córdoba" and the "Declaration of Independence of the Mexican Empire", which recognized the independence of Mexico under the terms of the "Plan of Iguala".

Agustín de Iturbide immediately proclaimed himself emperor of the First Mexican Empire. A revolt against him in 1823 established the United Mexican States. In 1824, a Republican Constitution was drafted and Guadalupe Victoria became the first president of the newly born country. The first decades of the post-independence period were marked by economic instability, which led to the Pastry War in 1836, and a constant strife between liberales, supporters of a federal form of government, and conservadores, proposals of a hierarchical form of government.

General Antonio López de Santa Anna, a centralist and two-time dictator, approved the Siete Leyes in 1836, a radical amendment that institutionalized the centralized form of government. When he suspended the 1824 Constitution, civil war spread across the country, and three new governments declared independence: the Republic of Texas, the Republic of the Rio Grande and the Republic of Yucatán.

Texas successfully achieved independence and was annexed by the United States. A border dispute led to the Mexican-American War, which began in 1846 and lasted for two years; the War was settled via the Treaty of Guadalupe Hidalgo, which forced Mexico to give up over half of its land to the U.S., including Alta California, New Mexico, and the disputed parts of Texas. A much smaller transfer of territory in what is today southern Arizona and southwestern New Mexico — the Gadsden Purchase — occurred in 1854. The Caste War of Yucatán, the Mayan uprising that began in 1847, was one of the most successful modern Native American revolts. Maya rebels, or Cruzob, maintained relatively independent enclaves until the 1930s.

thumb|300px|Territorial evolution of Mexico.Dissatisfaction with Santa Anna's return to power led to the liberal "Plan of Ayutla", initiating an era known as La Reforma, after which a new Constitution was drafted in 1857 that established a secular state, federalism as the form of government, and several freedoms. As the conservadores refused to recognize it, the Reform War began in 1858, during which both groups had their own governments. The war ended in 1861 with victory by the Liberals, led by Amerindian President Benito Juárez. In the 1860s Mexico underwent a military occupation by France, which established the Second Mexican Empire under the rule of Habsburg Archduke Ferdinand Maximilian of Austria with support from the Roman Catholic clergy and the conservadores, who later switched sides and joined the liberales. Maximilian surrendered, was tried on June 14 and was executed on June 19, 1867.

Porfirio Díaz, a republican general during the French intervention, ruled Mexico from 1876–1880 and then from 1884–1911 in five consecutive reelections, period known as the Porfiriato, characterized by remarkable economic achievements, investments in the arts and sciences, but also of economic inequality and political repression.

20th century to present

A likely electoral fraud that led to Diaz's fifth reelection sparked the 1910 Mexican Revolution, initially led by Francisco I. Madero.

Díaz resigned in 1911 and Madero was elected president but overthrown and murdered in a coup d'état two years later directed by conservative general Victoriano Huerta. That event re-ignited the civil war, involving figures such as Francisco Villa and Emiliano Zapata, who formed their own forces. A third force, the constitutional army led by Venustiano Carranza, managed to bring an end to the war, and radically amended the 1857 Constitution to include many of the social premises and demands of the revolutionaries into what was eventually called the 1917 Constitution. It is estimated that the war killed 900,000 of the 1910 population of 15 million.

Assassinated in 1920, Carranza was succeeded by another revolutionary hero, Álvaro Obregón, who in turn was succeeded by Plutarco Elías Calles. Obregón was reelected in 1928 but assassinated before he could assume power. In 1929, Calles founded the National Revolutionary Party (PNR), later renamed the Institutional Revolutionary Party (PRI), and started a period known as the Maximato, which ended with the election of Lázaro Cárdenas, who implemented many economic and social reforms, and most significantly expropriated the oil industry into Pemex on March 18, 1938, but sparked a diplomatic crisis with the countries whose citizens had lost businesses by Cárdenas' radical measure.

Between 1940 and 1980, Mexico experienced a substantial economic growth that some historians call the "Mexican miracle". Although the economy continued to flourish, social inequality remained a factor of discontent. Moreover, the PRI rule became increasingly authoritarian and at times oppressive (see the 1968 Tlatelolco massacre, which claimed the life of around 30–800 protesters).

Electoral reforms and high oil prices followed the administration of Luis Echeverría, mismanagement of these revenues led to inflation and exacerbated the 1982 Crisis. That year, oil prices plunged, interest rates soared, and the government defaulted on its debt. President Miguel de la Madrid resorted to currency devaluations which in turn sparked inflation.

In the 1980s the first cracks emerged in PRI's monopolistic position. In Baja California, Ernesto Ruffo Appel was elected as governor. In 1988, electoral fraud prevented leftist candidate Cuauhtémoc Cárdenas from winning the national presidential elections, giving Carlos Salinas de Gortari the Presidency and leading to massive protests in Mexico City.

Salinas embarked on a program of neoliberal reforms which fixed the exchange rate, controlled inflation and culminated with the signing of the North American Free Trade Agreement (NAFTA), which came into effect on January 1, 1994. The same day, the Zapatista Army of National Liberation (EZLN) started a two-week-long armed rebellion against the federal government, and has continued as a non-violent opposition movement against neoliberalism and globalization.

In December 1994, a month after Salinas was succeeded by Ernesto Zedillo, the Mexican economy collapsed, with a rapid rescue packaged authorized by U.S. President Bill Clinton and major macroeconomic reforms started by president Zedillo, the economy rapidly recovered and growth peaked at almost 7% by the end of 1999.

In 2000, after 71 years, the PRI lost a presidential election to Vicente Fox of the opposition National Action Party (PAN). In the 2006 presidential elections, Felipe Calderón from the PAN was declared the winner, with a very narrow margin over leftist politician Andrés Manuel López Obrador of the Party of the Democratic Revolution (PRD). López Obrador, however, contested the election and pledged to create an "alternative government".

Politics

The United Mexican States are a federation whose government is representative, democratic and republican based on a presidential system according to the 1917 Constitution. The constitution establishes three levels of government: the federal Union, the state governments and the municipal governments. According to the constitution, all constituent states of the federation must have a republican form of government composed of three branches: the executive, represented by a governor and an appointed cabinet, the legislative branch constituted by a unicameral congress and the judiciary, which will include called state Supreme Court of Justice. They also have their own civil and judicial codes.

The bicameral Congress of the Union, composed of a Senate and a Chamber of Deputies, makes federal law, declares war, imposes taxes, approves the national budget and international treaties, and ratifies diplomatic appointments. Seats to federal and state legislatures are elected by a system of parallel voting that includes plurality and proportional representation. The Chamber of Deputies of the Congress of the Union is conformed by 300 deputies elected by plurality and 200 deputies by proportional representation with closed party lists for which the country is divided into 5 electoral constituencies or circumscriptions. The Senate is conformed by a total of 128 senators: 64 senators, two for each state and two for the Federal District, elected by plurality in pairs; 32 senators assigned to the first minority or first-runner up (one for each state and one for the Federal District), and 32 are assigned by proportional representation with closed party lists for which the country conforms a single electoral constituency.

The Executive, is the President of the United Mexican States, who is the head of state and government, as well as the commander-in-chief of the Mexican military forces. The President also appoints the Cabinet and other officers. The President is responsible for executing and enforcing the law, and has the authority of vetoing bills.

The Judiciary branch of government is the Supreme Court of Justice, comprised by eleven judges appointed by the President with Senate approval, who interpret laws and judge cases of federal competency. Other institutions of the judiciary are the Electoral Tribunal, collegiate, unitary and district tribunals, and the Council of the Federal Judiciary.

Three parties have historically been the dominant parties in Mexican politics: the National Action Party: a right-wing conservative party founded in 1939 and belonging to the Christian Democrat Organization of America; the Institutional Revolutionary Party, a center-left party and member of Socialist International that was founded in 1929 to unite all the factions of the Mexican Revolution and held an almost hegemonic power in Mexican politics since then; the Party of the Democratic Revolution: a left-wing party, founded in 1989 as the successor of the coalition of socialists and liberal parties.

Foreign relations

The foreign relations of Mexico are directed by the President of Mexico and managed through the Ministry of Foreign Affairs. The principles of the foreign policy are constitutionally recognized in the Article 89, Section 10, which include: respect for international law and legal equality of states, their sovereignty and independence, non-intervention in the domestic affairs of other countries, peaceful resolution of conflicts, and promotion of collective security through active participation in international organizations. Since the 1930s, the Estrada Doctrine has served as a crucial complement to these principles.

Mexico is one of the founding members of several international organizations, most notably the United Nations, the Organization of American States, the Organization of Ibero-American States, the OPANAL and the Rio Group. In 2008, Mexico contributed over 40 million dollars to the United Nations regular budget. In addition, it has been the only Latin American member of the Organisation for Economic Co-operation and Development since it joined in 1994 though Chile is in the process of gaining full membership. Mexico is considered as a regional power hence its presence in major economic groups such as the G8+5 and the G-20. In addition, since the 1990s Mexico has sought a reform of the United Nations Security Council and its working methods with the support of Canada, Italy, Pakistan and other nine countries, which form a group informally called the Coffee Club.

After the War of Independence, the relations of Mexico were focused primarily on the United States, its northern neighbor, largest trading partner, and the most powerful actor in hemispheric and world affairs. Mexico supported the Cuban government since its establishment in the early 1960s, the Sandinista revolution in Nicaragua during the late 1970s, and leftist revolutionary groups in El Salvador during the 1980s. A greater priority to Latin America and the Caribbean has been given in the administration of President Felipe Calderón.

Military

The Mexican Armed Forces have two branches: the Mexican Army (which includes the Mexican Air Force), and the Mexican Navy. The Mexican Armed Forces maintain significant infrastructure, including facilities for design, research, and testing of weapons, vehicles, aircraft, naval vessels, defense systems and electronics; military industry manufacturing centers for building such systems, and advanced naval dockyards that build heavy military vessels and advanced missile technologies.

In recent years, Mexico has improved its training techniques, military command and information structures and has taken steps to becoming more self-reliant in supplying its military by designing as well as manufacturing its own arms, missiles, aircraft, vehicles, heavy weaponry, electronics, defense systems, armor, heavy military industrial equipment and heavy naval vessels. Since the 1990s, when the military escalated its role in the war on drugs, increasing importance has been placed on acquiring airborne surveillance platforms, aircraft, helicopters, digital war-fighting technologies, urban warfare equipment and rapid troop transport.

Mexico has the capabilities to manufacture nuclear weapons, but forwent this possibility with the Treaty of Tlatelolco in 1968 and pledged to only use its nuclear technology for peaceful purposes. In 1970 Mexico's national institute for nuclear research successfully refined weapons grade uranium which is used in the manufacture of nuclear weapons but in April 2010, Mexico agreed to turn over its weapons grade uranium to the United States.

Historically, Mexico has remained neutral in international conflicts with the exception of World War II. However, in recent years some political parties have proposed an amendment of the Constitution in order to allow the Mexican army, air force or navy to collaborate with the United Nations in peacekeeping missions, or to provide military help to countries that officially ask for it.

Administrative divisions

The United Mexican States are a federation of thirty-one free and sovereign states, which form a union that exercises a degree of jurisdiction over the Federal District and other territories.

Each state has its own constitution, congress, and a judiciary, and its citizens elect by direct voting a governor for a six-year term, and representatives to their respective unicameral state congresses for three-year terms.

The Federal District is a special political division that belongs to the federation as a whole and not to a particular state, and as such, has more limited local rule than the nation's states.

The states are divided into municipalities, the smallest administrative political entity in the country, governed by a mayor or municipal president (Presidente municipal), elected by its residents by plurality.

Geography

Mexico is located between latitudes 14° and 33°N, and longitudes 86° and 119°W in the southern portion of North America. Almost all of Mexico lies in the North American Plate, with small parts of the Baja California peninsula on the Pacific and Cocos Plates. Geophysically, some geographers include the territory east of the Isthmus of Tehuantepec (around 12% of the total) within Central America. Geopolitically, however, Mexico is entirely considered part of North America, along with Canada and the United States.

Mexico's total area is , making it the world's 14th largest country by total area, and includes approximately of islands in the Pacific Ocean (including the remote Guadalupe Island and the Revillagigedo Islands), Gulf of Mexico, Caribbean, and Gulf of California. From its farthest land points, Mexico is a little over in length.

On its north, Mexico shares a border with the United States. The meandering Río Bravo del Norte (known as the Rio Grande in the United States) defines the border from Ciudad Juárez east to the Gulf of Mexico. A series of natural and artificial markers delineate the United States-Mexican border west from Ciudad Juárez to the Pacific Ocean. On its south, Mexico shares an border with Guatemala and a border with Belize.

Mexico is crossed from north to south by two mountain ranges known as Sierra Madre Oriental and Sierra Madre Occidental, which are the extension of the Rocky Mountains from northern North America. From east to west at the center, the country is crossed by the Trans-Mexican Volcanic Belt also known as the Sierra Nevada. A fourth mountain range, the Sierra Madre del Sur, runs from Michoacán to Oaxaca.

As such, the majority of the Mexican central and northern territories are located at high altitudes, and the highest elevations are found at the Trans-Mexican Volcanic Belt: Pico de Orizaba (), Popocatepetl () and Iztaccihuatl () and the Nevado de Toluca (). Three major urban agglomerations are located in the valleys between these four elevations: Toluca, Greater Mexico City and Puebla.

Climate

The Tropic of Cancer effectively divides the country into temperate and tropical zones. Land north of the twenty-fourth parallel experiences cooler temperatures during the winter months. South of the twenty-fourth parallel, temperatures are fairly constant year round and vary solely as a function of elevation. This gives Mexico one of the world's most diverse weather systems.

Areas south of the twenty-fourth parallel with elevations up to (the southern parts of both coastal plains as well as the Yucatán Peninsula), have a yearly median temperature between . Temperatures here remain high throughout the year, with only a difference between winter and summer median temperatures. Both Mexican coasts, except for the south coast of the Bay of Campeche and northern Baja, are also vulnerable to serious hurricanes during the summer and fall. Although low-lying areas north of the twentieth-fourth parallel are hot and humid during the summer, they generally have lower yearly temperature averages (from ) because of more moderate conditions during the winter.

Many large cities in Mexico are located in the Valley of Mexico or in adjacent valleys with altitudes generally above . This gives them a year-round temperate climate with yearly temperature averages (from ) and cool nighttime temperatures throughout the year.

Many parts of Mexico, particularly the north, have a dry climate with sporadic rainfall while parts of the tropical lowlands in the south average more than of annual precipitation. For example, many cities in the north like Monterrey, Hermosillo, and Mexicali experience temperatures of or more in summer. In the Sonoran Desert temperatures reach or more.

Biodiversity

Mexico is one of the 18 megadiverse countries of the world. With over 200,000 different species, Mexico is home of 10–12% of the world's biodiversity. Mexico ranks first in biodiversity in reptiles with 707 known species, second in mammals with 438 species, fourth in amphibians with 290 species, and fourth in flora, with 26,000 different species. Mexico is also considered the second country in the world in ecosystems and fourth in overall species. Approximately 2,500 species are protected by Mexican legislations.

As of 2002, Mexico had the second fastest rate of deforestation in the world, second only to Brazil. The government has taken another initiative in the late 1990s to expand the people's knowledge, interest and use of the country's esteemed biodiversity, through the Comisión Nacional para el Conocimiento y Uso de la Biodiversidad.

In Mexico, are considered "Protected Natural Areas." These include 34 reserve biospheres (unaltered ecosystems), 64 national parks, 4 natural monuments (protected in perpetuity for their aesthetic, scientific or historical value), 26 areas of protected flora and fauna, 4 areas for natural resource protection (conservation of soil, hydrological basins and forests) and 17 sanctuaries (zones rich in diverse species).

The discovery of the Americas brought to the rest of the world many widely used food crops and edible plants. Some of Mexico's native culinary ingredients include: chocolate, avocado, tomato, maize, vanilla, guava, chayote, epazote, camote, jícama, nopal, zucchini, tejocote, huitlacoche, sapote, mamey sapote, many varieties of beans, and an even greater variety of chiles, such as the habanero and the jalapeño. Most of these names come from indigenous languages like Nahuatl.

Economy

Mexico has the 13th largest nominal GDP and the 11th largest by purchasing power parity. GDP annual average growth for the period of 1995–2002 was 5.1%. Foreign debt decreased to less than 20% of GDP. From 2000 to 2004, the population in poverty has decreased from 24.2% to 17.6% in the general population and from 42% to 27.9% in rural areas. Since the late 1990s, the majority of the population has been part of the growing middle class. The Mexican economy is expected to nearly triple by 2020. According to Goldman Sachs, by 2050 Mexico will have the 5th largest economy in the world.

According to a 2008 UN report the average income in a typical urbanized area of Mexico was $26,654, a rate higher than advanced nations like South Korea or Taiwan, while the average income in rural areas just miles away was only $8,403, a rate comparable to developing countries such as Russia or Turkey. Daily minimum wages are set annually by law and determined by zone; $57.46 Mexican pesos ($4.52 USD) in Zona A (Baja California, Federal District, State of Mexico, and large cities), $55.84 Mexican pesos ($4.39 USD) in Zone B (Sonora, Nuevo León, Tamaulipas, Veracruz, and Jalisco), and $54.47 Mexican pesos ($4.29 USD) in Zone C (all other states)

In 2006, trade with the United States and Canada accounted for almost 50% of its exports and 45% of its imports. During the first three quarters of 2010, the United States had a $46.0 billion trade deficit with Mexico. In August 2010 Mexico surpassed France to became the 9th largest holder of US debt. The commercial and financial dependence on the US is a cause for concern. The remittances from Mexican citizens working in the United States account for 0.2% of Mexico's GDP which was equal to US$20 billion dollars per year in 2004 and is the tenth largest source of foreign income after oil, industrial exports, manufactured goods, electronics, heavy industry, automobiles, construction, food, banking and financial services. According to Mexico's central bank, remittances in 2008 amounted to $25bn.

Mexico is the largest North American auto-producing nation, recently surpassing Canada and the U.S. The industry produces technologically complex components and engages in some research and development activities. The "Big Three" (General Motors, Ford and Chrysler) have been operating in Mexico since the 1930s, while Volkswagen and Nissan built their plants in the 1960s. In Puebla alone, 70 industrial part-makers cluster around Volkswagen. The relatively small domestic car industry is represented by DINA S.A., which has built buses and trucks for almost half a century, and the new Mastretta company that builds the high performance Mastretta MXT sports car.

Foreign firms such as MD Helicopters and Bombardier build helicopters and commercial jets respectively in Mexico.

A percentage of American-branded home appliances are actually of Mexican origin but sold under local brand names. As of 2008, one out of every four consumer appliances sold in the United States was of Mexican origin.

In 2010, Mexico had 86 companies in the Forbes Global 2000 list. Mexico is the first and only Latin American country to be included in the World Government Bond Index or WGBI, which list the most important global economies that circulate government debt bonds.

Major players in the broadcasting industry are Televisa, the largest Spanish media company in the Spanish-speaking world, and TV Azteca.

Tourism

Mexico is the twenty-third highest tourism spender in the world, and the highest in Latin America. The vast majority of tourists come to Mexico from the United States and Canada. Many other visitors come from Europe and Asia. A small number of tourists also come from other Latin American countries. In the 2008 Travel and Tourism Competitiveness Index, fifth among Latin American countries, and the ninth in the Americas.

