"Basta Ya!" (English: "Enough!") is a song by Puerto Rican singer Olga Tan from her fourth studio album, Nuevos Senderos (1996). The song was written and produced by Marco Antonio Sols. It was released as the lead single from the album in 1996. "A ballad, the song is about unrequited love and marked a musical departure from Tan's merengue recordings. The song was nominated for Pop Song of the Year at the 1997 Lo Nuestro Awards. Commercially, it topped both the Billboard Hot Latin Songs and Latin Pop Airplay charts in the United States. A music video for the song was filmed and features a couple's failing relationship.

"Basta Ya!" was later covered by both Conjunto Primavera in 2007 and by American singer Jenni Rivera. Conjunto Primavera's version also topped the Hot Latin Songs chart as well as the Regional Mexican Airplay chart in the US. Rivera recorded a pop and banda rendition of the song for her 12th and final studio albums, Joyas Prestadas (2011) with Sols performing alongside her. She recorded a music video for her cover in Los Angeles, California. In Mexico, her version topped the Monitor Latino chart and reached three on the Billboard Mexican Airplay, while it peaked at number 14 and number six on the Hot Latin Songs and Regional Mexican Airplay charts in the US, respectively. Sols was presented with the ASCAP Latin Award in both 2008 and 2012 for the respective cover versions.

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Since 1992, Tan launched her solo career as a merengue singer. She released three studio albums: Sola (1992), Mujer de Fuego (1993), Siente el Amor (1994), the latter of which became the most successful, reaching the top five on the Billboard Top Latin Albums chart in the United States.[1] In November 1995, Tan announced that she had finished recording an album of ballads with Mexican singer-songwriter Marco Antonio Sols, the former lead vocalist of Los Bukis, producing it and composing all but one of the tracks.[2] The album's title, Nuevos Senderos, was announced a month later.[3] According to Tan, she wanted to record an album of ballads because of her originally performing under that genre prior to singing merengue as well as a desire to collaborate with Sols.[4] Nuevos Senderos was recorded in Sols's recording studio, Marco Musical Estudio, in Mexico City, Mexico, and released in April 1996.[5][6] One of the songs Sols wrote and composed for the album was "Basta Ya!", a ballad that tells of a "soaring story of unrequited love".[7]

"Basta Ya!" was released as the lead single from the album in 1996.[8] A music video was made for the song, which shows a couple's relationship deteriorating before the lead actress leaves her lover.[9] The Dallas Morning News critic Mario Tarradell felt that the song "summarizes" Tan's "creative departure in four minutes".[7] At the 9th Annual Lo Nuestro Awards in 1997, it was nominated in the category of Pop Song of the Year,[10] but lost to "Experiencia Religiosa" by Enrique Iglesias.[11] A live version of the track was recorded for Tan's album Olga Viva, Viva Olga (1999).[12] In the US, "Basta Ya!" reached the top of the Billboard Hot Latin Songs and Latin Pop Airplay charts.[13][14]

Mexican norteo-sax band Conjunto Primavera covered "Basta Ya!" on their studio album El Amor Que Nunca Fue (2007) as a polka ranchera song.[15] Their version also topped the Hot Latin Songs chart as well as the Regional Mexican Airplay chart in the US.[16][17] On the 2007 year-end charts, it ended as the sixth best-performing song of the year on the Hot Latin Songs chart and number seven on the Regional Mexican Airplay chart.[18][19] Conjunto Primavera delivered a performance of the song during 2008 in Chihuahua, Mexico, which was later released on their live album En Vivo (2010).[20]

Mexican-American singer Jenni Rivera's rendition of"Basta Ya!" was recorded for her 12th and final studio albums Joyas Prestadas: Pop and Joyas Prestadas: Banda (2011).[21] She recorded a slow pop ballad version and slow banda ballad for each album, respectively.[22] Sols performs as a background vocalist and is credited as a featured artist for the track.[21] Both versions of "Basta Ya!" were released as the lead single from the albums on August 29, 2011.[23]

This wiki is curated for its dark theme. Please use the wiki's dark theme for a better experience if you are willing.

The Maras Wiki is a bilingual collaborative wiki regarding the American pop band of the same name.

At the top of each article, you may change the language you wish to read it in by clicking on the text reading "English" (for English) or "Espaol" (for Spanish).

Este wiki est seleccionada por su tema oscuro. Utilice el tema oscuro de la wiki para una mejor experiencia si est dispuesto.

The Maras Wiki es un wiki colaborativo bilinge sobre la banda de pop estadounidense del mismo nombre.

