The city is colloquially known as Chilangolandia after the locals' nickname chilangos. Chilango is used pejoratively by people living outside Mexico City to "connote a loud, arrogant, ill-mannered, loutish person". For their part those living in Mexico City designate insultingly those who live elsewhere as living in la provincia ("the provinces", the periphery) and many proudly embrace the term chilango. Residents of Mexico City are more recently called defeños (deriving from the postal abbreviation of the Federal District in Spanish: D.F., which is read "De-Efe"). They are formally called capitalinos (in reference to the city being the capital of the country), but "[p]erhaps because capitalino is the more polite, specific, and correct word, it is almost never utilized".
How do Mexicans take being called "chilangos?"
proudly

The introduction of new or equivalent deities coincided with Rome's most significant aggressive and defensive military forays. In 206 BC the Sibylline books commended the introduction of cult to the aniconic Magna Mater (Great Mother) from Pessinus, installed on the Palatine in 191 BC. The mystery cult to Bacchus followed; it was suppressed as subversive and unruly by decree of the Senate in 186 BC. Greek deities were brought within the sacred pomerium: temples were dedicated to Juventas (Hebe) in 191 BC, Diana (Artemis) in 179 BC, Mars (Ares) in 138 BC), and to Bona Dea, equivalent to Fauna, the female counterpart of the rural Faunus, supplemented by the Greek goddess Damia. Further Greek influences on cult images and types represented the Roman Penates as forms of the Greek Dioscuri. The military-political adventurers of the Later Republic introduced the Phrygian goddess Ma (identified with Roman Bellona, the Egyptian mystery-goddess Isis and Persian Mithras.)
What cult appeared from Pessinus in 206 BC?
Magna Mater

The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".
Why did post-punk fall out of love with punk?
commercial formula, rock convention and self-parody