Mexico City is most popular with tourists as an ancient Meso-American city and the site of many popular tourist attractions such as the Pyramid of the Sun and the Pyramid of the Moon. The city is also home to the Plaza México and to the Mexican National Palace, built on the site of Montezuma's palace, and the huge Metropolitan Cathedral, the largest in the Western Hemisphere, built over the even greater Temple of Teocalli.

Guadalajara, Jalisco, the second-largest city by population in the Republic, is home of some of Mexico's best known traditions, such as tequila, mariachi music and charros, or Mexican cowboys. Its similitude with western European countries mixed with modern architecture and infrastructure makes Guadalajara very attractive to tourists. Along with Mexico City and beach destinations (Cancún, Acapulco, etc.), Guadalajara is one of the most visited cities in Mexico. Cultural tourism is the main attraction, the city being home to a large number of museums, art galleries and theatres.

Monterrey, was founded in the late 16th century. The downtown district is the oldest section in the city, surrounded by newer neighbourhoods. The Museo de Historia Mexicana (Museum of Mexican History), MARCO (Monterrey Museum of Contemporary Art), Metropolitan Museum of Monterrey and the Museum of the Palacio de Gobierno, or State House, are some of the better known museums in the city, as well as nationally. The Santa Lucía Riverwalk is a popular tourist site, connecting the Fundidora Park with the Macroplaza, one of the largest plazas in the world.

Energy

Energy production in Mexico is managed by state-owned companies: the Federal Commission of Electricity and Pemex.

Pemex, the public company in charge of exploration, extraction, transportation and marketing of crude oil and natural gas, as well as the refining and distribution of petroleum products and petrochemicals, is one of the largest companies in the world by revenue, making US $86 billion in sales a year. Mexico is the sixth-largest oil producer in the world, with 3.7 million barrels per day. In 1980 oil exports accounted for 61.6% of total exports; by 2000 it was only 7.3%.

The largest hydro plant in Mexico is the 2,400 MW Manuel Moreno Torres Dam in Chicoasén, Chiapas, in the Grijalva River. This is the world's fourth most productive hydroelectric plant.

The country's gross solar potential is estimated at 5kWh/m2 daily, which corresponds to 50 times national electricity generation. Currently, there is over 1 million square meters of solar thermal panels installed in Mexico, while in 2005, there were 115,000 square meters of solar PV (photo-voltaic). It is expected that in 2012 there will be 1,8 million square meters of installed solar thermal panels. As of 2010, Mexico generates approximately 23% of its power from renewable resources.

Transportation

The paved-roadway network extended for in 2005; were multi-lane freeways or expressways, most of which were tollways. Nonetheless, it still cannot meet national needs adequately. Most of the domestic passenger transport needs are served by an extensive bus network.

Mexico was one of the first Latin American countries to promote railway development, and the network covers . The Secretary of Communications and Transport of Mexico is currently building a high-speed rail link that will transport its passengers from Mexico City to Guadalajara, Jalisco. The train, which travels at 300 kilometers per hour, allows passengers to travel from Mexico City to Guadalajara in just 2 hours. The whole project was projected to cost 240 billion pesos, or about 25 billion dollars and is being paid for jointly by the Mexican government and the local private sector including the wealthiest man in the world, Mexico's billionaire business tycoon Carlos Slim. The government of the state of Yucatán is also funding the construction of a high speed line connecting the cities of Cozumel to Mérida and Chichen Itza and Cancún.

In 1999, Mexico had 1,806 airports, of which 233 had paved runways; of these, 35 carry 97% of the passenger traffic. The Mexico City International Airport remains the largest in Latin America and the 44th largest in the world transporting 21 million passengers a year.

Communications

The telecommunications industry is mostly dominated by Telmex (Teléfonos de México), privatized in 1990. As of 2006, Telmex had expanded its operations to Colombia, Peru, Chile, Argentina, Brazil and Uruguay and the United States. Other players in the domestic industry are Axtel and Maxcom. Due to Mexican orography, providing landline telephone service at remote mountainous areas is expensive, and the penetration of line-phones per capita is low compared to other Latin American countries, at forty-percent, however 82% of Mexicans over the age of 14 own a mobile phone. Mobile telephony has the advantage of reaching all areas at a lower cost, and the total number of mobile lines is almost two times that of landlines, with an estimation of 63 million lines. The telecommunication industry is regulated by the government through Cofetel (Comisión Federal de Telecomunicaciones).

The Mexican satellite system is domestic and operates 120 earth stations. There is also extensive microwave radio relay network and considerable use of fiber-optic and coaxial cable. Mexican satellites are operated by Satélites Mexicanos (Satmex), a private company, leader in Latin America and servicing both North and South America. It offers broadcast, telephone and telecommunication services to 37 countries in the Americas, from Canada to Argentina. Through business partnerships Satmex provides high-speed connectivity to ISPs and Digital Broadcast Services. Satmex maintains its own satellite fleet with most of the fleet being Mexican designed and built.

Mexico has recently emerged as a major producer of communications technology. In 2008 Mexico manufactured over 130 million mobile phones making it the third largest producer of mobile phones and in 2008 Mexico surpassed China, South Korea and Taiwan to become the largest producer of smartphones in the world.

Usage of radio, television, and Internet in Mexico is prevalent. There are approximately 1,410 radio broadcast stations and 236 television stations (excluding repeaters). Major players in the broadcasting industry are Televisa—the largest Spanish media company in the Spanish-speaking world—and TV Azteca.

Science and technology

The National Autonomous University of Mexico was officially established in 1910, and the university become one of the most important institutes of higher learning in Mexico. UNAM provides world class education in science, medicine, and engineering. Many scientific institutes and new institutes of higher learning, such as National Polytechnic Institute (founded in 1936), were established during the first half of the 20th century. Most of the new research institutes were created within UNAM. Twelve institutes were integrated into UNAM from 1929 to 1973. In 1959, the Mexican Academy of Sciences was created to coordinate scientific efforts between academics.

In 1985 Rodolfo Neri Vela became the first Mexican citizen to enter space as part of the STS-61-B mission. In 1995 Mexican chemist Mario J. Molina shared the Nobel Prize in Chemistry with Paul J. Crutzen, and F. Sherwood Rowland for their work in atmospheric chemistry, particularly concerning the formation and decomposition of ozone. Molina, an alumnus of UNAM, became the first Mexican citizen to win the Nobel Prize in science.

In recent years, the biggest scientific project being developed in Mexico was the construction of the Large Millimeter Telescope (Gran Telescopio Milimétrico, GMT), the world's largest and most sensitive single-aperture telescope in its frequency range. It was designed to observe regions of space obscured by stellar dust.

A large percentage of American branded appliances are actually of Mexican design and origin but sold under local brand names. In fact as of 2008 one out of every four consumer appliances sold in the United States was of Mexican origin. According to the World Bank, production of high-technology good represented 22% of Mexico's GDP in 2000 with the high tech sector gorwing by roughly 63% yearly. Since the 1990s Mexico has produced advanced automobiles for foreign companies (mainly BMW and Mercedes-Benz), and for domestic corporations such as Mastretta.

According to a study by the Carnegie Endowment Mexico is among the developing countries well prepared for more rapid adoption of foreign technologies, largely because of relatively high levels of educational attainment and supportive infrastructure.

Based on the information managed by the Scopus, a bibliographic database for science, the Spanish web portal SCImago places Mexico in the position 18 of the country scientific ranking with 82,792 publications, and in the position 34 if considering its value of 134 for the h-index. Both positions are computed for the period 1996-2.

The electronics industry of Mexico has grown enormously within the last decade. In 2007 Mexico surpassed South Korea as the second largest manufacturer of televisions, and in 2008 Mexico surpassed China, South Korea and Taiwan to become the largest producer of smartphones in the world. There are almost half a million (451,000) students enrolled in electronics engineering programs with an additional 90,000 students graduating from electronics engineering and technical programs each year and Mexico had over half a million (580,000) certified IT professionals employed in 2007. In 2005, according to the World Bank, high-tech industrial production represented 19.6% of Mexico's economy. Mexico is also home to a large number of electronics Original design manufacturers (ODMs) and Original equipment manufacturers (OEMs), companies which manufacture or design products on behalf of another company, for example Lanix, Mexico's largest electronics company manufacturers the PlayStation 3 for Sony.

Demographics

The recently-conducted 2010 Census showed a population of 112,336,538, making it the most populous Spanish-speaking country in the world.

- Mexico is ethnically diverse, the various indigenous peoples and European immigrants are united under a single national identity. The core part of Mexican national identity is formed on the basis of a synthesis of European culture with Indigenous cultures in a process known as mestizaje, alluding to the mixed biological origins of the majority of Mexicans. Mexican politicians and reformers such as José Vasconcelos and Manuel Gamio were instrumental in building a Mexican national identity on the concept of mestizaje. The term mestizo often used in literature about Mexican social identities carries a variety of meanings containing both socio-cultural, economic, racial and biological components and for this reason it has been deemed to imprecise to be used for ethnic classification, for which reason it has been abandoned in Mexican censuses. In 2004, the Mexican government founded the National Institute of Genomic Medicine (INMEGEN) which launched the Mexican Genome Diversity Project. In May 2009, the Institute issued a report on a major genomic study of 300 mestizos in the Mexican population. Among the findings it was reported that over 80% of the population is mestizo and that the proportions of European and indigenous ancestry are approximately even. A study presented by the American Society of Human Genetics has shown (based on genes) that, on average, Mestizo Mexicans are (genetically) 58.96% European, 35.05% "Asian" (Amerindian), and 05.03% African. Sonora shows the highest European contribution (70.63%) and Guerrero the lowest (51.98%) where we also observe the highest Asian contribution (37.17%). African contribution ranges from 2.8% in Sonora to 11.13% in Veracruz. 80% of the Mexican population was classed as mestizo (defined as "being racially mixed in some degree").

The category of "indígena" (indigenous) can be defined narrowly according to linguistic criteria including only persons that speak one of Mexicos 62 indigenous languages or self-identify as having an indigenous cultural background. According with the National Commission for the Development of Indigenous Peoples as of 2005, there are 10.1 million Mexicans who speak an indigenous language and claim indigenous heritage, representing 9.8% of the total population.

The word "mestizo" is sometimes used with the meaning of a person with mixed Indigenous and European blood. This usage does not conform to the Mexican social reality where a person of pure indigenous genetic heritage would be considered Mestizo either by rejecting his indigenous culture or by not speaking an indigenous language, and a person with a very low percentage of indigenous genetic heritage would be considered fully indigenous either by speaking an indigenous language or by identifying with a particular indigenous cultural heritage.

Mexico represents the largest source of immigration to the United States. About 9% of the population born in Mexico is now living in the United States. 28.3 million Americans listed their ancestry as Mexican as of 2006. Per the 2000 U.S. Census, a plurality of 47.3% of Mexican Americans self identify as White, closely followed by Mexican Americans who self identify as "Some other race", usually Mestizo (European/Indian) with 45.5%.

Mexico is home to the largest number of U.S. citizens abroad (estimated at one million as of 1999). The Argentine community is considered to be the second largest foreign community in the country (estimated somewhere between 30,000 and 150,000). Mexico also has a large Lebanese community, now numbering around 400,000. In October 2008, Mexico agreed to deport Cubans using the country as an entry point to the US. Large numbers of Central American migrants who have crossed Guatemala's western border into Mexico are deported every year. Small numbers of illegal immigrants come from Ecuador, Cuba, China, South Africa, and Pakistan.

Languages

There is no de jure constitutional official language at the federal level in Mexico. Mexico has the largest Spanish-speaking population in the world, almost a third of all Spanish native speakers live in Mexico.

Mexico is home to a large number of indigenous languages, spoken by some 5.4% of the population - 1.2% of the population are monolingual speakers of an indigenous language. The indigenous languages with most speakers are Nahuatl, spoken by approximately 1,45 million people, Yukatek Maya spoken by some 750,000 people and the Mixtec and Zapotec languages each spoken by more than 400,000 people. The National Institute of Indigenous Languages [INALI] recognizes 68 linguistic groups and some 364 different specific varieties of indigenous languages. Since the promulgation of the Law of Indigenous Linguistic Rights in 2003, these languages have had status as national languages, with equal validity with Spanish in all the areas and contexts in which they are spoken.

In addition to the indigenous languages other minority languages are spoken by immigrant populations such as the 80,000 German-speaking Mennonites in Mexico. And the Chipilo dialect of the Venetian language spoken in Chipilo, Puebla.

Religion

{{Bar box |title=Religion in Mexico (2010 census) |titlebar=#ddd |float=right |bars= }} The 2010 census by the Instituto Nacional de Estadística y Geografía gave Roman Catholicism as the main religion, with 82.7% of the population, while 9.7% (10,924,103) belong to other Christian denominations, including Evangelicals (5.2%); Pentecostals (1.6%); other Protestant or Reformed (0.7%); Jehovah's Witnesses (1.4%); Seventh-day Adventists (0.6%); and members of The Church of Jesus Christ of Latter-day Saints (0.3%). 172,891 (or less than 0.2% of the total) belonged to other, non-Christian religions; 4.7% declared having no religion; 2.7% were unspecified.

The 92,924,489 Catholics of Mexico constitute in absolute terms the second largest Catholic community in the world, after Brazil's. 47% percent of them attend church services weekly. Most Mexican cities, towns and villages hold a yearly feast day to commemorate their local patron saints. The feast day of Our Lady of Guadalupe, the patron saint of Mexico, is celebrated on December 12 and is regarded by many Mexicans as the most important religious holiday of their country.

The 2010 census reported 314,932 members of The Church of Jesus Christ of Latter-day Saints, though the church in 2009 claimed to have over one million registered members. About 25% of registered members attend a weekly sacrament service although this can fluctuate up and down.

The presence of Jews in Mexico dates back to 1521, when Hernán Cortés conquered the Aztecs, accompanied by several Conversos. According to the 2010 census, there are 67,476 Jews in Mexico. Islam in Mexico is practiced by a small population in the city of Torreón, Coahuila, and there are an estimated 300 Muslims in the San Cristóbal de las Casas area in Chiapas. In the 2010 census 18,185 Mexicans reported belonging to an Eastern religion, a category which includes a tiny Buddhist population.

Metropolitan areas

Metropolitan areas in Mexico have been traditionally defined as the group of municipalities that heavily interact with each other, usually around a core city. In 2004, a joint effort between CONAPO, INEGI and the Ministry of Social Development (SEDESOL) agreed to define metropolitan areas as either:

the group of two or more municipalities in which a city with a population of at least 50,000 is located whose urban area extends over the limit of the municipality that originally contained the core city incorporating either physically or under its area of direct influence other adjacent predominantly urban municipalities all of which have a high degree of social and economic integration or are relevant for urban politics and administration; or

a single municipality in which a city of a population of at least one million is located and fully contained, (that is, it does not transcend the limits of a single municipality); or

a city with a population of at least 250,000 which forms a conurbation with other cities in the United States.

Culture

Mexican culture reflects the complexity of the country's history through the blending of indigenous cultures and the culture of Spain, imparted during Spain's 300-year colonization of Mexico. Exogenous cultural elements mainly from the United States have been incorporated into Mexican culture.

The Porfirian era (el Porfiriato), in the last quarter of the 19th century and the first decade of the 20th century, was marked by economic progress and peace. After four decades of civil unrest and war, Mexico saw the development of philosophy and the arts, promoted by President Díaz himself. Since that time, as accentuated during the Mexican Revolution, cultural identity has had its foundation in the mestizaje, of which the indigenous (i.e. Amerindian) element is the core. In light of the various ethnicities that formed the Mexican people, José Vasconcelos in his publication La Raza Cósmica (The Cosmic Race) (1925) defined Mexico to be the melting pot of all races (thus extending the definition of the mestizo) not only biologically but culturally as well. This exalting of mestizaje was a revolutionary idea that sharply contrasted with the idea of a superior pure race prevalent in Europe at the time.

Literature

The literature of Mexico has its antecedents in the literatures of the indigenous settlements of Mesoamerica. The most well known prehispanic poet is Nezahualcoyotl. Modern Mexican literature was influenced by the concepts of the Spanish colonialization of Mesoamerica. Outstanding colonial writers and poets include Juan Ruiz de Alarcón and Juana Inés de la Cruz.

In light of the various ethnicities that formed the Mexican people, José Vasconcelos in his publication La Raza Cósmica (The Cosmic Race) (1925) defined Mexico to be the melting pot of all races, biologically as well as culturally.

Other writers include Alfonso Reyes, José Joaquín Fernández de Lizardi, Ignacio Manuel Altamirano, Carlos Fuentes, Octavio Paz (Nobel Laureate), Renato Leduc, Carlos Monsiváis, Elena Poniatowska, Mariano Azuela ("Los de abajo") and Juan Rulfo ("Pedro Páramo"). Bruno Traven wrote "Canasta de cuentos mexicanos", "El tesoro de la Sierra Madre."

Visual arts

Post-revolutionary art in Mexico had its expression in the works of renowned artists such as Frida Kahlo, Diego Rivera, José Clemente Orozco, Rufino Tamayo, Federico Cantú Garza, David Alfaro Siqueiros and Juan O'Gorman. Diego Rivera, the most well-known figure of Mexican muralism, painted the Man at the Crossroads at the Rockefeller Center in New York City, a huge mural that was destroyed the next year due to the inclusion of a portrait of Russian communist leader Lenin. Some of Rivera's murals are displayed at the Mexican National Palace and the Palace of Fine Arts.

Mesoamerican architecture is mostly noted for its pyramids which are the largest such structures outside of Ancient Egypt. Spanish Colonial architecture is marked by the contrast between the simple, solid construction demanded by the new environment and the Baroque ornamentation exported from Spain. Mexico, as the center of New Spain has some of the most renowned buildings built in this style.

Cinema and media

Mexican films from the Golden Age in the 1940s and 1950s are the greatest examples of Latin American cinema, with a huge industry comparable to the Hollywood of those years. Mexican films were exported and exhibited in all of Latin America and Europe. Maria Candelaria (1944) by Emilio Fernández, was one of the first films awarded a Palme d'Or at the Cannes Film Festival in 1946, the first time the event was held after World War II. The famous Spanish-born director Luis Buñuel realized in Mexico, between 1947 to 1965 some of him master pieces like Los Olvidados (1949), Viridiana (1961) and El angel exterminador (1963). Famous actors and actresses from this period include María Félix, Pedro Infante, Dolores del Río, Jorge Negrete and the comedian Cantinflas.

More recently, films such as Como agua para chocolate (1992), Cronos (1993), Amores perros (2000), Y tu mamá también (2001), El crimen del Padre Amaro (The Crime of Father Amaro) (2002), Pan's Labyrinth (2006) and Babel (2006) have been successful in creating universal stories about contemporary subjects, and were internationally recognised, as in the prestigious Cannes Film Festival. Mexican directors Alejandro González Iñárritu (Amores perros, Babel), Alfonso Cuarón (Children of Men, Harry Potter and the Prisoner of Azkaban), Guillermo del Toro, Carlos Carrera (The Crime of Father Amaro), and screenwriter Guillermo Arriaga are some of the most known present-day film makers.

Two of the major television networks based in Mexico are Televisa and TV Azteca. Televisa is also the largest producer of Spanish-language content in the world and also the world's largest Spanish-language media network. Grupo Multimedios is another media conglomerate with Spanish-language broadcasting in Mexico, Spain, and the United States. Soap operas (telenovelas) are translated to many languages and seen all over the world with renowned names like Verónica Castro, Lucía Méndez, Lucero, and Thalía.