En la parte superior de cada artculo, puede cambiar el idioma en el que desea leerlo haciendo clic en el texto que dice "English" (para ingls) o "Espaol" (para espaol).

As for many early songs by Mara and Josh, "Basta Ya" began as a pitch for filmography.[1] Unfortunately, the song was eventually rejected. Because of this, however, it was developed into an aesthetic fit for Superclean, Vol. I.

The theme of "Basta Ya" revolves around love, longing, and emotional turmoil within a romantic relationship. The lyrics depict a plea for commitment and emotional connection, as the singer urges their partner to return home and stay together until the end. Throughout the verses and chorus, there is a sense of desperation and intense emotion, with the repetition of "basta ya," indicating a breaking point. The bridge delves deeper into the complexity of emotions, expressing a mixture of love, pain, and acceptance despite the difficulties faced. Overall, the song explores the highs and lows of love, portraying the universal experiences of desire, affection, and heartache.[all conjecture]

Johnny Cash was one of those rarest of things: an artist who managed to crossover into all walks of life, somehow meaning something to almost everyone. It's something even rarer still for a country singer.

The spoken word song recounts a conversation between Cash and an elderly gentleman in a town square somewhere. As they look up at an American flag flying, they run through everything that this symbol of US history has had to go through over time.

Released in 1958 as the first single from The Fabulous Johnny Cash, this booming gunfighter ballad tells the story of a young cowboy named Billy Joe who, despite his mother advising him not to, leaves his farm for a night out on the town and takes his guns with him. As is often the case, his mother was right, and he gets into a gunfight at a saloon and ends up being shot and killed.

Written by Billy Edd Wheeler and Jerry Leiber, this feisty duet had already been a hit for Lee Hazelwood and Nancy Sinatra in 1967. Johnny Cash and June Carter took it to the no. 2 spot that same year and won a Grammy award with it a year later.

The tale of a married couple who got hitched too hastily and now daydream about going to the mythic town of Jackson to get away from each other, the song originally ended with the first verse before Wheeler suggested to Leiber that they start the song with it instead.

Never afraid to align himself with the marginalised and the unsung, Cash released a whole album of songs, Bitter Tears: Ballads Of The American Indian, about the harsh and unfair treatment of the indigenous people of North America in 1964.

This song, written by folk singer Peter La Farge, tells the story of Ira Hayes, one of six US marines who became famous for raising the flag on Iwo Jima in World War II, only to return home to American soil after the war to be treated with contempt and rejection by society.

Recorded in Sun Studios in Memphis and produced by Sam Phillips, Cash opened almost all of his concerts with the song, including the show he recorded in Folsom Prison itself, where he gets the loudest cheer of the night for the line, I shot a man in Reno, just to watch him die".

Cash was suffering from autonomic neuropathy brought on by diabetes by the time he recorded the song, and his health was visibly failing. The accompanying video, directed by Mark Romanek, featured a noticeably frail Cash performing the song in the derelict House Of Cash museum, surrounded by his memories, with June Carter Cash watching over him.

"I keep a close watch on this heart of mine," sings Cash in one of his most well-loved songs; a hopeful promise to remain faithful to his first wife, Vivian, while he was on the road, trying to avoid the temptations of a touring musician.

Originally released in 1956 on Sun Records, it went on to become his first country no. 1 single and even managed to make a dent on the pop charts. The song provided the title for the Johnny Cash and June Carter biopic starring Reese Witherspoon and Joaquin Phoenix as the star-crossed country lovers.

Sponges often exhibit tissue regression in response to stressful conditions. This study investigated whether handling stress invoked tissue regression in Ianthella basta and assessed whether sponges could recover from this regressed tissue state. Six necrotic specimens and 12 healthy explants were collected at Orpheus Is. Australia and transported to aquarium facilities. Sponges were photographed daily and an integrated density (ID) measurement was used to quantify tissue regression. Histological samples were taken from sponge explants to compare cellular organization. Bacterial communities of regressed and recovered tissue were compared using Denaturing Gradient Gel Electrophoresis (DGGE). After 12 h both necrotic and healthy sponges displayed substantial tissue regression. However, within 72 h all sponges recovered to their original condition. The ID of the sponge tissue doubled, confirming tissue recovery in I. basta. Sponges affected by tissue regression had significantly fewer choanocyte chambers and more densely packed granulated cells than recovered sponges. DGGE revealed the same microbial symbionts in both regressed and recovered sponges. Handling stress associated with collection and transportation is sufficient to invoke tissue regression in this species, but sponges can rapidly recover. This study contributes to our understanding of how sponges respond to environmental pressures, influencing population resilience and persistence. 152ee80cbc

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