The junior narco narrative. to the cry of war
Diego Martin Velazquez Caballero
In a materialist scheme of the social question, every scenario has exploiters and exploited, masters and slaves, love and victims. Now a new musical agenda configures a syncretism of drug culture and the young generations of the bourgeoisie.
The model of a narco-bourgeoisie has emerged that shows the maturity of the narco juniors and the consolidation of their economic power in an area that connects Mexico and the United States in an equitable and less imperialist way.
It has long been argued that beyond producing fentanyl in Mexico, a narco culture that is produced from the United States was developing and expanding rapidly, often with financing from drug cartels and that enjoys wide legitimacy and an audience in Mexico. . Today the global hit parade begins to distinguish and incorporate Mexican narco music, perhaps following a global progressive trend that cries out for the legalization of narcotics.
The music industry begins to pay tribute to groups that reproduce drug culture as a youth lifestyle.
But this condition begins to develop similarities with Afro-American music, also in its day identified with drug use and criminal violence. North America sponsors these new music genres to generate conglomerations of young addicts concerned with staying in style.
By not finding fentanyl production spaces in Mexico, the United States is forced to promote both transfer and consumption in Mexico. However, the great structural differences between the two countries have an impact on consumption patterns and the model reproduced by young singers is far from the real consumer.
But the fentanyl issue goes beyond music, vocabulary and clothing; it is altering relations between Mexico and North America. The dynamic is now reflected in the musical agenda that is promoted in Mexico and that is highly problematic since it promotes violence. Narco music is a call for civil war beyond the fact that violence and regional radicalism are honored. If the drug cartels decide to merge, it could even bring about changes in the economy and condition of several countries, including the United States. Drug cartels in Mexico could do what other trusts do on different issues.
Music is a formal and serious subject in our country, where there are different narratives that fight and threaten each other. Over the last few years, the history of this genre has shown that composers, musicians, performers and the public are victims of the differences between drug mafias. But, then, what does the US promote with narco music? Today the war genres that begin to identify Mexico and the upper class approve the alliance with North America as legitimate to continue destroying the country. The phenomenon does not constitute a new or different situation from what the United States always does: promote division.
It is undeniable that there is an urgent need to move forward with respect to the legalization of drugs and other issues, but this has to do with transfer and trade, not with consumption or the legalization and open promotion of violence. It is one thing to pacify the war between drug trafficking groups and another thing to openly promote drug addiction and violence. For many years, this was the strategy to control African-American groups in the United States that didn't work.
In Colombia, the United States promoted military bases and cartels and now in Mexico the intention of narco music is for the same purpose: to promote war.
Today the way of dealing with violence in Mexico has multiple paths. Music has its own way. One way to bring drugs closer to younger people is the musical collective. The cultural center of the country returns to the past.
Music of this type is a basic way of bringing drugs and violence closer to youth. Narco music is a non-stop path to destruction. What you see is an open invitation to drug violence and drug use.