Music

Mexican society enjoys a vast array of music genres, showing the diversity of Mexican culture. Traditional music includes Mariachi, Banda, Norteño, Ranchera and Corridos; on an every-day basis most Mexicans listen to contemporary music such as pop, rock, etc. in both English and Spanish. Mexico has the largest media industry in Latin America, producing Mexican artists who are famous in Central and South America and parts of Europe, especially Spain. Some well-known Mexican singers are Thalía, Luis Miguel, Alejandro Fernández, Julieta Venegas and Paulina Rubio. Mexican singers of traditional music are: Lila Downs, Susana Harp, Jaramar, GEO Meneses and Alejandra Robles. Popular groups are Café Tacuba, Molotov and Maná, among others. Since the early 2000s Mexican rock has seen widespread growth both domesticly and internationally.

According to the Sistema Nacional de Fomento Musical, there are between 120 and 140 youth orchestras affiliated to this federal agency from all federal states. Some states, through their state agencies in charge of culture and the arts—Ministry or Secretary or Institute or Council of Culture, in some cases Secretary of Education or the State University—sponsor the activities of a professional Symphony Orchestra or Philharmonic Orchestra so all citizens can have access to this artistic expression from the field of classical music. Mexico City is the most intense hub of this activity hosting 12 professional orchestras sponsored by different agencies such as the National Intitute of Fine Arts, the Secretary of Culture of the Federal District, The National University, the National Polytechnic Institute, a Delegación Política (Coyoacán) and very few are a kind of private ventures.

Cuisine

Mexican cuisine is known for its intense and varied flavors, colorful decoration, and variety of spices. Most of today's Mexican food is based on pre-Columbian traditions, including the Aztecs and Maya, combined with culinary trends introduced by Spanish colonists.

The conquistadores eventually combined their imported diet of rice, beef, pork, chicken, wine, garlic and onions with the native pre-Columbian food, including maize, tomato, vanilla, avocado, papaya, pineapple, chili pepper, beans, squash, sweet potato, peanut and turkey.

Mexican food varies by region, because of local climate and geography and ethnic differences among the indigenous inhabitants and because these different populations were influenced by the Spaniards in varying degrees. The north of Mexico is known for its beef, goat and ostrich production and meat dishes, in particular the well-known Arrachera cut.

Central Mexico's cuisine is largely made up of influences from the rest of the country, but also has its authentics, such as barbacoa, pozole, menudo, tamales, and carnitas.

Southeastern Mexico, on the other hand, is known for its spicy vegetable and chicken-based dishes. The cuisine of Southeastern Mexico also has quite a bit of Caribbean influence, given its geographical location. Seafood is commonly prepared in the states that border the Pacific Ocean or the Gulf of Mexico, the latter having a famous reputation for its fish dishes, à la veracruzana.

In modern times, other cuisines of the world have become very popular in Mexico, thus adopting a Mexican fusion. For example, sushi in Mexico is often made with a variety of sauces based on mango or tamarind, and very often served with serrano-chili-blended soy sauce, or complemented with vinegar, habanero and chipotle peppers

The most internationally recognized dishes include chocolate, tacos, quesadillas, enchiladas, burritos, tamales and mole among others. Regional dishes include mole poblano, chiles en nogada and chalupas from Puebla; cabrito and machaca from Monterrey, cochinita pibil from Yucatán, Tlayudas from Oaxaca, as well as barbacoa, chilaquiles, milanesas, and many others.

Sports

Mexico City hosted the XIX Olympic Games in 1968, making it the first Latin American city to do so. The country has also hosted the FIFA World Cup twice, in 1970 and 1986.

Mexico's most popular sport is association football (soccer). It is commonly believed that Football was introduced in Mexico by Cornish miners at the end of the 19th century. By 1902 a five-team league had emerged with a strong British influence. Mexico's top clubs are Guadalajara with 11 championships, América with 10 and Toluca with 9. Antonio Carbajal was the first player to appear in five World Cups, and Hugo Sánchez was named best CONCACAF player of the 20th century by IFFHS.

Baseball has traditionally been more popular than soccer in some regions. The Mexican professional league is named the Liga Mexicana de Beisbol. While usually not as strong as the United States, the Caribbean countries and Japan, Mexico has nonetheless achieved several international baseball titles. Mexico has had several players signed by Major League teams, the most famous of them being Dodgers pitcher Fernando Valenzuela.

Bullfighting is a popular sport in the country, and almost all large cities have bullrings. Plaza México in Mexico City, is the largest bullring in the world, which seats 55,000 people. Professional wrestling (or Lucha libre in Spanish) is a major crowd draw with national promotions such as AAA, LLL, CMLL and others.

Mexico is an international power in professional boxing (at the amateur level, several Olympic boxing medals have also been won by Mexico). Vicente Saldivar, Rubén Olivares, Salvador Sánchez, Julio César Chávez, Ricardo Lopez and Erik Morales are but a few Mexican fighters who have been ranked among the best of all time.

Notable Mexican athletes include golfer Lorena Ochoa, who is currently ranked first in the LPGA world rankings, Ana Guevara, former world champion of the and Olympic subchampion in Athens 2004, and Fernando Platas, a numerous Olympic medal winning diver.

Health care

Since the early 1990s, Mexico entered a transitional stage in the health of its population and some indicators such as mortality patterns are identical to those found in highly developed countries like Germany or Japan. Although all Mexicans are entitled to receive medical care by the state, 50.3 million Mexicans had no medical insurance as of 2002. Efforts to increase the number of people are being made, and the current administration intends to achieve universal health care by 2011.

Mexico's medical infrastructure is highly rated for the most part and is usually excellent in major cities, but rural communities still lack equipment for advanced medical procedures, forcing patients in those locations to travel to the closest urban areas to get specialized medical care.

State-funded institutions such as Mexican Social Security Institute (IMSS) and the Institute for Social Security and Services for State Workers (ISSSTE) play a major role in health and social security. Private health services are also very important and account for 13% of all medical units in the country.

Medical training is done mostly at public universities with much specializations done in vocational or internship settings. Some public universities in Mexico, such as the University of Guadalajara, have signed agreements with the U.S. to receive and train American students in Medicine. Health care costs in private institutions and prescription drugs in Mexico are on average lower than that of its North American economic partners.

Education

Mexico has one of the oldest traditions of education in the world with the Aztec empire being the first recorded civilization requiring mandatory universal education for all citizens. The Aztec system had been destroyed by the Spanish who then replaced it with the European based system of their own.

Mexico has one of the highest student-to-teaching staff ratio in the world with 26 students per teacher nationwide, when all levels from pre-kindergarten through post secondary education are included. According to the OCED, compared to students from the worlds thirty most developed nations, Mexican students came in fourth in problem solving, third in science and technology and eighth in mathematics. In 2004, the literacy rate was at 97% for youth under the age of 14 and 91% for people over 15, placing Mexico at the 24th place in the world rank accordingly to UNESCO.

The National Autonomous University of Mexico ranks 15th place in the Top 200 World University Ranking published by The Times Higher Education Supplement in 2008. One of the most prestigious private universities is Monterrey Institute of Technology and Higher Education (ITESM). It was ranked by the Wall Street Journal as the 7th top International School worldwide.

Law enforcement

Public security is enacted at the three levels of government, each of which has different prerogatives and responsibilities. Local and state police department are primarily in charge of law enforcement, whereas the Mexican Federal Police is in charge of specialized duties. All levels report to the Secretaría de Seguridad Pública (Secretary of Public Security). The General Attorney's Office (Procuraduría General de la República, PGR) is the executive power's agency in charge of investigating and prosecuting crimes at the federal level, mainly those related to drug and arms trafficking, espionage, and bank robberies. The PGR operates the Federal Investigations Agency (Agencia Federal de Investigación, AFI) an investigative and preventive agency.

While the government respects the human rights of most citizens, serious abuses of power have been reported in security operations in indigenous communities and poor urban neighborhoods. The National Human Rights Commission has had little impact in reversing this trend, engaging mostly in documentation but failing to use its powers to issue public condemnations to the officials who ignore its recommendations. By law, all defendants have the rights that assure them fair trials and human treatment; however, the system is overburdened and overwhelmed with several problems.

Despite the efforts of the authorities to fight crime and fraud, few Mexicans have strong confidence in the police or the judicial system, and therefore, few crimes are actually reported by the citizens. The Global Integrity Index which measures the existence and effectiveness of national anti-corruption mechanisms rated Mexico 31st behind Kenya, Thailand, and Russia. In 2008, president Calderón proposed a major reform of the judicial system, which was approved by the Congress of the Union, which included oral trials, the presumption of innocence for defendants, the authority of local police to investigate crime—until then a prerogative of special police units—and several other changes intended to speed up trials.

Crime

Total crimes per capita average 12 per 1,000 people in Mexico, ranking 39th in a survey of 60 countries. As of 2009 Mexico's homicide rate varied from 10~14 per 100,000 inhabitants; the world average is 10.9 per 100,000 inhabitants. Drug-traffic and narco-related activities are a major concern in Mexico.

Current president Felipe Calderón made abating drug-trafficking one of the top priorities of his administration. In a very controversial move, Calderón deployed military personnel to cities where drug cartels operate. While this move has been criticized by the opposition parties and the National Human Rights Commission, its effects have been praised by the Bureau for International Narcotics and Law Enforcement Affairs as having obtained "unprecedented results..." with "many important successes". Since President Felipe Calderón launched a crackdown against cartels in 2006 more than 28,000 alleged criminals have been killed. Of the total drug-related violence only 4% are innocent people, mostly by-passers and people trapped in between shootings; 90% accounts for criminals and 6% for military personnel and police officers. In October 2007, the president Calderón and US president George W. Bush announced the Mérida Initiative a historic plan of law enforcement cooperation between the two countries.

See also

International rankings of Mexico

List of Mexicans

State governments of Mexico

References

Bibliography

External links

Category:Countries bordering the Atlantic Ocean Category:Countries bordering the Pacific Ocean Category:Federal countries Category:Former Spanish colonies Category:G15 nations Category:G20 nations Category:Member states of the United Nations Category:Nahuatl words and phrases Category:North American countries Category:Spanish-speaking countries Category:States and territories established in 1813

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The history of Mexican cinema goes back to the ending of the 19th century and the beginning of the 20th, when several enthusiasts of the new medium documented historical events – most particularly the Mexican Revolution – and produced some movies that have only recently been rediscovered. During the Golden Age of the Mexican film industry, Mexico all but dominated the Latin American film industry. The Guadalajara Film Festival is the most prestigious Latin American film festival and is held annually In Guadalajara,Mexico. Mexico has twice won the highest honor in the Palme d'Or, having won the Grand Prix for Maria Candelaria in 1946 and the Palme d'Or in 1961 for Viridiana, more than any other Latin American nation.

Silent films (1896-1929)

The "silent film" industry in Mexico produced several movies; however, many of the films up to the 1920s have been lost and were not well documented. The first "moving picture", according to sources by film historian Jim Mora, was viewed in 1895 using Thomas Edison's kinetoscope. A year later, the cinematographe projector was introduced by Auguste Lumière. Mexico's first queues appeared in cinemas in the capital to see international one-minute films such as The Card Players, Arrival of a Train, and The Magic Hat.

The origins of early filmmaking is generally associated with Salvador Toscano Barragán. Toscano compiled the country's first fictional film, titled Don Juan Tenorio. During the Mexican Revolution, Toscano recorded several clips of the battles, which would become a full-length documentary in 1950, assembled by his daughter. Other short films were either created or influenced from French film-makers.

By 1906, 16 movie salons opened their doors to accommodate the popularity of cinema in Mexico City. Carpas, or tent shows, were popular beginning in 1911 where lower-class citizens would perform picaresque humor and theatrical plays, a place for training for aspiring actors. Politically affiliated films appearing in 1908, often deemed propagandistic by today's terms. Significant battles were filmed and broadcast during the Revolution which fueled Mexicans' excitement in cinema.

The popularity that cinema had experienced in the early 1900s continued to grow and by 1911 fourteen movie houses were erected from the year prior. It was during this period that the documentary techniques were mastered as is evident in the Alva brother's production entitled Revolución orozquista (1912). The film was shot in the camps of the rebel and federal forces during the battle between General Huerta and the leader Pascual Orozco.

However, despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of Madero led to his campaign to save the lower classes from immorality through censorship. Hence, in late September and early October 1911, city council members appointed additional movie house inspectors, whose wages would be paid by the exhibitioners. Furthermore, the head of the Entertainment Commission, proposed the implementation of censorship; however, Victoriano Huerta's coup d'état in February 1913, prevented the move to legislate censorship.

Although Huerta's reign was brief, the cinema experienced significant changes within this period such as the further establishment of censorship and a shift away from documentary films to entertainment films. The Alva brothers' production of Aniversario del fallecimineto de la suegra de Enhart is indicative of the change in the aim of Mexican cinematographers.

In regards to censorship, the Huerta government imposed a moral and political decree of censorship in approximately June 1913. This decree was imposed a few days after convencionista soldiers shot at the screen during a viewing of El aguila y la serpiente. The decree stated that films that showed the following were prohibited: "views representing crimes, if they do not include punishment of the guilty parties, views which directly or indirectly insult an authority or person, morality or good manners, provoke a crime or offence, or in any way disturb the public order (Mora 70)." As a result of the limitations placed on film content as well as the radicalization of the parties involved in the armed conflicts, cameramen and producers began to display their opinion through the films they produced. For instance, favoritism towards the Zapatistas was illustrated in the film Sangre Hermana (Sister Blood, 1914). Due to the sensational content of this film, it is evident that the producers had no interest in displaying the events in such a way that the audience could come to their own conclusions.

The cinematic productions of this period were reflective of the Italians style film d'art, which were fiction-based melodramas. The film La Luz (The Light, Ezequiel Carrasco, 1917) was the first film that attempted to adopt this style, even though it was viewed as a plagiarism of Piero Fosco's Il Fuoco. Paranaguá attributes the influence that the Italian had on the Mexican cinema with the similarities between the situations of both countries. Both countries were in a state of chaos and disorder- there was a war in Italy and a revolution in Mexico (Paranaguá 70). Once again censorship was re-established on October 1, 1919. Films, which illustrated acts of immortality or induced sympathy for the criminal, were prohibited.

In 1917, the former vaudeville star Mimí Derba, founded the Azteca Studios, that realized notable films among 1917 and 1923. The most successful of these films was En defensa Propia (1921).

Government budget had to be trimmed as a result of the rebellion and cinematographic departments of the Ministry of Education and Agriculture were cut. By 1924, narrative films were at an all time low since 1917.

During the 1920s very few movies were produced, given the political climate that was still very unsettled and the resurgence of the American film industry.

Notable Mexican movie stars moved to the United States. Stars like Ramón Novarro, Dolores del Río and Lupe Vélez, became a principal stars of notable Hollywood films in the 1920s and 1930s. Other stars realized numerous movies in the Spanish versions of Hollywood movies.

The "Golden Age"

In the 1930s, once peace and a degree of political stability were achieved, the film industry took off in Mexico and several movies still experimenting with the new medium were done. Hollywood's attempt at creating Spanish language films for Latin America failed mainly due to the combination of Hispanic actors from different ethnicities exhibiting various accents unfamiliar to the Mexican people. It is important to notice how early Mexican cinematographers were influenced and encouraged by Soviet director Sergei Eisenstein's visit to the country in 1930.

In 1931 realized the first Mexican talkie movie, an adaptation of the Federico Gamboa's novel Santa, directed by Antonio Moreno and starred by the Mexican-Hollywood star Lupita Tovar. During the 1930s the Mexican film industry realized considerable success movies like La Mujer del Puerto (1934), Fred Zinnemann's Redes (1934), Janitzio (1934), Dos Monjes (1934), Allá en el Rancho Grande (1936), Vámonos con Pancho Villa (1936) and ''La Zandunga.

During the 1940s the full potential of the industry developed. Actors and directors became popular icons and even figures with political influence on diverse spheres of Mexican life. The industry received a boost as a consequence of Hollywood redirecting its efforts towards propagandistic films and European countries focusing on the war, which left an open field for other industries. Mexico dominated the film market in Latin America for most of the 1940s without competition from the United States film industry.

The Golden Age of Mexican cinema took place during the 1940s and beyond. The most prominent actor during this period was Mario Moreno Cantinflas. The film Ahí está el detalle in 1940 made Cantinflas a household name and became known as the "Mexican Charlie Chaplin" . His films were ubiquitous in Spain and Latin America and influenced many contemporary actors. Not until the appearance of "Tin-Tan" in the late 1940s did his popularity wane.

Mexican actresses also were a focus in Mexican cinema. Sara García was the "grandmother of Mexico". Her career began with silent films in 1910, moved to theatre, and ultimately the film that made her famous, No basta ser madre (It's Not Enough to be a Mother) in 1937. Dolores del Río, another dramatic actress, became well known after her Hollywood career in the 1930s and for her roles in a couple films directed by Emilio Fernández. María Félix (well known as "La Doña", was a big star after her role in the movie Doña Barbara in 1943. She gained a higher popularity in European countries.

In 1943, the Mexican industry produced seventy films, the most for a Spanish speaking country. Two notable films released in 1943 by director Emilio Fernández were Flor silvestre (1942) and Maria Candelaria, both films starring Dolores del Río. The movies were triumphs for the director and for internationally acclaimed cinematographer, Gabriel Figueroa especially with Maria Candelaria winning the top prize at the Cannes Festival. Other celebrated Fernandez films were La perla (1945), Enamorada (1946), the Mexican-American production The Fugitive (1947, directed with John Ford), Río Escondido (1947), La Malquerida (1949) and Pueblerina (1949).

In 1948 there was another "first" for Mexican cinema: The trilogy of Nosotros los pobres, Ustedes los ricos and Pepe el Toro, starring Mexican icons Pedro Infante and Evita Muñoz "Chachita" and directed by Ismael Rodríguez.

The only other comedian with the same level of popularity as Cantinflas was German Valdez "Tin-Tan". Tin-Tan played a pachuco character appearing with a zoot suit in his films. Unlike Cantinflas, Tin-Tan never played as a pelado, but as a Mexican-American. He employed pachuco slang in many of his movies and made famous spanglish, a dialect that many Mexican residents disdained.

In the middle of the 1940s, the Spanish director Juan Orol started the production of films with Cuban and Mexican dancers. This cinematographic genre was named "Rumberas film", and was very popular with the Latin America audiences. The stars of this exotic genre were Maria Antonieta Pons, Meche Barba, Ninón Sevilla, Amalia Aguilar and Rosa Carmina.

Other relevant films during these years include Espaldas mojadas (Wetbacks) by Alejandro Galindo, Aventurera a melodrama starred by Ninón Sevilla, Dos tipos de cuidado (1951), El Rebozo de Soledad (1952) and Los olvidados (The Young and the Damned) (1950), a story about impoverished children in Mexico City directed by the Mexican of Spanish ascendent director Luis Buñuel, a very important figure in the course of the Mexican Cinema of the 1940s and 1950s. Some of the most important Buñuel's films in his Mexican period are Subida al cielo (1952), Él (1953), Ensayo de un crimen (1955) and Nazarín (1958).

