This does not take into account internal migrations within a country, which are also important processes. It is estimated that in 2010 approximately 214 million people lived in a location other than their country of origin, which corresponds to approximately 3% of the human population. We suggest that, depending on the specific context and conditions of migration, different processes that determine the use and/or selection of plants as herbal medicines may become predominant.

We considered the importance of two processes: (1) adaptation to the new flora of the host country (i.e., substitution and incorporation of plants in the pharmacopoeia) and (2) continued use and acquisition of the original flora from migrants' home countries (i.e., importation, cultivation, and/or continued use of plants that grow in both host and home environments). BachataРІР‚в„ўs audience, however, continues to resist a direct fusion of bachata with balada, as evidenced by the extremely disappointing performance of FerreiraРІР‚в„ўs РІР‚СљAdiosРІР‚Сњ, an album in which he attempted to dress bachata up with traditional balada adornments like a synthesized string section.Given the importance of studying the knowledge, beliefs, and practices of migrant communities to understand the dynamics of plant resource use, we reviewed the scientific literature concerning the use of medicinal plants by migrant populations engaged in international or long-distance migrations. Reyes has even recorded some of his songs as baladas, as have Antony Santosand RaulР“Вn Rodriguez, further obscuring the differences between the two genres. Two of the most successful interpreters of this style of bachata have been Frank Reyes and Zacarias Ferreira. Many bachaterosРІР‚в„ў songs deal with one theme and one theme only-love, often unrequited. With the influence of bachateros like Veras, bachata had become essentially a romantic music by the end of the 1990s. VerasРІР‚в„ў style of playing the guitar also differed considerably from the frontier bachaterosРІР‚в„ў style, and in his third production his recording of Camilo SestoРІР‚в„ўs РІР‚СљNecesito saberРІР‚Сњ demonstrated the importance of balada to VerasРІР‚в„ў work. His lyrics, while displaying the street savvy which bachateros had always laid claim to, were more carefully constructed and showed a more middle-class aesthetic. Veras is the author of the majority of his songs. Veras sang in a soft voice which contrasted with the traditional, almost mournful style of singing bachata which had been popularized by Luis Segura. In the middle of the 1990s bachata took another turn towards romanticism with the rise of Joe Veras. The requinto had become a percussion instrument. During the 1970s, the lead guitar in arrangements by Edilio Paredes and Augusto Santos had been busy answering the singer, echoing the singer, and indicating harmonic changes ReyesРІР‚в„ў arrangements were among the first to contain a simple, rhythmic arpeggio pattern while the singer was singing, a pattern which remains standard in bachata to this day. The style of the arrangements, too, continued the process of simplification which had begun with Blas DurР“РЋn and continued through Antony Santos, Luis Vargas and RaulР“Вn Rodriguez. The songs in РІР‚СљEl Cieguito SabioРІР‚Сњ, however, while certainly cabaret bachata in many cases, were romantic enough and melodic enough to touch a nerve in segments of society which had never before been willing to accept bachata. Reyes had been singing and composing bachata for many years, and had written some of the most brazen doble sentido songs ever recorded. It was probably with Teodoro ReyesРІР‚в„ў album, РІР‚СљEl Cieguito SabioРІР‚Сњ, in 1992, that the Dominican middle class began to accept genuine (as opposed to РІР‚Сљtecno-РІР‚Сљ) bachata as its own, both in the Dominican Republic and in New York. The musicРІР‚в„ўs audience grew as well, and with each step towards a larger market the genre moved away from the cabaret and doble sentido styles which had been so important in consolidating it. The frontier bachateros, with Antony Santos at their head, continued to enjoy success throughout the 1990s, and bachata continued to become both simpler and more romantic than it had been previously.

Discografia de antony santos 2012