Narco-culture such as as “narcocorridos” is a type of popular Mexican music that derives from other subculture traditional ballads and corridos. These narcocorridos songs were popular back in the first half of 20th century, because of their relation to the Mexican revolution. The author states that “Corridos told stories about famous revolutionaries in the rhythm of waltz or polka, accompanied by the sound of accordion” (Mertová). The narcocorridos would emerged later and became popular especially
The song “Contrabando Y Traición” is credited for popularizing the narcocorrido sub- genre, and features a uniquely cinematic style of lyrical story-telling uncommon for its time, combined with a catchy yet simplistic song structure that could be appreciated by audiences of all backgrounds. Narcocorridos themselves are a style of traditional Spanish corrido that focus on commemorative figures, events and people related to the drug-trafficking trade that was growing in the 1930's, sharing many similarities
The musical phenomenon corridos came about in the 1800s. However a dramatic increase of this music occurred until the Mexican Revolution. The Mexican Revolution started on November 20, 1920. The revolution started because of a very corrupt government that was ran by Porfirio Diaz. His 34-year term called El Porfiriato, was violating the principle and ideals of the Mexican Constitution (EDSITEment). He did not allow for freedom of speech and press. As result there was no communication between people
” María Eugenia de la O Martínez discusses the transformation of message in corridos by conducting a textual analysis. The author writes its research by treating narcocorridos as the modern form of the traditional folk ballad, or corrido, currently often associated with Mexican drug culture. The author uses books and songs, narcocorridos to understand the cultural meaning of violence, fear, and pain in Mexico, as well as the social circumstances that legitimized the narco-trafficking. De La O Martínez
Through the existence of humanity, music has been a vessel that conveys emotion, history, tales, and identity. Music has given a voice to the masses, and has allowed those who are oppressed to disagree with their oppressors in an expressive, performing format for all of society to hear. When slaves couldn’t openly speak out against their treatment, they sang their ideas and thoughts. When African-Americans suffered decades after the end of slavery with their necks in nooses, they sang of their