The themes during those years, although mostly conventional comedies or dramas, touched all aspects of Mexican society, from the 19th century dictator Porfirio Díaz and his court, to love stories always tainted by drama.

1960s through 1980s

During the 1960s and 1970s many cult horror and action movies were produced with professional wrestler El Santo among others. Luis Buñuel released his last Mexican films: El ángel exterminador (1962) and Simón del desierto (1965).

In the late 1960s and early 1970s flourished the work of notable Mexican young directors: Arturo Ripstein (El castillo de la pureza-1972; El lugar sin límites-1977), Luis Alcoriza (Tarahumara-1965; Fé, Esperanza y Caridad-1973), Felipe Cazals (Las poquianchis-1976-; El Apando -1976-), Jorge Fons (los cachorros -1973-; Rojo Amanecer -1989-), Paul Leduc ( Reed, Mexico insurgente -1972-; Frida, Naturaleza Viva ), Alejandro Jodorowski ( El topo -1972- ; Santa Sangre -1989-), the Chilean Miguel Littin (Letters from Marusia -1976-), Jaime Humberto Hermosillo (La pasión según Berenice-1972-; Doña Herlinda y su hijo -1984-) and many others. His films represented to Mexico in notable international film festivals. American directors as John Huston realized some Mexican-English language films (Under the Volcano -1984-).

Nuevo Cine Mexicano

The period spanning the 1990s to the present has been considered as the Era of the Nuevo Cine Mexicano (New Mexican Cinema). It first took place with high quality films by Arturo Ripstein, Alfonso Arau, Alfonso Cuarón and María Novaro. Among the films produced at this time were Solo con tu pareja (1991), Como agua para chocolate (Like Water for Chocolate) (1992), Cronos (1992), El callejón de los milagros (1995), Profundo carmesí (1996), Sexo, pudor y lágrimas (Sex, Shame, and Tears) (1999) and others.

The latest are Amores perros by Alejandro González Iñárritu, (with a notable international success), Y tu mamá también by Alfonso Cuarón, El crimen del Padre Amaro by Carlos Carrera, Arráncame la vida by Roberto Sneider and Biutiful (2010), also directed by Iñarritu.

Notable Mexicans in the American film industry

Ramón Novarro

Ramón Novarro achieved fame as a "Latin lover" in silent films. His friends, the actor and director Rex Ingram and his wife, the actress Alice Terry, began to promote him as a rival to Rudolph Valentino. From 1923, he began to play more prominent roles. His role in Scaramouche (1923), brought him his first major success. In 1925, he achieved his greatest success in Ben-Hur. With Valentino's death in 1926, he became the screen's leading Latin actor. He was popular as a swashbuckler in action roles, and was also considered one of the great romantic lead actors of his day.

Dolores del Río

Dolores del Río was a movie star in Hollywood films during the silent era . She became one of the most important actress in Mexican films during the "Epoca de Oro". One of the most beautiful women of her era. Dolores del Río was the first Mexican and Latin American movie star with international appeal and she made a career in the 1920s and 1930s Hollywood. Starring in films like Resurrection (1927), Ramona (1928), Evangeline (1929), the King Vidor's Bird of Paradise (1932), Journey into Fear directed by Orson Welles in 1942, Flaming Star (1960) with Elvis Presley and in the John Ford movies The Fugitive in 1947 and Cheyenne Autumn in 1964.

Lupe Vélez

Lupe Vélez was star in Hollywood during the late 1920s and 1930s. She took dancing lessons and in 1924, made her performing debut at the Teatro Principal. She moved to California that year and was first cast in movies by Hal Roach. After her debut in the movie El Gaucho (1927), she started an important career in Hollywood. Within a few years Vélez found her niche in comedies, playing beautiful but volatile foils to comedy stars. Her slapstick battle with Laurel and Hardy in Hollywood Party and her dynamic presence opposite Leon Errol in Mexican Spitfire are typically enthusiastic Vélez performances.

Gilbert Roland

Gilbert Roland's first major role was as one of Clara Bow's love interests in the collegiate comedy The Plastic Age (1925). In 1927, he played Armand in Camille opposite Norma Talmadge, with whom he was romantically linked. Roland's strong masculine voice assured that his own career continued. He starred in several Spanish language adaptations of American films and continued as a romantic lead. Beginning in the 1940s, critics began to take notice of his acting and he was praised for his supporting roles in John Huston's We Were Strangers (1949), The Bad and the Beautiful (1952) and Cheyenne Autumn (1964).

Pedro Armendáriz

Pedro Armendáriz obtained his first role in a movie at the age of 22 and after that he made many films in Mexico, the United States, France, Italy and England. Under the direction of Emilio Fernandez, and with Dolores del Río, represented to the Mexican Cinema in all the world. Armendáriz's last appearance was in the second James Bond film, From Russia with Love (1963) as Bond's ally, Kerim Bey.

Katy Jurado

Katy Jurado began acting in Mexican films starting in 1943, with the movie No matarás. In 1948, her performance in Nosotros Los Pobres, opposite the well-known Mexican actor Pedro Infante, brought her fame. In 1952, she appeared in High Noon, earning a Golden Globe for Best Supporting Actress. During the fifties, she participated in several Hollywood productions such as Arrowhead, Broken Lance (for which she received an Academy Award nomination), Trapeze, One-Eyed Jacks, Barabbas, Stay Away, Joe (opposite Elvis Presley), Pat Garrett and Billy the Kid, and others.

Lupe Mayorga

Lupe Reyes Mayorga immigrated to the United States and became an American citizen in 1925. She married her Bronx, New York husband classical guitarist Franciso Mayorga the same year. During the period from 1938 to 1957 she appeared in over thirty-one movies and television shows including 'People Are Funny, Forever Amber, Anna And The King Of Siam' to name just a few. In the 1940s, she and her husband settled into the quiet country life of Madera, California where she took a job as a welfare worker with the State of California to augment the family income. She continued to commute to Hollywood to make films but preferred the small town life. In the fall of 1944, she broke all racial taboos by adopting an eight year old caucasian boy who had been abandoned by his own mother. Her adopted son Bill Aken went on to become a Hall Of Fame guitarist, composer, and arranger. She continued in films until 1957 when she retired and in 1968 moved back to her beloved Mexico, where she passed away in 1982 in Guadalajara.

Anthony Quinn

Anthony Quinn starred in numerous critically acclaimed and commercially successful films, including Zorba the Greek, Lawrence of Arabia, The Guns of Navarone, The Message and Federico Fellini's La strada. He won the Academy Award for Best Supporting Actor twice; for Viva Zapata! in 1952 and Lust for Life in 1956.

Ricardo Montalbán

Ricardo Montalbán had a career spanning seven decades (motion pictures from 1943 to 2006) and multiple notable roles. During the mid-to-late 1970s, he was the spokesperson in automobile advertisements for the Chrysler Cordoba (in which he famously extolled the "soft Corinthian leather" used for its interior). From 1977 to 1984 he starred as Mr. Roarke in the television series Fantasy Island. He also played Khan Noonien Singh in both the 1967 episode "Space Seed" of the first season of the original Star Trek series, and the 1982 film Star Trek II: The Wrath of Khan. He won an Emmy Award in 1978, and a Lifetime Achievement Award from the Screen Actors Guild in 1993. Into his 80s, he continued to perform, often providing voices for animated films and commercials.

Gabriel Figueroa

Cinematographer Gabriel Figueroa made his entry in the movie industry in 1932 as a photographer of stills for the film Revolución of Miguel Contreras Torres. He was later one of the 20 cinematographers hired for the Howard Hawks film Viva Villa!. After a few jobs he obtained a scholarship to study in the United States where he was taught by Gregg Toland his own style of lighting techniques. He filmed more than 200 movies, including Los Olvidados (directed by Luis Buñuel), John Ford's The Fugitive and The Night of the Iguana (directed by John Huston).

Gael García Bernal

Most recently, several Mexican movies starring Gael García Bernal have enjoyed great popularity, including Amores perros (2000), Y tu mamá también (2001), the polemical El crimen del Padre Amaro (The Crime of Father Amaro) (2002), and the Latin American film, The Motorcycle Diaries (2004). He has worked more in Europe than he has in Hollywood. He has starred in La Mala Educación (Bad Education) (2004), directed by Pedro Almodóvar, The King (2005), The Science of Sleep (2006) and Babel (2006). He is post-producing his first feature as a director, Déficit.

Salma Hayek

Salma Hayek started her career in Mexican telenovelas. Her first film, El callejón de los milagros (Miracle Alley, 1994) put her in the spotlight and, next year she was starring in Desperado alongside Antonio Banderas. She has worked several times with Robert Rodriguez, including From Dusk Till Dawn (1996) and Once Upon a Time in Mexico (2003). She has worked in more than 30 films, including 54 (1998), El Coronel No Tiene Quien le Escriba (No One Writes to the Colonel, 1999), Wild Wild West (1999), Traffic (2000), Frida (2002), for which she earned an Academy Award nomination, Ask the Dust (2006) and Bandidas (2006). In 2003 she directed The Maldonado Miracle, a Showtime movie.

Alfonso Cuarón

Film director Alfonso Cuarón has been noted for both his Mexican and American films. His works include the Mexican films Sólo con tu pareja (1991), his feature debut, and the critically acclaimed, Academy Award-nominated film Y tu mamá también, as well as A little princess (1995), the Charles Dickens contemporary adaptation Great expectations (1998), Harry Potter and the Prisoner of Azkaban (2004) and, most recently, highly acclaimed dystopian thriller Children of Men (2006).

Guillermo del Toro

Film director Guillermo del Toro directed his film debut Cronos in 1993. He has directed Mimic (1997), El espinazo del Diablo (The Devil's Backbone) (2001), Blade II (2002), Hellboy (2004), and Hellboy 2 all within the same fantastic/horror treatment. His film, El Laberinto del Fauno (Pan's Labyrinth) (2006) was critically acclaimed and was nominated for an Academy Award in the Best Foreign Language Film category.

Rodrigo Prieto

Cinematographer Rodrigo Prieto started his career with small Mexican short and feature length films. His big break came with his work in Amores Perros, in which he captures the dramatic urbanity of Mexico City. This work impressed Curtis Hanson, who asked him to shoot 8 Mile. He has worked with very renowned directors like Spike Lee (25th Hour), Oliver Stone (the documentaries Comandante about Fidel Castro, and Persona Non Grata, about Yassir Arafat, and Alexander starring Colin Farrell) and Ang Lee (Brokeback Mountain, one of his most recognized works, for which he was nominated for an Academy Award, and Lust, Caution). He also shot Frida in Mexico. He continued to work with Alejandro González Iñarritu in 21 Grams and, most recently, Babel.

Henner Hofmann

Cinematographer Henner Hofmann started his career in Mexico City with films like La Leyenda de una Mascara, Ave Maria, and Nocturno a Rosario and international productions filmed in Mexico. He has work in American films with directors like Tony Scott, Joe Johnston, Stephen Gyllenhaal, The Warden of the Red Rock starring James Caan, Brian Dennehy and David Carradine, The Time of Her Time a Norman Mailer story directed by Francis Delia and GallowWalker with Wesley Snipes, also with John Carpenter in Vampires: Los Muertos. He is currently the director of el Centro de Capacitación Cinematográfica in Mexico City.

Emmanuel Lubezki

Four-times Academy Award nominated cinematographer Emmanuel Lubezki started his career along Alfonso Cuarón with Sólo con tu pareja, A little princess and Great expectations. These films caught the eye of many Hollywood directors such as Tim Burton (Sleepy Hollow), Michael Mann (Ali) and Terrence Malick (The New World). He has also shot Meet Joe Black (1998), The Cat in the Hat (2003) and Lemony Snicket's A Series of Unfortunate Events (2004). He has continued to work with Cuarón in Y tu mamá también and, most recently, Children of men, for which he has received critical praise and various awards, including the 63rd Venice International Film Festival for Best Technical Contribution.

Mexican cinema personalities

Actors

Elena Sánchez Valenzuela- First Mexican movie star

Mimí Derba

Lupita Tovar

Emma Roldán

Sofía Álvarez

Dolores Camarillo

Andrea Palma

Domingo Soler

Stella Inda

Juan Orol

María Luisa Zea

José Mojica

Amparo Arozamena

Esther Fernández

Anita Blanch

Pedro Armendáriz

Tito Guízar

Carlos Lopez Moctezuma

René Cardona

Cantinflas

Arturo de Córdova

Joaquín Pardavé

Lupe Vélez

Jorge Negrete

Gloria Marín

Mapy Cortés

Ángel Garasa

Emilio Fernández

Isabela Corona

Sara García

Emilio Tuero

Ramón Novarro

María Elena Marqués

Fernando Soler

Leticia Palma

Julián Soler

Miguel Inclán

Antonio Badú

María Félix

María Antonieta Pons

Tito Junco

Andres Soler

Dolores del Río - First Mexican international star

Ricardo Montalbán

Delia Magaña

Gilbert Roland

Katy Jurado - First Mexican Academy Award nominee

Rita Macedo

Carmen Montejo

Pedro Infante

Anthony Quinn - First Mexican Academy Award winner

Evita Muñóz "Chachita"

Emilia Guiú

Roberto Cañedo

Víctor Junco

Lupe Mayorga

Luis Aguilar

Meche Barba

Ernesto Alonso

Rosario Granados

Tin Tan

Marga López

Prudencia Grifell

Columba Domínguez

Rafael Banquells

Elsa Aguirre

David Silva

Amalia Aguilar

Rosita Fornés

Fannie Kauffman "Vitola"

Fernando Fernández

Miroslava Stern

Ninón Sevilla

Alma Rosa Aguirre

Libertad Lamarque

Joaquín Cordero

Marquita Rivera

Rosa Carmina

Marcelo Chávez

Blanca Estela Pavón

Amelia Wilhemy

Rita Montaner

Fernando Soto "Mantequilla"

Rosita Quintana

Lilia Prado

"Tongolele"

Arturo Martínez

Martha Roth

María Eugenia Llamas "La Tucita"

Rodolfo Acosta

Su Muy Key

Silvia Derbéz

Rebeca Iturbide

Roberto Cobo

Silvia Pinal

Anabelle Gutiérrez

Chula Prieto

Jorge Mistral

Ramón Gay

Adalberto Martínez

Arturo Soto Rangel

María Victoria

Ruben Rojo

Linda Christian

Ariadne Welter

Lilia del Valle

Miguel Torrúco

Antonio Espino "Clavillazo"

Enrique Rambal

Ana Bertha Lepe

Evangelina Elizondo

Sara Montiel

Eulalio González "Piporro"

Irasema Dilián

Antonio Aguilar

Ana Luisa Peluffo

Maricruz Olivier

Lucy Gallardo

Germán Robles

Christiane Martell

Jaime Fernández

Lorena Velázquez

Elsa Cárdenas

Francisco Rabal

Ignacio López Tarso

Pilar Pellicer

Kitty de Hoyos

Angélica María

Pina Pellicer

Aurora Clavel

Teresa Velázquez

Julio Alemán

Isela Vega

Rodolfo Guzmán Huerta "El Santo"

Claudio Brook

Fanny Cano

Julissa

Mauricio Garcés

Julio Aldama

Lucha Villa

David Reynoso

Enrique Guzmán

Enrique Álvarez Félix

Jacqueline Andere

Alberto Vázquez

Eric del Castillo

César Costa

Ana Martín

Milton Rodríguez

Andres García

Meche Carreño

Elizabeth Campbell

Enrique Rocha

Valentín Trujillo

Barbara Angely

Angélica María

Amadee Chabot

July Furlong

Jorge Rivero

Lupita Ferrer

María Rojo

Ofelia Medina

Carlos Bracho

Carmen Salinas

Verónica Castro

Héctor Suárez

Helena Rojo

Pedro Armendáriz Jr.

Delia Casanova

Mario Almada

Sasha Montenegro

Diana Bracho

José Alonso

Lucía Méndez

Patricia Reyes Spíndola

Lyn May

Héctor Bonilla

Alma Delfina

Salvador Sánchez

Manuel Ojeda

Jose Carlos Ruíz

Tina Romero

Elpidia Carrillo

Gonzálo Vega

Rebeca Silva

Rafael Inclán

Blanca Guerra

Julieta Rossen

Rosa Gloria Chagoyán

Margarita Sanz

Angélica Aragón

Lumi Cavazos

Arcelia Ramírez

Zaide Silvia Gutiérrez

Daniel Giménez Cacho

Bruno Bichir

Demian Bichir

Salma Hayek - Mexican-Academy Award Nominee

Vanessa Bauche

Susana Zabaleta

Adriana Barraza

Jesús Ochoa

Roberto Sosa

Julio Bracho II

Cecilia Suárez

Damián Alcázar

Gael García Bernal

Ana de la Reguera

Bárbara Mori

Diego Luna

Erik Stahl actor & film maker

Ximena Ayala

Martha Higareda

Alfonso Herrera

Ana Claudia Talancón

Sandra Echeverría

Luis Roberto Guzmán

Adrián Alonso

Eduardo Arroyuelo

Beto Cuevas

Eduardo Verástegui

Kate del Castillo

Kuno Becker

Directors

Luis Alcoriza

César A. Amigó

Luis Buñuel

Eduardo Barraza

Arcady Boytler

Julio Bracho

Juan Bustillo Oro

Salvador Carrasco

Carlos Carrera

Armando Casas

Felipe Cazals

Alberto Cortés

Rafael Corkidi

Alan Coton

Alfonso Cuarón

Carlos Cuarón

Guillermo del Toro

Gonzalo de la Torre

Fernando Eimbcke

Emilio ("El Indio") Fernández

Fernando de Fuentes

Jorge Fons

Alejandro Galindo

Roberto Gavaldón

Everardo González

Rogelio A. González

Servando González

Alejandro González Iñárritu

Alberto Gout

Alfredo Gurrola

Jaime Humberto Hermosillo

Julián Hernández

Carlos Hernández Vázquez

Antonino Isordia

Alejandro Jodorowsky

Leopoldo Laborde

Paul Leduc

Rodrigo Plá

Eva López Sánchez

Fernando Méndez

María Novaro

Juan Orol

Matilde Landeta

Miguel A. Reina

Gabriel Retes

Carlos Reygadas

Juan Antonio de la Riva

Arturo Ripstein

Carolina Rivas

Ismael Rodriguez

Julio Bracho

Carlos Salces

Antonio Serrano

Ninon Sevilla

Guita Schiffer

Gilberto Martínez Solares

Alejandro Springall

Erik Stahl

Carlos Enrique Taboada

José Antonio Torres

Salvador Toscano

Hector Falcon Villa

Cinematographers

Gabriel Figueroa

Alex Phillips

Alex Phillips, Jr.

