![]() This kind of comparison does not apply in Mexico, Rap, specifically, but it’s the same audience” (interview with Walroth 2002, Wald, narcocorridos occupy “not just a kind of equivalent terrain to gangsta The topics of violence, illegal activities, physical prowess, and There are certainly some thematic parallels between these two genres-such as Where narcocorrido fans have very little exposure to hardcore rap music. As Steve Jones has noted: “It is likely thatĪttempts to silence popular music arise not because popular music empowers Accordingly, it was not the music itself but rather the Remain so deeply rooted in rural Mexican music that the audience cannot discernīetween a traditional corrido (folk ballad) and a narcocorrido only by The ensembles that accompany narco-balladeers Masculinity-the lyrical expression and the overall musical sound areĭrastically different (Simonett 2006). Youth but because it empowers via the flaunting and or breaking of rules andĪuthority” (1991, 85). ![]() Quick look at the corrido’s century-long history as a subversive expression of To understand the narco-music’s appeal to today’s youthĪudiences on both sides of the U.S.-Mexico border, it is necessary to take a Stories about the deeds of bandits, poachers, smugglers, and other outlaws have long captured the imagination of diverse audiences around the world (Hobsbawm 1969). In Mexico, narrative songs or folk ballads, known as corridos, have told the stories of the common people for one and a half centuries, commenting on everything from natural disasters and political events to crimes, family feuds, horse races, romantic entanglements, migration, and, more recently, drug trafficking (Herrera-Sobek 1993 Nicolopulos 1997 McDowell 2000, 2015 Griffith 2002 V.A. ![]() Populated by heroes and/or anti-heroes that emerged from the marginalized classes of society to perform inchoate class war, this mestizo cultural form flourished within the context of border conflicts with the United States and contributed to the rise of a Mexican national consciousness, especially during the post-revolution era in the early decades of the twentieth century (Paredes 1958 McDowell 1981 Holscher and Fernández 2001).įamous are the deeds of the gold-miner-turned-bandit Joaquín Murrieta, who terrorized the California mining camps after Mexicans suddenly came under the newly imposed U.S. Excessive touring accompanied many of these albums, seeing the band travel all over Central and North America.Foreign Miners Tax Law due to California’s annexation in 1848 (Leal 1995). The next few years saw a flood of releases, which included “De Sinaloa para el Mundo” (2011), “Grandes Exitos” (2012), “El Buen Ejemplo” (2012), “Corridos de Alto Calibre” (2013), “La Recompensa” (2013), “Contigo” (2014), and “Lo Mejor De.” (2015). The group’s sound continued to grow in sophistication and as their music progressed so did their popularity and demand for new material. It also placed them in an state of renown held by their contemporaries like El Komander, Regulo Caro and Los Titanes de Durango. ![]() The album was a strong debut and featured the three singles “Callejero y Mujeriego”, “culiacan vs. Their 1st studio album “Renovar o Morir” entered the market in 2010 through the label Disa Records. Their music is heavily shaped around the Banda style, featuring a repertoire covering forms such as rancheras, baladas, and boleros. Calibre 50 are a modern day representation of this. The majority of the city’s population is undoubtedly composed of people of Latin ethnicity, but Mazatlan also has a prominent German population and it was this sect who influenced the cultures heavy sway toward Bavarian Folk music. Apart from it’s reputation as a lucrative tourist town it is also widely recognized for it strong musical heritage. The group formed towards the end of the 2000s in Mazatlan, Sinaloa, Mexico, a bustling town on the Pacific positioned near the center of the coast. ![]() Of all the acts Munoz has worked with there is no question that he is most remembered for fronting Calibre 50. Outside of Calibre 50 Munoz has worked with and composed music for acts ranging from Banda Carnaval, Julion Alvarez y Su Norteno, Rio Roma, Conjunto Atardecer, La Estructura, Los Canarios de Michoacan, and Alerta Zero (an incomplete list riddled with several exemptions). Calibre 50 are a quartet consisting of members Martin Lopez (tuba), Eden Munoz (vocals, accordion), Armando Ramos (guitar, vocals) and Augusto (drums). ![]()
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