Hacienda (UK /ˌhæsiˈɛndə/ or US /ˌhɑːsiˈɛndə/; Spanish: [aˈsjenda]) is a Spanish word for an estate. Some haciendas were plantations, mines or factories. Many haciendas combined these productive activities.
The term hacienda is imprecise, but usually refers to landed estates of significant size. Smaller holdings were termed estancias or ranchos that were owned almost exclusively by Spaniards and criollos and in rare cases by mixed-race individuals. In Argentina, the term estancia is used for large estates that in Mexico would be termed haciendas. In recent decades, the term has been used in the United States to refer to an architectural style associated with the earlier estate manor houses.
The hacienda system of Argentina, Bolivia, Chile, Colombia, Ecuador, Mexico, New Granada and Peru was a system of large land holdings. A similar system existed on a smaller scale in the Philippines and Puerto Rico.
The Haçienda was a nightclub and music venue in Manchester, England, which became famous in the Madchester years of the late 1980s and early 1990s. The Haçienda opened in 1982, and despite considerable and persistent financial troubles survived until 1997 – the club was mainly supported by record sales from New Order. The Haçienda is associated with the rise of acid house and rave music.
The former warehouse occupied by the club was at 11-13, Whitworth Street West on the south side of the Rochdale Canal: the frontage was curved and built of red brick. Before it was turned into a club, the Haçienda was a yacht builder's shop and warehouse before becoming a Bollywood cinema in the 1970s, showing films to the local Asian community.
Originally conceived by Rob Gretton, it was largely financed by the record label Factory Records and the band New Order along with label boss Tony Wilson. It was on the corner of Whitworth Street West and Albion Street, close to Castlefield, in the centre of the city. FAC 51 was its official designation in the Factory catalogue. New Order and Tony Wilson were directors of the club.
The Hacienda Resort Hotel and Casino was a hotel and casino on the Las Vegas Strip in Paradise, Nevada, that operated from 1956 to 1996. It was one of a chain of four Hacienda properties, with the other three being located in Fresno, Bakersfield, and Indio, California. Each Hacienda featured a distinctive horse and rider sign; the Las Vegas sign is now prominently displayed at the Neon Museum.
Located by itself on the far south end of the Las Vegas Strip, it was the first resort seen by tourists driving up from California. Since it was so far from the other resorts at the time, many people who stayed at the Hacienda would not go elsewhere. The Hacienda was also located close to McCarran International Airport, and at one point they had their own airline, Hacienda Airlines, to fly in gamblers from all over America. The Hacienda was known for their inexpensive, all-inclusive junkets marketed to American Midwestern retirees.
Work on the Lady Luck Hotel had begun by 1953. Before construction reached the halfway mark, the projects' financing fell apart, and management was denied a gaming license by state regulators. One of the investors, Warren "Doc" Bayley, a travel columnist and owner of the Hacienda Motel in Fresno, stepped in to take over, agreeing to lease the property for $55,000 per month for 15 years. He changed the name from Lady Luck to Hacienda.
Domingo may refer to:
Domingo (Sunday) is the eighth studio album released by Brazilian rock band Titãs. The album became a gold record in Brazil. It is the second Titãs album produced by Jack Endino, and his favorite of Titãs. About the creation of the album, he commented:
The album's title-track was released as its only single, the band's tenth single, in 1995. The song later appeared as an acoustic version on the Volume Dois album.
Domingo Padilla, better known as Domingo, is a producer from New York of Latin origin. He has produced for some of hip hop's most respected and well-known artists. He is closely associated with Kool G Rap.
Domingo is one of the most prominent Hip Hop producers to ever come from East New York, Brooklyn. He has been producing professionally since the age of 17 when hip hop legend/producer Marley Marl took him under his production company “The House of Hits” and mentored Domingo to be who he is today.
In 1997 with the release of the critically acclaimed KRS-One album I Got Next, Domingo accomplished the accolades of gaining his first Gold record from the successful sales of the album. The album went on to sell well over 650,000 copies worldwide.
In 1998 Domingo had a further accomplishment of gaining his first Platinum record from the sales on the Big Pun Capital Punishment album. In the same year Domingo was nominated for both American and Latin Grammys for his production work on the Big Pun album. This classic album sold 2.3 Million copies worldwide.
The Japanese language uses a broad array of honorific suffixes for addressing or referring to people. These honorifics attach to the end of people's names, as in Aman-san where the honorific -san was attached to the name Aman. These honorifics are often gender-neutral, but some imply a more feminine context (such as -chan) while others imply a more masculine one (such as -kun).
These honorifics are often used along with other forms of Japanese honorific speech, keigo, such as that used in conjugating verbs.
Although honorifics are not part of the basic grammar of the Japanese language, they are a fundamental part of the sociolinguistics of Japanese, and proper use is essential to proficient and appropriate speech. Significantly, referring to oneself using an honorific, or dropping an honorific when it is required, is a serious faux pas, in either case coming across as clumsy or arrogant.
They can be applied to either the first or last name depending on which is given. In situations where both the first and last names are spoken, the suffix is attached to whichever comes last in the word order.