Henner Hofmann

Guillermo Navarro

Rodrigo Prieto

Emmanuel Lubezki

Composers

Gonzalo Curiel

Manuel Esperón

Joaquín Gutiérrez Heras

Agustín Lara

Mario Lavista

Raúl Lavista

See also

Cinema of the world

World cinema

Expresión en Corto International Film Festival

List of Mexican films

Mexican Academy of Film

Ariel Award

Footnotes

References

Mora, Carl J. Mexican Cinema: Reflections of a Society, 1896-2004, Berkeley: University of California Press, 3rd edition 2005. ISBN 0-7864-2083-9

Maciel, David R. Mexico's Cinema: A Century of Film and Filmmakers, Wilmington, Delaware: SR Books, 1999. ISBN 0-8420-2682-7

Noble, Andrea, Mexican National Cinema, Taylor & Francis, 2005, ISBN 0-415-23010-1

External links

Top 10 Movies from Mexico in IMDB.com

Cine Mexicano

*

de:Mexikanischer Film es:Cine mexicano fr:Cinéma mexicain gl:Cine mexicano nah:Mēxihcatl īxiptlayōliztli ja:メキシコの映画 pt:Cinema do México ru:Кинематограф Мексики

Coordinates	55°45′06″N37°37′04″N
name	Carmen Miranda
birth name	Maria do Carmo Miranda da Cunha, GCIH
birth date	February 09, 1909
birth place	Marco de Canaveses, Portugal
death date	August 05, 1955
death place	Beverly Hills, California, U.S.
years active	1928–1955
other namess	The Brazilian Bombshell, The Chiquita Banana Girl
spouse	her death
website	}}

Carmen Miranda, GCIH ( 9 February 1909 – 5 August 1955) was a Portuguese-born Brazilian samba singer, Broadway actress and Hollywood film star popular in the 1940s and 1950s. She was, by some accounts, the highest-earning woman in the United States and noted for her signature fruit hat outfit she wore in the 1943 movie The Gang's All Here. Though hailed as a talented performer, her movie roles in the United States soon became cartoonish and she grew to resent them. She is considered the precursor of Brazil's Tropicalismo.

Early life

Carmen Miranda was born Maria do Carmo Miranda da Cunha in Várzea da Ovelha e Aliviada, a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of José Maria Pinto da Cunha (17 February 1887 – 21 June 1938) and Maria Emília Miranda (10 March 1886 – Rio de Janeiro, 9 November 1971). In 1909 when she was 10-months old, her father emigrated alone to Brazil and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters Olinda and Maria. Maria never returned to Portugal, but retained her Portuguese nationality. In Brazil, her parents had four more children: Amaro (1911), Cecília (1913), Aurora (1915–2005) and Óscar (1916).

She was christened Carmen by her father because of his love for the opera comique, and also after Bizet's masterpiece Carmen. This passion for opera influenced his children, and Miranda's love for singing and dancing at an early age. She went to school at the Convent of Saint Therese of Lisieux. Her father did not approve of her plans to enter show business. However, her mother supported her and was beaten when her husband discovered Carmen had auditioned for a radio show. Carmen had previously sung at parties and festivals in Rio. Her older sister Olinda contracted tuberculosis and was sent to Portugal for treatment. Miranda went to work in a tie shop at age 14 to help pay her sister's medical bills. She next worked in a boutique, where she learned to make hats and opened her own hat business which became profitable.

Career

Her extraordinary talent was discovered when Miranda was first introduced to composer Josué de Barros, who went on to promote and record her first album with a Brunswick, a German recording company in 1929. In 1930, she was known to be Brazil's gem singer, and in 1933 went on to sign a two-year contract with Rádio Mayrink Veiga, becoming the first contract singer in the radio industry history of Brazil. In 1934, she was invited as a guest performer in Radio Belgrano in Buenos Aires. Ultimately, Miranda wound up with a recording contract with RCA Records. She pursued a career as a samba singer for ten years before she was invited to New York City to perform in a show on Broadway. As with other popular singers of the era, Miranda made her screen debut in the Brazilian documentary A Voz Do Carnaval (1933). Two years later, Miranda appeared in her first feature film entitled Alô, Alô Brasil. But it was the 1935 film Estudantes that seemed to solidify her in the minds of the movie-going public. In the 1936 movie Alô Alô Carnaval, she performed the famous song Cantoras do Rádio with her sister Aurora, for the first time.

Miranda signed a movie contract with Hollywood and arrived in the United States in 4 May 1939 with her band, the Bando da Lua. Carmen grew to fame in the country quickly, having formally been presented to President Franklin D. Roosevelt at a White House banquet shortly after arrival, and going on to star in 13 Hollywood films. She was encouraged by the United States government as part of President Roosevelt’s Good Neighbor Policy, designed to strengthen links with Latin America and Europe; it was believed that in delivering content like hers, the policy would be better received by the American public. By 1946 she was Hollywood's highest-paid entertainer and top female tax payer in the United States, earning more than $200,000 that year (=$2.2 million in 2010 adjusted for inflation), according to IRS records.

Against her family's wishes, she married on March 17, 1947 to failed American movie producer David Alfred Sebastian, born in Detroit on November 23, 1908. In 1948 she became pregnant, but suffered a miscarriage after a show. The marriage lasted only a few months, but Carmen, who was Catholic, would not accept getting a divorce. Her sister Aurora later would state in the documentary Bananas is My Business that "he was very rude, many times even hit her. The marriage was a burden in her life; he only married her for her money. He did not like our family".

Miranda made a total of fourteen Hollywood films between 1940 and 1953 and was dubbed The Brazilian Bombshell. Her Hollywood image was one of a generic Latinness that blurred the distinctions between Brazil, Portugal, Argentina, and Mexico as well as between samba, tango and habanera. It was carefully stylized and outlandishly flamboyant. She was often shown wearing platform sandals and towering headdresses made of fruit, becoming famous as "the lady in the tutti-frutti hat." However there were times that Miranda performed barefoot on stage because she could move more easily in bare feet than in the towering platform sandals.

Career difficulties

During a visit to Brazil in 1940, Miranda was heavily criticized for giving in to American commercialism and projecting a false image of Brazil. She responded with the Portuguese language song "Disseram que Voltei Americanizada", or "They Say I've Come Back Americanized." Another song, "Bananas Is My Business," was based on a line in one of her movies and directly addressed her image. She was greatly upset by the criticism and did not return to Brazil again for fourteen years.

After returning to the United States, Miranda made her final film appearance in the 1953 film Scared Stiff with Martin and Lewis.

In the later years of her life, in addition to her already heavy smoking and alcohol consumption, Miranda began taking amphetamines and barbiturates, all of which took a toll on her body.

Death

On August 4, 1955, Miranda suffered a heart attack during a segment of the live NBC television series, The Jimmy Durante Show. After completing a dance number (which was later aired on A&E; Network's Biography episode about Miranda), she fell to her knees, and Durante instinctively told the band to "stop da music!". He helped Miranda up to her feet as she laughed, "I'm all out of breath!". "Dat's OK, honey, I'll take yer lines", Durante replied. Miranda laughed again and quickly pulled herself together, finishing the show. At the end of the broadcast, she smiled and waved, then exited the stage. She died later that night after suffering a second heart attack at her home in Beverly Hills.

In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro where the Brazilian government declared a period of national mourning. 60,000 people attended her mourning ceremony at the Rio town hall, and more than half a million Brazilians escorted the funeral cortège to her resting place. She is buried in the Cemitério São João Batista in Rio de Janeiro.

Tributes

For her contribution to the motion picture industry, Carmen Miranda has a star on the Hollywood Walk of Fame at 6262 Hollywood Boulevard.

Helena Solberg made a documentary of her life, Carmen Miranda: Bananas is My Business in 1995.

Miranda's enormous, fruit-laden hats are iconic visuals recognized around the world. These costumes led to Saks Fifth Avenue developing a line of turbans and jewelry inspired by Carmen Miranda in 1939. Many costume jewelry designers made fruit jewelry also inspired by Carmen Miranda which is still highly valued and collectible by vintage and antique costume jewelry collectors (recently featured on America's Next Top Model Cycle 12 Ep. 10). Fruit jewelry is still popular in jewelry design today. Much of the fruit jewelry seen today is often still fondly called "Carmen Miranda jewelry" because of this. Her image was much satirized and taken up as camp, and today, the "Carmen Miranda" persona is popular among drag performers. The style was even emulated in animated cartoon shorts. The animation department at Warner Brothers seemed to be especially fond of the actress's image. Animator Virgil Ross used it in his short Slick Hare, featuring Bugs Bunny, who escapes from Elmer Fudd by hiding in the fruit hat. Bugsy himself mimics Miranda briefly in What's Cookin' Doc? Tex Avery also used it in his MGM short Magical Maestro when an opera singer is temporarily changed into the persona, fruit hat and all, via a magician's wand.

Brazilian singer Ney Matogrosso's album Batuque brings the period and several of Miranda's early hits back to life in faithful style. Caetano Veloso paid tribute to Miranda for her early samba recordings made in Rio when he recorded "Disseram que Voltei Americanizada" on the live album Circuladô Vivo in 1992. He also examined her iconic legacy of both kitsch and sincere samba artistry in an essay in the New York Times. Additionally, on one of Veloso's most popular songs, "Tropicalia", Veloso sings "Viva a banda da da da....Carmen Miranda da da da" as the final lyrics of the song. Singer/songwriter Jimmy Buffett included a tribute to Carmen Miranda on his 1973 album A White Sport Coat and a Pink Crustacean, entitled "They Don't Dance Like Carmen No More." In the early 1970s a novelty act known as Daddy Dewdrop had a top 10 hit single in the US titled "Chick-A-Boom," one of Carmen's trademark song phrases, although the resemblance ended there. The band Pink Martini recorded "Tempo perdido" for their Hey Eugene! Album on 2007.

Brazilian author Ruy Castro wrote a biography of Carmen Miranda entitled Carmen, published in 2005 in Brazil. This book has yet to appear in English.

Visitors to Rio de Janeiro can find a museum dedicated to Carmen Miranda in the Flamengo neighborhood on Avenida Rui Barbosa. The museum includes several original costumes, and shows clips from her filmography. There is also a museum dedicated to her in Marco de Canaveses, Portugal called "Museu Municipal Carmen Miranda", with various photos and one of the famous hats. Outside the museum there is a statue of Carmen Miranda.

A hot air balloon in her likeness was conceived in 1982 at the Albuquerque International Balloon Fiesta by Jacques Soukup and Kirk Thomas. Named "Chic-I-Boom", the craft was built by Cameron England, and was the first special-shaped hot-air balloon ever to fly at the Albuquerque Balloon Fiesta. The original Chic-I-Boom was retired from flight in 1996, and a new Chic-I-Boom was built by Aerostar. Chic-I-Boom's bananas are each 50 feet long.

The singer Leslie Fish created a song called "Carmen Miranda's Ghost Is Haunting Space Station Three", in which a space station is inundated with fresh fruit. A science fiction anthology later had the same title.

John Cale, a member of the Velvet Underground, issued a song called "The Soul of Carmen Miranda" on his album Words for the Dying.

A suburb in Sydney, Australia called "Miranda" has a night club called "Carmens" thus being Carmens (in) Miranda.

Carmen Miranda Square

On September 25, 1998, a city square in Hollywood was named Carmen Miranda Square in a ceremony headed by longtime honorary mayor of Hollywood, Johnny Grant, who was also one of the singer's personal friends dating back to World War II. Brazil's Consul General Jorió Gama was on hand for opening remarks, as were members of Bando da Lua, Carmen Miranda's original band.

Carmen Miranda Square is only one of about a dozen Los Angeles city intersections named for historic performers. The square is located at the intersection of Hollywood Boulevard and Orange Drive across from Grauman's Chinese Theater. The location is especially noteworthy not only since Carmen Miranda's footprints are preserved in concrete at the Chinese Theater's famous collection, but in remembrance of an impromptu performance at a nearby Hollywood Boulevard intersection on V-J Day where she was joined by a throng of servicemen from the nearby USO.

Filmography

+ Film
! Year	! Film	! Role	! Notes
1933	A Voz do Carnaval	Herself at Rádio Mayrink Veiga
1935	Alô, Alô, Brasil
1935	Estudantes	Mimi
1936	Alô Alô Carnaval
1939	Banana-da-Terra
1940	Laranja-da-China
1940	Down Argentine Way	Herself
1941	That Night in Rio	Carmen
1941	Week-End in Havana	Rosita Rivas
1941	Meet the Stars #5: Hollywood Meets the Navy	Herself	Short subject
1942	Springtime in the Rockies	Rosita Murphy
1943		Dorita	Alternative title: The Girls He Left Behind
1944	Greenwich Village	Princess Querida
1944	Something for the Boys	Chiquita Hart
1944	Four Jills in a Jeep	Herself
1945	The All-Star Bond Rally	Herself (Pinup girl)
1946	Doll Face	Chita Chula	Alternative title: Come Back to Me
1946	If I'm Lucky	Michelle O'Toole
1947		Carmen Novarro/Mademoiselle Fifi
1948		Rosita Cochellas
1950	Nancy Goes to Rio	Marina Rodrigues
1953		Carmelita Castinha

+ Television
! Year	! Title	! Role	! Notes
1947	Looney Tunes	Herself (Voice)	1 episode
1949	The Ed Wynn Show	Herself	1 episode
1951	What's My Line?	Mystery Guest	1 episode
1951–1952	The Colgate Comedy Hour	Herself	2 episodes
1953		Herself	1 episode
1955	The Jimmy Durante Show	Herself	2 episodes

Singles

Brazilian Singles

Taí (Pra Você Gostar de Mim) (Tahi, For You to Like Me)(written with Victor Orchestra on January 27, 1930)

Goodbye, Boy (recorded with Orquestra Victor Brasileira on November 29, 1932)

Moleque Indigesto (Kid Indigesto) (recorded with Lamartine Babo and Old Guard Group on 5 January 1933)

Chegou a Hora da Fogueira (Bonfire Time) (recorded with Mario Reis and Hell Heaven on June 5, 1933)

As Cinco Estações do Ano (The Five Seasons) (recorded with Lamartine Babo, Mario Reis, Admiral Group and Lefty on July 6, 1933)

Alô… Alô? (Hello...Hello?)(recorded with Mario Reis Group and Lefty on December 18, 1933)

Eu Também (Me Too)(recorded with Lamartine Babo and Hell Heaven on January 5, 1934)

Na Batucada da Vida (Life in Batucada) (recorded with the Devils in Heaven March 20, 1934)

Ao Voltar do Samba (Arlequim de Bronze) (At the Back of Samba (Harlequin Bronze)) (recorded with Grupo do Canhoto on March 26, 1934)

Isto É Lá com Santo Antônio (She is with San Antonio ) (recorded with Mario Reis and Hell Heaven on May 14, 1934)

Minha Embaixada Chegou (My Ambassador Has Arrived) (recorded with Lefty in the Group 28 September 1934)

Primavera no Rio (Spring in Rio) (recorded with the Devils in Heaven August 20, 1934)

1935

ANOITECEU

ENTRE OUTRAS COISAS

ESQUECI DE SORRIR

FOI NUMA NOITE ASSIM

FOGUEIRA DO MEU CORAÇÃO

FRUTO PROIBIDO

COR DE GUINÉ

CASAQUINHO DE TRICOT

DIA DE NATAL

FALA, MEU PANDEIRO

DEIXA ESSE POVO FALAR

Sonho de Papel (Dream Role) (recorded with Orchestra Odeon on May 10, 1935)

E Bateu-Se a Chapa (And Hit The Plate) (recorded with Regional de Benedito Lacerda on 26 June 1935)

O Tique-Taque do Meu Coração (The ticking of My Heart) (recorded with Regional de Benedito Lacerda on August 7, 1935)

Adeus, Batucada (Goodbye Batucada) (recorded with Odeon Orchestra on September 24, 1935)

Querido Adão (Dear Adam) (recorded with Orchestra Odeon on 26 September 1935)

1936

ALÔ, ALÔ CARNAVAL

DUVI-D-Ó-DÓ

CAPELINHA DO CORAÇÃO

CUÍCA, PANDEIRO, TAMBORIM...

BEIJO BAMBA

BALANCÊ

ENTRA NO CORDÃO

COMO EU CHOREI

Cantores do Rádio (Singer's Radio) (recorded with Aurora Miranda and Orchestra Odeon on March 18, 1936)

No Tabuleiro da Baiana (The Board of Bahia) (recorded with Louis Barbosa and Regional Luperce Miranda on September 29, 1936)

Como "Vaes" Você? (Recorded with Ary Barroso and Regional Luperce Pixinguinha and Miranda on October 2, 1936)

1937

DANCE RUMBA

EM TUDO, MENOS EM TI

CANJIQUINHA QUENTE

CABARET NO MORRO

BAIANA DO TABOLEIRO

DONA GEISHA

Cachorro Vira-Lata (Underground Dog) (recorded with Regional de Benedito Lacerda on May 4, 1937)

Me Dá, Me Dá (Give Me, Give Me) (recorded with Regional de Benedito Lacerda on May 4, 1937)

Camisa Amarela (recorded with the Odeon Group on September 20, 1937))

Eu Dei (recorded with Regional Odeon on 21 September 1937)

1938

ENDEREÇO ERRADO

FALAR!

ESCREVI UM BILHETINHO

BATALHÃO DO AMOR

E A FESTA MARIA?

CUIDADO COM A GAITA DO ARY

A PENSÃO DA DONA STELLA

A VIZINHA DAS VANTAGENS

Samba Rasgado (Torn Samba) (recorded with Odeon Group on March 7, 1938)

E o Mundo Não Se Acabou (And the world would not end) (recorded with Regional Odeon on March 9, 1938)

Boneca de Piche (Doll of Boneca) (recorded with Admiral and Odeon Orchestra on August 31, 1938)

Na Baixa do Sapateiro (The lowly shoemaker of Bahia) (recorded with Orchestra Odeon on October 17, 1938)

1939

A PRETA DO ACARAJE

DEIXA COMIGO

CANDIEIRO

AMOR IDEAL

ESSA CABROCHA...

A NOSSA VIDA HOJE É DIFERENTE

COZINHEIRA GRANFINA

O Que É Que a Bahiana Tem? (What is that Bahian?) (Recorded with Dorival Caymmi and Regional Assembly on February 27, 1939)

Uva de Caminhão (Grape Truck) (recorded with Joint Odeon on March 21, 1939)

Camisa Listada (Listed Shirt) ((recorded with Bando da Lua on August 28, 1939))

1940

Voltei pro Morro (I Returned to the Hill) (recorded with Joint Odeon on September 2, 1940)

''DIZ QUE TEM...

''DISSO É QUE EU GOSTO

Disseram que Voltei Americanizada (They Say I've Come Back Americanized) (recorded with Odeon Set on 2 September 1940)

'' BRUXINHA DE PANO

''O DENGO QUE A NÊGA TEM

''É UM QUÊ QUE A GENTE TEM

''BLAQUE-BLAQUE

Recenseamento (Census) (recorded with Joint Odeon on 27 September 1940)

''GINGA-GINGA

American Singles

1939

South American Way (recorded with Bando da Lua and boy on December 26, 1939)

TOURADAS EM MADRID

MARCHINHA DO GRANDE GALLO

MAMÃE EU QUERO (I WANT MY MAMA)

BAMBÚ - BAMBÚ

1941

I Like You Very Much (Ai, Ai, Ai) (recorded with Bando da Lua on January 5, 1941)

ALÔ ALÔ

Chica-Chica-Bum-Chic (recorded with Bando da Lua on January 5, 1941)

BAMBALÊ

Cai, Cai (Yes, Yes) (record with Bando da Lua on January 5, 1941)

ARCA DE NOÉ

A WEEK-END IN HAVANA

DIZ QUE TEM...

WHEN I LOVE I LOVE

Rebola, Bola (Roll, Ball)(recorded with the Bando da Lua on October 9, 1941)

THE MAN WITH THE LOLLYPOP SONG

NÃO TE DOU A CHUPETA

MANUELO

THANK YOU, NORTH AMERICA

1942

Chattanooga Choo Choo (recorded with Bando da Lua and boy on July 25, 1942)

''TIC-TAC DO MEU CORAÇÃO

O PASSO DO KANGURÚ (BRAZILLY WILLY)

BONECA DE PIXE

1945

UPA! UPA!

