Problem: Indigenous peoples of Mexico (Spanish: pueblos indigenas de Mexico), Native Mexicans (Spanish: nativos mexicanos), or Mexican Native Americans (Spanish: nativo america mexicanos), are those who are part of communities that trace their roots back to populations and communities that existed in what is now Mexico prior to the arrival of Europeans. According to the National Commission for the Development of Indigenous Peoples (Comision Nacional para el Desarrollo de los Pueblos Indigenas, or CDI in Spanish) and the INEGI (official census institute), in 2015, 25,694,928 people in Mexico self-identify as being indigenous of many different ethnic groups, which constitute 21.5% of Mexico's population.

Generally, indigenous Mexicans live more poorly than non-indigenous Mexicans however, social development varies between states, different indigenous ethnicities and between rural and urban areas. In all states indigenous people have higher infant mortality, in some states almost double of the non-indigenous populations. Some indigenous groups, particularly the Yucatec Maya in the Yucatan peninsula and some of the Nahua and Otomi peoples in central states have maintained higher levels of development while indigenous peoples in states such as the Guerrero or Michoacan are ranked drastically lower than the average Mexican citizen in these fields. Despite certain indigenous groups such as the Maya or Nahua retaining high levels of development, the general indigenous population lives at a lower level of development than the general population. Literacy rates are much lower for the indigenous, particularly in the southwestern states of Guerrero and Oaxaca due lack of access to education and a lack of the educational literature available in indigenous languages. Literacy rates are also much lower, with 27% of indigenous children between 6 and 14 being illiterate compared to a national average of 12%. The Mexican government is obligated to provide education in indigenous languages, but many times fails to provide schooling in languages other than Spanish. As a result, many indigenous groups have resorted to creating their own small community educational institutions. The indigenous population participate in the workforce longer than the national average, starting earlier and continuing longer. A major reason for this is that significant number of the indigenous practice economically under productive agriculture and receive no regular salaries. Indigenous people also have less access to health care.

Which states?

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Problem: Marc Alexander Hunter was born in Taumarunui on 7 September 1953. In the late 1950s his family performed publicly where his father, Stuart, played saxophone, his mother, Voi, on piano and his older brother, Todd Hunter (born 1951), on guitar with Marc providing drums. He also grew up with two younger brothers, Ross and Brett. Hunter remembered, "We got guitars for Christmas one year, I broke mine but Todd played his.

Marc Hunter travelled overseas to recuperate, he visited Morocco and London. Back in Australia he signed a recording deal with CBS, which issued his debut solo album, Fiji Bitter, in November 1979. For the sessions he used Todd on bass guitar, John Annas on drums (ex-Kevin Borich Express), Harvey James on guitar (from Sherbet), and Terry Wilson on guitar (ex-Original Batter-sea Heroes, Wasted Daze). Fiji Bitter was recorded at Studio 301, Sydney with Richard Lush producing and engineering - Hunter wrote or co-wrote most of its tracks. The album's lead single, "Island Nights" (July), peaked at No. 20. He formed Marc Hunter and the Romantics, with Annas and James, to promote the album. Two more singles, "Don't Take Me" (November) and "When You Walk in the Room" (January 1980), appeared - neither reached the top 50. In 1980 Hunter, on lead vocals, formed an R&B group in Sydney, the Headhunters, with Todd on bass guitar (by then ex-Dragon), Kevin Borich on guitar, Mick Cocks on guitar (ex-Rose Tattoo), John Watson on drums (ex-Kevin Borich Express). Australian musicologist, Ian McFarlane, described them as "an ad hoc aggregation of musicians who were drawn together by a love of playing raucous R&B". Hunter resumed his solo career with his second album, Big City Talk, which appeared in August 1981 on PolyGram/Mercury labels. It was co-produced by Hunter and Todd. Debbie Muir of The Canberra Times, felt it "covered a wide range of material that bore some resemblance to his last album, Fiji Bitter, but was totally different to his old, Dragon days." He had used session musicians: Borich, Dave Mason (of The Reels) and Mark Punch (ex-Renee Geyer Band). Muir's fellow journalist at The Canberra Times, Garry Raffaele, opined that it "is flat, directionless, unexciting, effete rock and roll. It is devoid of feeling." On working as a solo artist, he declared, "I am happier now on my own. I was in a wretched state of mind when I was in the band... I miss the camaraderie involved but then I prefer to make my own decisions." The title track, "Big City Talk", was released as a single in July and reached No. 25. Follow up singles, "(Rock'n'Roll is) a Loser's Game" (September), "Side Show" (November) and "Nothing but a Lie" (May 1982) did not chart. In 1981 he formed the Marc Hunter Band and in October they toured Australia with Renee Geyer; the set included a duet by Hunter and Geyer. During 1982 Hunter was working with US-born keyboardist and record producer, Alan Mansfield. In March of that year he was arrested for "$4500 in unpaid parking fines", he described his jail cell as "unbelievably filthy."

Were there more singles?

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Two more singles, "Don't Take Me" (November) and "When You Walk in the Room" (January 1980), appeared - neither reached the top 50.