Tico Tico

1947

THE MATADOR (TOURADAS EM MADRID)

Cuanto Le Gusta (Andrews Sisters recorded with Vic Schoen Orchestra, and on November 29, 1947)

1949

ASI ASI (I SEE I SEE) (Andrews Sisters recorded with Vic Schoen Orchestra)

The Wedding Samba (Andrews Sisters recorded with Vic Schoen Orchestra)

1950

BAIÃO "CA - ROOM' PA PA (Andrews Sisters recorded with Vic Schoen Orchestra)

IPSE-AI-O (YIPSEE-I-O)

References

Bibliography

Castro, Ruy. Carmen: uma biografia. Companhia das Letras. 2005. 8535907602. (Portuguese)

Gil-Montero, Martha. Brazilian Bombshell. Dutton Adult. 1988. 978-1556111280. (English)

Cardoso, Abel. Carmen Miranda, a Cantora d Brasil. Sorocaba. 1978. (Portuguese)

External links

International Jose Guillermo Carrillo Foundation

Carmen Miranda at Brightlightsfilm.com

The Disney Version

Miranda caricature starting about 3:50

Miranda's last appearance, on the Durante show

Category:1909 births Category:1955 deaths Category:Brazilian female singers Category:Brazilian Roman Catholics Category:Brazilian people of Portuguese descent Category:Deaths from myocardial infarction Category:Milliners Category:World music musicians

an:Carmen Miranda be:Кармэн Міранда ca:Carmen Miranda de:Carmen Miranda es:Carmen Miranda eo:Carmen Miranda fr:Carmen Miranda io:Carmen Miranda id:Carmen Miranda it:Carmen Miranda he:כרמן מירנדה la:Carmen Miranda lv:Karmena Miranda lmo:Carmen Miranda ms:Carmen Miranda nl:Carmen Miranda no:Carmen Miranda oc:Carmen Miranda pt:Carmen Miranda ru:Кармен Миранда simple:Carmen Miranda sh:Carmen Miranda fi:Carmen Miranda sv:Carmen Miranda yi:קארמען מיראנדא

The Three Stooges were an American vaudeville and comedy act of the early to mid–20th century best known for their numerous short subject films. Their hallmark was physical farce and extreme slapstick. In films, the Stooges were commonly known by their first names: "Moe, Larry, and Curly" and "Moe, Larry, and Shemp," among other lineups. They first started as "Ted Healy and his Stooges" which contained Moe, Larry and Shemp. "The Three Stooges" film trio was originally composed of Moe Howard, brother Curly Howard and Larry Fine. Shemp Howard replaced brother Curly, when Curly suffered a debilitating stroke in May 1946.

After Shemp's death from a heart attack in November 1955, he was replaced by comedian Joe Besser, after the use of film actor Joe Palma to film four Shemp-era shorts. Ultimately, Joe DeRita (nicknamed "Curly Joe") replaced Joe Besser by 1958. The act regained momentum throughout the 1960s as popular kiddie fare until Larry Fine's paralyzing stroke in January 1970 effectively marked the end of the act proper. Moe tried unsuccessfully one final time to revive the Stooges with longtime supporting actor Emil Sitka filling in for Larry. Larry ultimately succumbed to a series of additional strokes in January 1975, followed by Moe, who died of lung cancer in May 1975.

History

Ted Healy and his stooges

The Three Stooges started in 1925 as part of a raucous vaudeville act called 'Ted Healy and His Stooges' (a.k.a. 'Ted Healy and His Southern Gentlemen', 'Ted Healy and His Three Lost Souls' and 'Ted Healy and His Racketeers'—the moniker 'Three Stooges' was never used during their tenure with Healy). In the act, lead comedian Healy would attempt to sing or tell jokes while his noisy assistants would keep "interrupting" him. Healy would respond by verbally and physically abusing his stooges. Brothers Moe and Shemp were joined later that year by violinist-comedian Larry Fine, and Fred Sanborn joined the group as well.

In 1930, Ted Healy and His Stooges (including Sanborn) appeared in their first Hollywood feature film, Soup to Nuts, released by Fox Film Corporation. The film was not a critical success, but the Stooges' performances were singled out as memorable, leading Fox to offer the trio a contract minus Healy. This enraged the prickly Healy, who told studio executives that the Stooges were his employees. The offer was withdrawn, and after Howard, Fine and Howard learned of the reason, they left Healy to form their own act, which quickly took off with a tour of the theatre circuit. Healy attempted to stop the new act with legal action, claiming they were using his copyrighted material. There are accounts of Healy threatening to bomb theaters if Howard, Fine and Howard ever performed there, which worried Shemp so much that he almost left the act; reportedly, only a pay raise kept him on board. Healy tried to save his act by hiring replacement stooges, but they were inexperienced and not as well-received as their predecessors. In 1932, with Moe now acting as business manager, Healy reached a new agreement with his former Stooges, and they were booked in a production of Jacob J. Shubert's The Passing Show of 1932. During rehearsals, Healy received a more lucrative offer and found a loophole in his contract allowing him to leave the production. Shemp, fed up with Healy's abrasiveness, decided to quit the act and found work almost immediately, in Vitaphone movie comedies produced in Brooklyn, New York.

With Shemp gone, Healy and the two remaining stooges (Moe and Larry) needed a replacement, so Moe suggested his younger brother Jerry Howard. Healy reportedly took one look at Jerry, who had long chestnut red locks and a handlebar mustache, and remarked that he did not look like he was funny. Jerry left the room and returned a few moments later with his head shaved (though his mustache remained for a time), and then quipped "Boy, do I look girly." Healy heard "Curly," and the name stuck. (There are varying accounts as to how the Curly character actually came about.)

In 1933, Metro-Goldwyn-Mayer (MGM) signed Healy and his Stooges to a movie contract. They appeared in feature films and short subjects, either together, individually, or with various combinations of actors. The trio was featured in a series of musical comedy shorts, beginning with Nertsery Rhymes. The short was one of a few shorts to be made with an early two-strip Technicolor process, including one featuring Curly without Healy or the other Stooges, Roast Beef and Movies (1934). The shorts themselves were built around recycled film footage of production numbers cut from MGM musicals, such as Children of Pleasure, Lord Byron of Broadway, and the unfinished March of Time (all 1930), which had been filmed in early Technicolor. Soon, additional shorts followed (sans the experimental Technicolor), including Beer and Pretzels (1933), Plane Nuts (1933), and The Big Idea (1934).

Healy and company also appeared in several MGM feature films as comic relief, such as Turn Back the Clock (1933), Meet the Baron (1933), Dancing Lady (1933), Fugitive Lovers (1934), and Hollywood Party (1934). Healy and the Stooges also appeared together in Myrt and Marge for Universal Pictures.

In 1934, the team's contract with MGM expired, and the Stooges parted professional company with Healy. According to Moe Howard's autobiography, the Stooges split with Ted Healy in 1934 once and for all because of Healy's alcoholism and abrasiveness. Their final film with Healy was MGM’s 1934 film, Hollywood Party. Both Healy and the Stooges went on to separate successes, with Healy dying under mysterious circumstances in 1937.

The Columbia years: Moe, Larry and Curly

In 1934, the trio – now officially christened "The Three Stooges" – signed on to appear in two-reel comedy short subjects for Columbia Pictures. In Moe's autobiography, he said they each got $600 per week on a one-year contract with a renewable option; in the Ted Okuda–Edward Watz book The Columbia Comedy Shorts, the Stooges are said to have received $1,000 between them for their first Columbia effort, Woman Haters, and then signed a term contract for $7,500 per film, to be divided among the trio.

Within their first year at Columbia, the Stooges became wildly popular. Realizing this, Columbia Pictures president Harry Cohn used the Stooges as leverage, as the demand for their films was so great that Columbia eventually refused to supply exhibitors with the trio's shorts unless they also agreed to book some of the studio's mediocre B movies. Cohn also saw to it that the Stooges remain ignorant of their popularity. During their 23 years spent at Columbia, the Stooges were never completely aware of their amazing drawing power at the box office. As their contracts with the studio included an open option that had to be renewed every year, Cohn would tell the boys that the short subjects were in decline, which was not a complete fabrication (Cohn's yearly mantra was "the market for comedy shorts is dying out, fellahs.") Thinking their days were numbered, the Stooges would sweat it out each and every year, with Cohn signing the trio up for another year at the last minute. This cruel deception kept the insecure Stooges unaware of their true value, resulting in them having second thoughts about asking for a better contract without a yearly option. Cohn's scare tactics worked for all 23 years the Stooges were at Columbia; the team never once asked for—nor were they ever given—a salary increase. It was not until after they stopped making the shorts in December 1957 did Moe learn of the game Cohn was playing, what a valuable commodity the Stooges had been for the ailing studio, and how many millions more the act could have earned.

The Stooges were required to churn out up to eight short films per year within a 40-week period; for the remaining 12 or so weeks, they were free to pursue other employment. Usually, the Stooges would either spend this time with their families or tour the country promoting their live act. The Stooges appeared in 190 film shorts and five features while at Columbia. Del Lord directed more than three dozen Stooge films; Jules White directed dozens more, and his brother Jack White directed several under the pseudonym "Preston Black".

According to a published report, Moe, Larry, and director Jules White considered their best film to be You Nazty Spy!. This 18-minute short subject starred Moe as "Moe Hailstone", an Adolf Hitler-like character, and satirized the Nazis in a period when America was still neutral and resolutely isolationist. Curly played a Hermann Goering character, replete with medals, and Larry a Ribbentrop-type ambassador. You Nazty Spy! was the first Hollywood film to spoof Hitler, as it was released in January, 1940, nine months before Charlie Chaplin's The Great Dictator. Reportedly this film caused the Stooges to be placed on Hitler's so-called "death list" because of its anti-Nazi stance. Chaplin, along with Jack Benny, would also be on this list due to their later anti-Nazi films. The Stooges made occasional guest appearances in feature films, though generally they stuck to short subjects. Columbia offered theater owners an entire program of two-reel comedies (15 to 25 titles annually) featuring such stars as Buster Keaton, Andy Clyde, Charley Chase, and Hugh Herbert, but the Three Stooges shorts were the most popular of all.

Curly was easily the most popular member of the team. His childlike mannerisms and natural comedic charm (he had no previous acting experience) made him a hit with audiences. The fact that Curly had to shave his head for the act led him to feel unappealing to women. To mask his insecurities, Curly ate and drank excessively and caroused whenever the Stooges made personal appearances, which was approximately seven months out of the year. His weight ballooned in the 1940s, and his blood pressure was dangerously high. His wild lifestyle and constant drinking eventually caught up with him in 1945, and his performances suffered. In his last dozen shorts (ranging from 1945's If a Body Meets a Body through 1947's Half-Wits Holiday), he was seriously ill, struggling to get through even the most basic scenes.

It was during the final day of filming Half-Wits Holiday on May 6, 1946 that Curly suffered a debilitating stroke on the set, ending his 14-year career. Curly's health necessitated a temporary retirement from the act, and while the Stooges hoped for a full recovery, Curly never starred in a film again, except for one brief cameo appearance in the third film after Shemp returned to the trio, Hold That Lion! It was the only film that contained all four of the original Stooges (the three Howard brothers and Larry) on screen simultaneously; Jules White recalled Curly visiting the set one day, and White had him do this bit for fun. (Curly's cameo appearance was recycled in the 1953 remake Booty and the Beast.) In 1949, Curly was supposed to play a cameo role in the Stooge comedy Malice in the Palace, but he was physically unable to perform. His chef role was played by Larry.

Shemp returns

Moe Howard turned to his older brother Shemp Howard to take Curly's place. Shemp, however, was hesitant to rejoin the Stooges, as he had a successful solo career at the time of Curly's untimely illness. However, he realized that Moe and Larry's careers would be finished without the Stooge act. Shemp wanted some kind of assurance that his rejoining was indeed temporary, and that he could leave the Stooges once Curly recovered. Unfortunately, Curly remained gravely ill after 1950, dying of a cerebral hemorrhage caused by additional strokes on January 18, 1952.

Shemp appeared with the Stooges in 76 more shorts and a quickie Western comedy feature titled Gold Raiders. Upon Shemp's return, the quality of the films picked up; the last few Curly efforts had been marred by his sluggish performances. Entries like Out West, Squareheads of the Round Table, and Punchy Cowpunchers proved that there was life after Curly, and that Shemp could easily hold his own. Though some say he lacked his younger brother's childlike charisma, Shemp was a gifted, professional comedian. More often than not, his astute gift of comedic timing buoys weak material. In fact, one the finest entries in the series, Brideless Groom, was made during this period.

Another interesting plus from the Shemp era was that Larry was given more time on screen. Throughout most of the Curly era, Larry was relegated to a background role, only being called upon to break up a potential scuffle between Moe and Curly. By the time Shemp rejoined the Stooges, Larry was allotted equal footage, even becoming the focus of several films (Fuelin' Around, He Cooked His Goose).

During this period, Moe, Larry, and Shemp made a pilot for a Three Stooges television show called Jerks of All Trades in 1949. The series was never picked up, although the pilot is currently in the public domain and is available on home video, as is an early television appearance from around the same time on a vaudeville-style comedy series, Camel Comedy Caravan, originally broadcast live on CBS-TV on March 11, 1950 and starring Ed Wynn. Also available commercially is a kinescope of Moe, Larry, and Shemp's appearance on The Frank Sinatra Show, broadcast live over CBS-TV on January 1, 1952. Frank Sinatra was reportedly a big fan of the Stooges and slapstick comedy in general. On this broadcast, the Stooges are joined by one of their longtime stock-company members, Vernon Dent, who plays "Mr. Mortimer", a party-goer who requests a drink. The Stooges oblige with disastrous results.

Columbia's short-subject division downsized in 1952. Producer Hugh McCollum was discharged and director Edward Bernds resigned out of loyalty to McCollum, leaving only Jules White to both produce and direct the Stooges' remaining Columbia comedies. Production was significantly faster, with the former four-day filming schedules now tightened to two or three days. In another cost-cutting measure, White would create a "new" Stooge short by borrowing footage from old ones, setting it in a slightly different storyline, and filming a few new scenes often with the same actors in the same costumes. White was initially very subtle when recycling older footage: he would reuse only a single sequence of old film, re-edited so cleverly that it was not easy to detect. The later shorts were cheaper and the recycling more obvious, with as much as 75% of the running time consisting of old footage. White came to rely so much on older material that he could film the "new" shorts in a single day.

Three years after Curly's death, Shemp Howard died of a sudden heart attack at age 60 on November 22, 1955. Archived footage of Shemp, combined with new footage of Joe Palma, were used to complete the last four films originally planned with Shemp: Rumpus in the Harem, Hot Stuff, Scheming Schemers, and Commotion on the Ocean.

Joe Besser replaces Shemp

Joe Besser replaced Shemp in 1956, appearing in 16 shorts. Besser, noting how one side of Larry Fine's face seemed "calloused", had a clause in his contract specifically prohibiting him from being hit too hard (though this restriction was later lifted). Besser was the only "third" Stooge that dared to hit Moe back in retaliation and get away with it; Larry Fine was also known to hit Moe on occasion, but always with serious repercussions. "I usually played the kind of character who would hit others back," Besser recalled.

With Besser on board, the Stooge films began to resemble sitcoms. Sitcoms, though, were now available for free. Television was the new popular medium, and by the time Besser joined the act, the Stooges were generally considered throwbacks to an obsolete era. In addition, Moe and Larry were growing older, and could not perform pratfalls and physical comedy as they once had. The inevitable occurred soon enough. Columbia was the last studio still producing shorts, and the market for such films had all but dried up. As a result, the studio opted not to renew the Stooges' contract when it expired in late December 1957. The final comedy produced was Flying Saucer Daffy, filmed on December 19–20, 1957. Several days later, the Stooges were unceremoniously fired from Columbia Pictures after 24 years of making low-budget shorts. Joan Howard Maurer, daughter of Moe, wrote the following in 1982:

{{bquote|The boys' careers had suddenly come to an end. They were at Columbia one day and gone the next—no 'Thank yous,' no farewell party for their 24 years of dedication and service and the dollars their comedies had reaped for the studio.

Moe Howard recalled that a few weeks after their exit from Columbia, he drove to the studio to say goodbye to several studio executives when he was stopped by a guard at the gate (obviously, not a Stooges fan) and, since he did not have the current year's studio pass, was refused entry. For the moment, it was a crushing blow.}} Although the Stooges were no longer working for Columbia, the studio had enough completed films on the shelf to keep releasing new comedies for another 18 months, and not in the order they were produced. The final Stooge release, Sappy Bull Fighters, did not reach theaters until June 4, 1959. With no active contract in place, Moe and Larry discussed plans for a personal appearance tour; meanwhile, Besser's wife had a minor heart attack, and he preferred to stay local, leading him to withdraw from the act. For the first time in nearly 30 years, the Stooges hit a dead end.

The comeback: Larry, Moe and Curly Joe

Seeing the success of how television, in its early years, allowed movie studios to unload a backlog of short films thought unmarketable, the Stooge films seemed perfect for the burgeoning genre. ABC television had even expressed interest as far back as 1949, purchasing exclusive rights to 30 of the trio's shorts. However, the success of television revivals for such names as Laurel and Hardy, Woody Woodpecker, Tom and Jerry and the Our Gang series in the late 1950s led Columbia to cash in again on the Stooges. In January 1958, Columbia's television subsidiary Screen Gems offered a package consisting of 78 Stooge shorts (mainly from the Curly era), which were well received. Almost immediately, an additional 40 shorts hit the market, and by 1959, all 190 Stooge shorts were airing regularly. Due to the massive quantity of Stooge product available for broadcast, the films were broadcast Monday through Friday, leading to heavy exposure aimed squarely at children. This led parents to watch alongside of their offspring, and before long, Howard and Fine found themselves in high demand. Moe quickly signed movie and burlesque comic Joe DeRita for the "third Stooge" role; DeRita adopted first a crew cut and then a completely shaven hairstyle and became "Curly Joe" because of his resemblance to the original Curly Howard (also to make it easier to distinguish him from Joe Besser, the earlier Stooge called Joe).

This Three Stooges lineup went on to make a series of popular full-length films from 1959 to 1965, most notably Have Rocket, Will Travel, The Three Stooges Meet Hercules and The Three Stooges Go Around the World in a Daze. The films were aimed at the kiddie-matinee market, and most were Farce outings in the Stooge tradition, with the exception of Snow White and the Three Stooges, a children's fantasy in Technicolor. They also appeared as firemen (the role that helped make them famous in Soup to Nuts) in the film It's a Mad, Mad, Mad, Mad World. Throughout the 1960s, The Three Stooges were one of the most popular and highest-paid live acts in America. The trio also filmed 41 short comedy skits for The New Three Stooges, which features a series of 156 animated cartoons produced for television. The Stooges appeared in live-action color footage, which preceded and followed each animated adventure in which they voiced their respective characters.

Final years

In 1969, the Three Stooges filmed a pilot episode for a new TV series entitled Kook's Tour, a combination travelogue-sitcom that had the "retired" Stooges traveling around the world, with the episodes filmed on location.

On January 9, 1970, during production of the pilot, Larry suffered a paralyzing stroke, ending his acting career, as well as plans for the television series. thumb|150px|lefgt|A proposed incarnation of the Three Stooges. A promotional picture taken after Larry Fine's death in 1975 features a very ill Moe Howard (who died shortly thereafter) flanked by Curly Joe DeRita to the left and Emil Sitka to the right.Plans were in the works for longtime foil Emil Sitka to replace Larry as the "Middle Stooge" in 1971, but nothing ever came of that idea other than the proposed publicity still reproduced here. Three years later, just before Christmas of 1974, Larry Fine suffered yet another stroke at the age of 72 and four weeks later, suffered a more massive one. Slipping into a coma, he died a week later of a stroke-induced cerebral hemorrhage on January 24, 1975.

Devastated by his friend's death, Moe nevertheless decided that the Three Stooges should continue. Several movie ideas were considered, one of which according to critic and movie historian Leonard Maltin, (who also uncovered a pre-production photo) was entitled Blazing Stewardesses. Unfortunately, before pre-production could begin, after a lifetime of smoking, Moe fell ill from lung cancer, and died three months later on May 4, 1975, finally putting to rest the last original surviving member of one of the most famous comedy troupes of the 20th Century.

However, Blazing Stewardesses, the last film idea that the Three Stooges had ever seriously considered, was eventually made, starring the last of the surviving Ritz Brothers comedy troupe and released to moderate acclaim later that year.

Curly Joe continued to perform live into the mid-1970s with Mousie Garner and Frank Mitchell as "The New 3 Stooges" enjoying recognition well into old age, before retiring by 1979.

Of the remaining “original-replacement” Stooges, Joe Besser died of heart failure on March 1, 1988, followed by Curly Joe DeRita of pneumonia on July 3, 1993.

Legacy and perspective

Some 50 years after their last short film was released, the Three Stooges remain wildly popular with audiences. Their films have never left the television airwaves since first appearing in 1958, and they continue to delight old fans while attracting a new legion of fervent admirers. A hard-working group of working-class comedians who were never the critic's darlings, the team endured several personnel changes in their careers that would have permanently sidelined a less persistent act. Despite watching two of his brothers die in a brief span of time, the Stooges would not have lasted as long as they did as a unit without Moe Howard's guiding hand. However, despite their massive popularity, they never received a raise during their entire employment at Columbia nor were they ever allowed to make a full-length feature film during the height of their popularity. Columbia Studios chief Harry Cohn preferred to use the popular Stooges shorts in packages with his weaker features so that exhibitors would have to accept the movies in order to show the shorts, which would bring in the public.

The Ted Okuda/Edward Watz-penned book The Columbia Comedy Shorts puts the Stooges legacy in critical perspective:

Beginning in the 1980s, the Stooges finally began to receive long-overdue critical recognition. More often than not, the praise was directed at Curly, usually at the expense of his castmates, most especially Shemp. With the advent of cable television and the burgeoning home video market, the praise was eventually spread more evenly throughout the team. Critics began to realize that Moe and Larry were gifted performers; though less flamboyant than Curly, they were by no means less talented. Curly was indeed brilliant and a one-of-a-kind, but taken for long periods of time, he could also be irritating and exhausting without Moe and Larry present to provide a counterbalance. This balance would be handled better after Shemp returned to the act, with Larry in particular receiving more screen time. The release of nearly all their films on DVD by 2010 has allowed critics of Joe Besser and Joe DeRita—often the recipients of significant fan backlash—to appreciate the unique style of comedy both comedians brought to the Stooges. In addition, the DVD market in particular has allowed fans to view the entire Stooge film corpus as distinct periods in their long, distinguished career instead of comparing one Stooge to the other (the Curly vs. Shemp debate continues to this day).

The team appeared in 220 films. In the end, it is the durability of the 190 timeless short films the Stooges made at Columbia Pictures that acts as an enduring tribute to the comedy team. Their continued popularity worldwide has proven to even the most skeptical critics that their films—quite simply—are funny. American television personality Steve Allen went on record in the mid-1980s saying "though they never achieved widespread critical acclaim, they achieved exactly what they had always intended to do: they made people laugh."

Line-ups

!	! Ted	! Moe	! Shemp	! Larry	! Curly	! Joe	! Curly Joe	! Emil Sitka
1.									1922–1924
2.									1925–1932
3.									1932–1934
4.									1934–1946
5.									1946–1955
6.									1956–1958
7.									1958–1971
8.									1971–1975

Ted Healy Real Name: Clarence Ernst Lee Nash Born: October 01, 1896 Died: December 21, 1937 Stooge Years: 1922–1931, 1932–1934

Moe Howard Real Name: Moses Harry Horwitz Born: June 19, 1897 Died: May 04, 1975 Stooge years: 1922–1927, 1928–1975

Larry Fine Real Name: Louis Feinberg Born: October 05, 1902 Died: January 24, 1975 Stooge years: 1925–1927, 1928–1971

Curly Howard Real Name: Jerome Lester Horwitz Born: October 22, 1903 Died: January 18, 1952 Stooge years: 1932–1946

Shemp Howard Real Name: Samuel Horwitz Born: March 04, 1895 Died: November 22, 1955 Stooge years: 1922–1927, 1928–1932, 1946–1955

Joe Besser Born: August 12, 1907 Died: March 01, 1988 Stooge years: 1956–1958

Joe DeRita Real Name: Joseph Wardell Born: July 12, 1909 Died: July 03, 1993 Stooge years: 1958–1975

Emil Sitka Born: December 22, 1915 Died: January 16, 1998 Stooge years: n/a

Shorts

The Three Stooges appeared in 220 films throughout their career. Of those 220, 190 short films were made for Columbia Pictures between 1934 and 1959, for which the trio are best known. Their contract was extended each year from 1934 until the final one expired on December 31, 1957. The last 8 of the 16 shorts with Joe Besser were released soon afterward.

C3 Entertainment, Inc.

Throughout their career, Moe acted as both their main creative force and business manager. Comedy III was formed by Moe, Larry and Curly-Joe in 1959 to manage all business and merchandise transactions for the team. Comedy III was basically in the background, with Moe's son-in-law Norman Maurer managing the comedy teams' film interests under Normandy Productions, and merchandising affairs under Norman Maurer Productions (NMP). Norman Maurer died in 1986.

In 1994 the heirs of Larry Fine and Joe DeRita filed a lawsuit against Moe's family, particularly Joan Howard Maurer and her son Jeffrey, who had inherited the NMP/Normandy business. The result reestablished Comedy III as a three-way interest of Fine/[Moe]Howard/DeRita. The DeRita heirs received the proxy to the Howard share, giving them majority control on the company's management. Curly-Joe's stepsons, Robert and Earl Benjamin, became the senior management of Comedy III. The Benjamins later incorporated the company, and C3 Entertainment, Inc. is currently the owner of all Three Stooges trademarks and merchandising. Larry's grandson Eric Lamond is the representative of the Fines' one-third interest in the company.

C3 has also, since 1995, authorized and provided the services of veteran actors Jim Skousen, Alan Semok, and Dave Knight (as Moe, Larry, and Curly respectively) for numerous "personal appearances" by the Stooge characters for a variety of merchandising and promotional events. This latter day trio has also provided voices for the characters in a variety of radio spots, merchandising tie-ins, and most recently for the first new Three Stooges short in fifty years. A CGI animation by Famous Frames Mobile Interactive, a first-wave "new media" company, entitled The Grate Debate, has Moe, Larry and Curly running for President.

Television broadcasts and rights issues

A handful of Three Stooges shorts first aired on television in 1949, on the American Broadcasting Company (ABC) network. It was not until 1958 that Screen Gems packaged 78 shorts for national syndication; the package was gradually enlarged to encompass the entire library of 190 shorts. In 1959, KTTV in Los Angeles purchased the Three Stooges films for air, but by the early 1970s, rival station KTLA began airing the Stooges films, keeping them in the schedule until early 1994. The Family Channel (now ABC Family) ran the shorts as part of their Stooge TV block from February 19, 1996 to January 2, 1998. In the late 1990s, AMC had held the rights to the Three Stooges shorts, originally airing them under the Stooges Playhouse block, but replacing it in 1999 with N.Y.U.K. (New Yuk University of Knuckleheads). Featuring host Leslie Nielsen in the form of a college instructor, the block aired several shorts often grouped by a theme, such as similar schtick used in different films. Although the block was discontinued after AMC revamped their format in 2002, the network still ran Stooges shorts occasionally. The AMC run ended when Spike TV picked them up in 2004, airing them in their Stooges Slap-Happy Hour. By 2007, the network had discontinued the block. Although Spike did air Stooges shorts for a brief period of time after the block was canceled, as of late April 2008, Three Stooges has disappeared from the network's schedule entirely. The Three Stooges returned on December 31, 2009 on AMC, starting with the "Countdown with the Stooges" New Year's Eve marathon. AMC planned to put several episodes on their website in 2010.

Since the 1990s Columbia and its television division's successor, Sony Pictures Television, has preferred to license the Stooges shorts to cable networks, precluding the films from being shown on local broadcast TV. Two stations in Chicago and Boston, however, signed long-term syndication contracts with Columbia years ago and have declined to terminate them. Thus, WMEU-CA in Chicago currently airs all 190 Three Stooges shorts on Stooge-a-Palooza, hosted by Rich Koz, and WSBK-TV in Boston airs Stooge shorts and feature films. KTLA in Los Angeles dropped the shorts in 1994, but brought them back in 2007 as part of a special retro-marathon commemorating the station's 60th anniversary. Since that time, the station's original 16mm Stooges film prints have aired occasionally as part of mini-marathons on holidays. Antenna TV, a network broadcasting on the digital subchannels of local broadcast stations (owned by Tribune Broadcasting, who also owns KTLA), began airing the Stooges shorts upon the network's January 1, 2011 launch, which run in multi-hour blocks on weekends; most of the Three Stooges feature films are also broadcast on the network, through Antenna TV's distribution agreement with Sony Pictures Entertainment (whose Columbia Pictures subsidiary released most of the films).

Some of the Stooge films have been colorized by two separate companies. The first colorized DVD releases, distributed by Sony Pictures Home Entertainment, were prepared by West Wing Studios in 2004. The following year, Legend Films colorized the public domain shorts Malice in the Palace, Sing a Song of Six Pants, Disorder in the Court and Brideless Groom. Disorder in the Court and Brideless Groom also appear on two of West Wing's colorized releases. In any event, the Columbia-produced shorts (aside from the public domain films) are handled by Sony Pictures Entertainment, while the MGM Stooges shorts are owned by Warner Bros. via their Turner Entertainment division. Sony offers 21 of the shorts on their web platform Crackle, along with eleven Minisodes. Meanwhile, the rights to the Stooges' feature films rests with the studios that originally produced them (Columbia/Sony for the Columbia films, and 20th Century Fox for the Fox films).

Home video release and public reception

Between 1984 and 1985, RCA Columbia Pictures Home Video released a total of thirteen Three Stooges volumes on VHS, Beta and Laserdisc, each containing three shorts. These titles were later reissued on VHS by its successor, Sony Pictures Entertainment, between 1995 and 1997, with a DVD reissue between 2000 and 2004.

On October 30, 2007, Sony Pictures Home Entertainment released a two-disc DVD set entitled The Three Stooges Collection, Volume One: 1934–1936. The set contains shorts from the first three years the Stooges worked at Columbia Pictures, marking the first time ever that all 19 shorts were released in their original theatrical order to DVD. Additionally, every short was remastered in high definition, a first for the Stooge films. Previous DVD releases were based on themes (wartime, history, work, etc.), and sold poorly. Fans and critics alike praised Sony for finally giving the Stooges the proper DVD treatment. One critic states "the Three Stooges on DVD has been a real mix'n match hodgepodge of un-restored titles and illogical entries. This new...boxset...seems to be the first concerted effort to categorize their huge body of work chronologically with many shorts seeing the digital light for the first time." Videolibrarian.com critic added "finally, the studio knuckleheads got it right! The way that the Three Stooges have been presented on home video has been a real slap in the face and poke in the eye to fans. They’ve been anthologized, colorized, and public domain-ed, as their shorts have been released and re-released in varying degrees of quality. Highly recommended." Critic James Plath of DVDtown.com added, "Thank you, Sony, for finally giving these Columbia Pictures icons the kind of DVD retrospective that they deserve. Remastered in High Definition and presented in chronological order, these short films now give fans the chance to appreciate the development of one of the most successful comedy teams in history."

The chronological series proved very successful and wildly popular, and Sony wasted little time preparing the next set for release. Volume Two: 1937–1939 was released on May 27, 2008, followed by Volume Three: 1940–1942 three months later on August 26, 2008. Demand exceeded supply, proving to Sony that they had a hit on their hands. In response, Volume Four: 1943–1945 was released on October 7, 2008, a mere two months after its predecessor. The global economic crisis slowed down the release schedule after Volume Four, and Volume Five: 1946–1948 was belatedly released on March 17, 2009. Volume Five is the first in the series to feature Shemp Howard with the Stooges. Volume Six: 1949–1951 was released June 16, 2009. and Volume Seven: 1952–1954 was released on November 10, 2009.

The eighth and final volume was released on June 1, 2010, bringing the series to a close. For the first time in history, all 190 Three Stooges short subjects became available to the public.

Music

Several instrumental tunes were played over the opening credits at different times in the production of the short features. The most commonly used themes were:

* The verse portion of the Civil War era song "Listen to the Mockingbird", played in a comical way, complete with sounds of birds and such. This was first used in Pardon My Scotch, their ninth short film, in 1935. (Prior to that comedic short, the opening theme varied and was typically connected to the storyline in some fashion.)

* "Three Blind Mice", beginning in 1939 as a slow but straightforward presentation (dubbed the "sliding strings" version), often breaking into a "jazzy" style before ending. In mid-1942, another more driving version, complete with accordion was played fast all the way through.

The Columbia short subject Woman Haters was done completely in rhyme, mostly recited (not sung), in rhythm with a Jazz-Age underscore running throughout the film, but with some key lines sung. It was sixth in a Musical Novelties short subject series, and appropriated its musical score from the first five films. The memorable “My Life, My Love, My All,” was originally “At Last!” from the film Um-Pa.

"Swinging the Alphabet" (a.k.a. B-A-bay, B-E-be, B-I-bicky-bi…) from Violent Is the Word for Curly is perhaps the best-known song performed by the Stooges on film.

The “Lucia Sextet” (Chi mi frena in tal memento?), from the opera Lucia di Lammermoor by Gaetano Donizetti (announced by Larry as “the Sextet from Lucy”), is played on a record player and lip-synched by the Stooges in Micro-Phonies. The same melody re-appears in Squareheads of the Round Table as the tune of “Oh, Elaine, can you come out tonight?”. Micro-Phonies also includes the Johann Strauss II waltz “Voices of Spring” ("Frühlingsstimmen") Op. 410. Another Strauss waltz, "The Blue Danube", is featured in Ants in the Pantry and Punch Drunks.

The song “Fredric March” (named after the actor) was a favorite of director Jules White; it appeared in at least six different Columbia shorts:

* Termites of 1938 - the Stooges "play" this song on a violin, flute, and string bass at a dinner party in an attempt to attract mice.

* Dutiful But Dumb - Curly is hidden inside a floor-standing radio, and plays the song on a modified harmonica.

* Three Little Twirps - heard as background music at the circus while Moe and Curly sell tickets.

* Idle Roomers - Curly plays the song on a trombone to calm a wolf man.

* Gents Without Cents - three girls perform acrobatics on stage while this song is playing

* Gents in a Jam - Shemp and Moe have a problem with a radio that will not stop playing this song

* Pardon My Backfire - the song plays on a car radio

The Moe–Larry–Curly Joe lineup of the Stooges recorded several musical record albums in the early 1960s. Most of their songs were adaptations of nursery rhymes. Among their more popular recordings were "Making a Record" (a surreal trip to a recording studio built around the song "Go Tell Aunt Mary"), "Three Little Fishes", "All I Want for Christmas Is My Two Front Teeth", "Wreck the Halls with Boughs of Holly", "Mairzy Doats" and "I Want a Hippopotamus for Christmas".

In 1983, a group called the Jump 'N the Saddle Band recorded a track called "The Curly Shuffle", which featured the narrator singing about his love of the Stooges mixed with a chorus of many of Curly's catchphrases and sound effects. In the mid-1980s, the song became a popular mid-game hit for New York Mets fans in the Shea Stadium bleachers, who would dance in small groups to the tune whenever the song was played between innings. The music video, which featured clips of the classic Stooges shorts, was also included as a bonus feature on one of the 1984 VHS releases.

Feature motion pictures

The Three Stooges also made appearances in many feature length movies in the course of their careers:

{|class="wikitable" |- ! Film || Year || Moe || Larry || Curly || Shemp || Joe || Curly Joe |- |Soup to Nuts || 1930 || Moe || Larry || || Shemp || || |- |Turn Back the Clock || 1933 || Moe || Larry || Curly || || || |- |Meet the Baron || 1933 || Moe || Larry || Curly || || || |- |Dancing Lady || 1933 || Moe || Larry || Curly || || || |- |Broadway to Hollywood || 1933 || Moe || Larry || Curly || || || |- |Myrt and Marge || 1933 || Moe || Larry || Curly || || || |- |Fugitive Lovers || 1934 || Moe || Larry ||Curly || || || |- |Hollywood Party (cameos) || 1934 || Moe || Larry || Curly || || || |- |The Captain Hates the Sea (cameos)|| 1934 || Moe || Larry || Curly || || || |- |Start Cheering || 1938 || Moe || Larry || Curly || || || |- |Time Out for Rhythm || 1941 || Moe || Larry || Curly || || || |- |My Sister Eileen (cameos) || 1942 || Moe || Larry || Curly || || || |- |Rockin' in the Rockies || 1945 || Moe || Larry || Curly || || || |- |Swing Parade of 1946 || 1946 || Moe || Larry || Curly || || || |- |Gold Raiders || 1951 || Moe || Larry || || Shemp || || |- |Have Rocket, Will Travel || 1959 || Moe || Larry || || || || Curly Joe |- |Stop! Look! and Laugh! (compilation)|| 1960 || Moe || Larry || Curly || || || |- |Snow White and the Three Stooges || 1961 || Moe || Larry || || || || Curly Joe |- |The Three Stooges Meet Hercules || 1962 || Moe || Larry || || || || Curly Joe |- |The Three Stooges in Orbit || 1962 || Moe || Larry || || || || Curly Joe |- |The Three Stooges Go Around the World in a Daze || 1963 || Moe || Larry || || || || Curly Joe |- |It's a Mad, Mad, Mad, Mad World (cameos)|| 1963 || Moe || Larry || || || || Curly Joe |- |4 for Texas || 1963 || Moe || Larry || || || || Curly Joe |- |The Outlaws Is Coming || 1965 || Moe || Larry || || || || Curly Joe |- |Kook's Tour (TV pilot) || 1970 || Moe || Larry || || || || Curly Joe |} Joe Besser never appeared with the Stooges in a feature film.

Three feature-length Columbia releases were actually packages of older Columbia shorts. Columbia Laff Hour (introduced in 1956) was a random assortment that included the Stooges among other Columbia comedians like Andy Clyde, Hugh Herbert, and Vera Vague; the content and length varied from one theater to the next. Three Stooges Fun-o-Rama (introduced in 1959) was an all-Stooges show capitalizing on their TV fame, again with shorts chosen at random for individual theaters. The Three Stooges Follies (1974) was similar to Laff Hour, with a trio of Stooge comedies augmented by Buster Keaton and Vera Vague shorts, a Batman serial chapter, and a Kate Smith musical.

Museum

Gary Lassin opened the Stoogeum in 2004 in a renovated architect's office in Spring House, Pennsylvania, 25 miles (40 kilometers) north of Philadelphia. The museum-quality exhibits fill three stories (10,000 square feet or 929 square meters), including an 85-seat theater. Peter Seely, editor of the book Stoogeology: Essays on the Three Stooges said that the Stoogeum has "more stuff than I even imagined existed." 2,500 people visit it yearly, many during the annual Three Stooges Fan Club gathering in April.

In other media

Comic books

Over the years, several Three Stooges comics were produced.

St. John Publications published the first Three Stooges comics in 1949 with 2 issues, then again in 1953–54 with 7 issues.

Dell Comics published a Three Stooges series first as one-shots in their Four Color Comics line for five issues, then gave them a numbered series for four more issues (#6–9). With #10, the title would be published by Gold Key Comics. Under Gold Key, the series lasted through issue #55 in 1972.

Gold Key Comics then published the Little Stooges series (7 issues, 1972–74) with story and art by Norman Maurer, Moe's son-in-law. This series featured the adventures of three fictional sons of the Three Stooges, as sort of modern-day teen-age versions of the characters.

Eclipse Comics published the Three-D Three Stooges series (3 issues, 1986–1987) which reprinted stories from the St. John Publications series.

Malibu Comics did a couple of one-shot comics, reprinting stories from the Gold Key Comics in 1989 and 1991.

Music

Beginning in 1959, the Three Stooges began to appear in a series of novelty records. Their first recording was a 45 rpm single of the title song from Have Rocket, Will Travel. The trio released additional singles and LPs on the Golden and Coral labels, mixing comedy adventure albums and off-beat renditions of children's songs. Their final recording was the 1966 Yogi Bear and the Three Stooges Meet the Mad, Mad, Mad Dr. No-No, which incorporated the Three Stooges into the cast of the Yogi Bear cartoons.

The Stooges are referenced in the video for Weird Al Yankovic's Like a Surgeon with a hospital PA system asked for "Dr. Howard, Dr. Fine, Dr. Howard."

Radio

Sirius XM Radio aired a special about the Stooges hosted by Tom Bergeron on Friday, July 31, 2009, at 2:00PM on the Sirius Howard 101 channel. Bergeron had conducted the interviews at the age of 17 back when he was still in high school in 1971. The television host had the tapes in storage for many years and was convinced on air during a Howard Stern Radio interview to bring them in and turn it into a special show by Howard Stern himself, upon learning how much of a fan Bergeron was of the Three Stooges, as is he. Bergeron agreed.

After finding "the lost tapes," Bergeron brought them into Howard Stern's production studio. He stated that the tapes were so old that the tapes with the Larry Fine interviews began to shred as Howard Stern's radio engineers ran them through their cart players. They only really had the one shot, and fortunately for Three Stooges fans, the tapes were saved.

"The Lost Stooges Tapes" were hosted by Tom Bergeron with modern commentary on the almost 40 year old interviews that he had conducted with Larry Fine and Moe Howard. At the times of these interviews, Moe was still living at home and Larry had suffered a stroke and was living in a Senior Citizen's home.

Television

In addition to the unsuccessful television series pilot Jerks of All Trades (see "History", above) and the incomplete Kook's Tour, the Stooges appeared in a show called The New Three Stooges which ran from 1965 to 1966. This series featured a mix of thirty-nine live-action segments which were used as wraparounds to 156 animated Stooges shorts. That cartoon program became the only regularly scheduled television show in history for the Stooges. Unlike other films shorts that aired on TV like the Looney Tunes, Tom and Jerry, and Popeye, the film shorts of the Stooges never had a regularly scheduled national television program to air in, neither on network nor syndicated. When Columbia/Screen Gems licensed the film library to television, the shorts aired in any fashion the local stations chose (examples: late-night "filler" material between the end of the late movie and the channel's sign-off time; in "marathon" sessions running shorts back-to-back for one, one-and-a-half, or two hours; etc.)

Two episodes of Hanna-Barbera's The New Scooby-Doo Movies aired on CBS featuring animated Stooges as guest stars: the premiere, "Ghastly Ghost Town" (September 9, 1972) and "The Ghost of the Red Baron" (November 18, 1972). There also was a short-lived animated series, also produced by Hanna-Barbera, titled The Robonic Stooges, originally seen as a featured segment on The Skatebirds (CBS, 1977–1978), featuring Moe, Larry, and Curly (voiced by Paul Winchell, Joe Baker and Frank Welker, respectively) as bionic cartoon superheroes with extendable limbs, similar to the later Inspector Gadget. The Robonic Stooges later aired as a separate half-hour series, retitled The Three Robonic Stooges (each half-hour featured two segments of The Three Robonic Stooges and one segment of Woofer And Whimper, Dog Detectives, the latter re-edited from episodes of Clue Club, an earlier Hanna-Barbera cartoon series). There are also many Stooges references in the sitcom ALF.

In the episode "Beware The Creeper" of The New Batman Adventures. the Joker retreats to his hide-out after a quick fight with Batman. He yells out for his three henchmen "Moe? Larr? Cur?" only to find that they are not there. Shortly after that, Batman comes across these three goons in a pool hall; they have distinctive accents and hair styles similar to those of Moe, Larry, and Curly. These henchmen are briefly seen throughout the rest of the season.

2000 television film

In spring of 2000, longtime Stooge fan Mel Gibson executive-produced a TV movie (The Three Stooges) about the lives and careers of the comedians. Playing Moe was Paul Ben-Victor; Evan Handler was Larry; John Kassir was Shemp; and Michael Chiklis was Curly. It was filmed in Sydney, Australia and was produced for and broadcast on ABC. It was based on Michael Fleming's authorized biography of the Stooges, The Three Stooges: From Amalgamated Morons to American Icons. Its unflattering portrayal of Ted Healy led Healy's son to give media interviews calling the film inaccurate. Additional errors of fact included the hints that Moe Howard was down on his luck later in life, and worked as a gofer at the studio where he and his brothers had formerly worked as actors, and that he never owned his own house. In reality, Moe was the most careful with his money, which he invested well. He and his wife Helen owned the comfortable house in Toluca Lake in which they raised their children.

The film regularly runs on the American Movie Classics (AMC) channel.

Feature film revival

A film about the Three Stooges, simply titled The Three Stooges, is currently in development with 20th Century Fox and will be directed by the Farrelly Brothers. The film has been in what one critic has dubbed "development hell". The Farrellys, who have wanted to make this film since 1996, have said that they were not going to do a biopic or remake, but instead new Three Stooges episodes set in the present day. The plot of the episodes is said to be an adventure that revolves around the Stooges characters.

The studio has had a difficult time putting together a cast to play the Three Stooges. Originally slated were Sean Penn to play Larry, Benicio del Toro to play Moe and Jim Carrey to play Curly. Both Sean Penn and Benicio del Toro left the project but returned while no official confirmation has been made about Jim Carrey. When del Toro was interviewed on MTV News for The Wolfman, he spoke about playing Moe. He was later asked who was going to play Larry and Curly in the film and commented that he still thought that Sean Penn and Jim Carrey were going to play them, though he added "Nothing is for sure yet." A story in the Hollywood Reporter stated that Will Sasso will play Curly in the upcoming comedy and that Hank Azaria is the front runner to play Moe. Sean Hayes of Will & Grace fame has officially been cast as Larry Fine, while Chris Diamantopoulos was cast as Moe. On April 27, Jane Lynch joined the cast; she will be playing a nun.

Video games

In 1984 Gottlieb released an arcade game featuring the Stooges trying to find three kidnapped brides. Later in 1987, game developers Cinemaware released a successful Three Stooges computer game, available for Apple IIGS, Amiga, Commodore 64, MS-DOS, and Nintendo Entertainment System (NES). Based on the Stooges earning money by doing odd jobs to prevent the foreclosure of an orphanage, it incorporated audio from the original films and was popular enough to be reissued for the Game Boy Advance in 2002, as well as for PlayStation in 2004.

In foreign languages

In most other languages, the Three Stooges are known by their English name. However, in Chinese, the trio is known as Sānge Chòu Píjiàng (三個臭皮匠) or Huóbǎo Sānrénzǔ (活寶三人組). Sānge Chòu Píjiàng, literally "Three Smelly Shoemakers", derives from a saying in the Romance of the Three Kingdoms: Sāngè chòu píjiàng shèngguò yīgè Zhūgě Liàng (三個臭皮匠，勝過一個諸葛亮) or "Three smelly shoemakers (are enough to) overcome one Zhuge Liang [a hero of the story]", i.e. three inferior people can overpower a superior person when they combine their strength. Huóbǎo Sānrénzǔ translates as "Trio of Buffoons".

In Japanese they are known as San Baka Taishō (三馬鹿大将) meaning "Three Idiot Generals" or "Three Baka Generals". The Japanese term baka (馬鹿, "fool" or "idiot", lit. "horse deer") is associated with the Chinese idiom zhǐlù wéimǎ (指鹿為馬; lit. "point at a deer and call it a horse", in Japanese shika o sashite uma to nasu [鹿を指して馬と為す]) meaning "deliberate misrepresentation for ulterior purposes". In Spanish they are known as Los tres chiflados or, roughly, "The Three Crackpots". In French and German usage, the name of the trio is partially translated as Les Trois Stooges and Die drei Stooges respectively. In Thai, the trio is known as 3 สมุนจอมป่วน (3 Samunčhǭmpūan; ) or 3 พี่น้องจอมยุ่ง (Phīnǭngčhǭmyung; ). In Portuguese, they are known as Os Três Patetas in Brazil, and Os Três Estarolas in Portugal, being "estarola" a direct translation to "stooge", while "pateta" being more related to "goofy".

See also

The Three Stooges in popular culture

References

;Notes

;Bibliography

Besser, Joe (with Lenburg, Jeff, and Lenburg, Greg), Not Just a Stooge (1984) Excelsior Books, Inc. (reissued 1987 as Once a Stooge, Always a Stooge) Roundtable Publications (Autobiography of Joe Besser, including anecdotes about Abbott and Costello and Olsen and Johnson)

Bruskin, David N., Behind the Three Stooges: The White Brothers: Conversations with David N. Bruskin (1993) Directors Guild of America (In-depth interviews with producer-directors Jules White, Jack White, and Sam White)

Comedy III Productions, Inc., Pop, You’re "Poifect!": A Three Stooges Salute to Dad (2002) Andrews McMeel

Cox, Steve and Terry, Jim, One Fine Stooge: Larry Fine's Frizzy Life in Pictures (2005) Cumberland House Publishing

Davis, Lon and Davis, Debra (eds.), Stooges Among Us (2008) BearManor Media ISBN 1-59393-300-2

Feinberg, Morris, Larry: The Stooge in the Middle (1984) Last Gasp of San Francisco (Biography of Larry Fine, attributed to his brother but actually ghostwritten by Bob Davis)

Fericano, Paul, Stoogism Anthology (1977) Poor Souls Printing

Fine, Larry (with Carone, James), Stroke of Luck (1973) Siena Publishing Co. (Larry Fine's autobiography, transcribed from interviews toward the end of his life)

Flanagan, Bill, Last of the Moe Haircuts (1986) McGraw-Hill/Contemporary Books, Inc.

Fleming, Michael, The Three Stooges: An Illustrated History, from Amalgamated Morons to American Icons (2002) Broadway Publishing

Forrester, Jeffrey, The Stoogephile Trivia Book (1982) Contemporary Books, Inc.

Forrester, Jeffrey, The Stooges Chronicles (1981) Contemporary Books, Inc. (Comprehensive overview of the team's career; also discusses the various Ted Healy stooges)

Forrester, Jeffrey, and Forrester, Tom, The Stooges' Lost Episodes (1988) Contemporary Books, Inc. (Discussion of obscure Stooges appearances, including solo films by individual Stooges)

Forrester, Jeff, with Forrester, Tom, and Wallison, Joe, The Three Stooges: The Triumphs and Tragedies of the Most Popular Comedy Team of All Time (2004) Donaldson Books (Revised, updated edition of The Stooges Chronicles)

Garner, Paul, Mousie Garner: Autobiography of a Vaudeville Stooge (1999) McFarland & Co.

Hansen, Tom and Forrester, Jeffrey, Stoogemania: An Extravaganza of Stooge Photos, Puzzles, Trivia, Collectibles and More (1984) Contemporary Books, Inc. (Overview of Three Stooges memorabilia)

Howard, Moe, Moe Howard and the Three Stooges (1977) Citadel Press (Moe Howard's autobiography, completed and released posthumously by his daughter)

Koceimba, Bill, with Kaufman, Eric A., and Sack, Steve, The Three Stooges Golf Spoof and Trivia Book (1999) Gazelle, Inc.

Kurson, Robert, The Official Three Stooges Encyclopedia: The Ultimate Knucklehead's Guide to Stoogedom, from Amalgamated Association of Morons to Ziller, Zeller, and Zoller (1999) McGraw-Hill

Kurson, Robert, The Official Three Stooges Cookbook (1998) Contemporary Books, Inc.

Lenburg, Jeff, with Maurer, Joan Howard, and Lenburg, Greg, The Three Stooges Scrapbook (1982, revised 1994, 2000) Citadel Press

Longley, Maximillian, The Conservative In Spite of Himself: A Reluctant Right-Winger's Thoughts on Life, Law and the Three Stooges (2007) Monograph Publishers

Maltin, Leonard, The Great Movie Comedians (1978) Crown Books

Maltin, Leonard, Movie Comedy Teams (1970, revised 1985) New American Library

Maltin, Leonard, Selected Short Subjects (first published as The Great Movie Shorts, 1972) Crown Books, (revised 1983) Da Capo Press

McGarry, Annie, The Wacky World of the Three Stooges (1992) Crescent Books

Maurer, Joan Howard, Curly: An Illustrated Biography of the Superstooge (1985, revised 1988) Citadel Press

Maurer, Joan Howard (ed.), The Three Stooges Book of Scripts (1984) Citadel Press

Maurer, Joan Howard and Maurer, Norman (eds.), The Three Stooges Book of Scripts, Volume II (1987) Citadel Press

Okuda, Ted and Watz, Edward, The Columbia Comedy Shorts (1998) McFarland & Co. (Comprehensive history of the Columbia short subject department; Stooge colleagues Edward Bernds and Emil Sitka are quoted extensively)

Seely, Peter and Pieper, Gail W., Stoogeology: Essays on the Three Stooges (2007) McFarland & Co.

Smith, Ronald L., The Stooge Fans' I.Q. Test (1988) Contemporary Books, Inc.

Solomon, Jon, ''The Complete Three Stooges: The Official Filmography and Three Stooges Companion'’ (2000) Comedy III Productions

External links

Three Stooges Online Filmography at threestooges.net

The Three Stooges Official Website (sanctioned by C3 Entertainment, Inc. - threestooges.com)

The Stoogeum (Three Stooges Museum) – stoogeum.com

Portrait (2009) of The Three Stooges (with Shemp) by noted illustrator Drew Friedman

Interview with Moe Howard on new success with the younger generation from the Ocala Star-Banner – Feb 22, 1959 accessed via Google News

Category:Television series by Sony Pictures Television Category:1925 introductions Category:Jewish comedy and humor Category:The Three Stooges films Category:Pie throwing Category:Slapstick comedians Category:Gold Key Comics titles Category:Dell Comics titles Category:Jewish comedians

de:The Three Stooges es:Los tres chiflados fr:Les Trois Stooges gl:The Three Stooges id:The Three Stooges it:Three Stooges kn:ದ ಥ್ರೀ ಸ್ಟೂಜಸ್ lb:Three Stooges nl:Three Stooges ja:三ばか大将 pt:Three Stooges sq:The Three Stooges simple:The Three Stooges sh:Three Stooges fi:The Three Stooges sv:The Three Stooges tl:Three Stooges th:3 สมุนจอมป่วน zh:三個臭皮匠

Ninón Sevilla (born November 10, 1921) is a Mexican and Cuban film actress and dancer who was active during the Golden age of Mexican cinema. She was considered one of the greatest Cuban stars and the queen of the "rumberas film".

Career

Ninón Sevilla was born in Cuba and raised by an aunt in the populous Centro Habana sector. She was graced with feline features, wonderful legs and exceptional vitality. She successfully danced her way through Havana night clubs and cabarets, and arrived in Mexico in 1945, where she made her film debut. Although she had already imposed her eccentric attires and hairdos, it was her association with filmmaker Alberto Gout that determined the creation of her erotic film persona. She rapidly became the icon of the rumbera, an archetype of the Mexican film musicals, a "bad girl" who is dignified by dancing. Ninon was embraced by the best of the Mexican art community and was frequently associated with the great Mexican Artists reflecting the convergence of the characters of art and cinema. Ninón became an erotic myth and a superstar, working with the best talent in the film industry (Emilio Fernández, Pedro Armendáriz, Gabriel Figueroa, Agustín Lara, José Revueltas), in the biggest sound stages at Churubusco, choreographing her own complicated numbers, often in costumes by Gerardo Velazques Delgado a well known personailty within cinema and art. Ninon's fame reached such non-Spanish speaking markets, as Brazil and France. She was also among the first to introduce traces of the santería rites in her dances, and to acknowledge the presence of African elements in the Caribbean cultures in her films' stories. With the decline of Mexican cinema in the 50s, Ninón Sevilla retired, but she made a successful comeback in 1980, with "Noche de carnaval", winning the top Mexican award for an actress for the first time in her career.

She is considered as one of the greatest Rumba dancers of the Mexican cinema along with superstars Meche Barba, Rosa Carmina, Amalia Aguilar and Maria Antonieta Pons, frequently referred to as the Tropical Queens.

Her most popular films are Aventurera (1950), Perdída (1950), Víctimas del Pecado (1951), Sensualidad (1951) and many more.

She continues her career until today, in the Mexican telenovelas.

Filmography (selected)

Carita de Cielo (1946)

Pecadora (1947)

Señora Tentación (1948)

Revancha (1949)

Coqueta (1949)

Perdida (1950)

Aventurera (1950)

Victimas del Pecado (1951)

Sensualidad (1951)

No niego mi pasado (1952)

Llevame en tus brazos (1953)

Mulata (1954)

Yambao (1957)

Mujeres de Fuego (1959)

Zarzuela 1900 (1959)

Noche de Carnaval (1983)

TV

Juicio de Almas (1964)

Rosa Salvaje (1987)

Yo no creo en los hombres (1989)

Las Secretas Intenciones (1993)

María la del Barrio (1995)

La Usurpadora (1998)

Rosalinda (1999)

Tres Mujeres (1999)

El precio de tu amor (2000)

Entre el amor y el odio (2002)

Amarte es mi pecado (2003)

Central de Abasto (2008)

External links

Bibliography

Category:1926 births Category:Mexican actors Category:Mexican film actors Category:Mexican television actors Category:Cuban actors Category:Cuban film actors Category:Ariel Award winners Category:Living people

bg:Нинон Севиля es:Ninón Sevilla fr:Ninón Sevilla gl:Ninón Sevilla pt:Ninón Sevilla tl:Ninón Sevilla