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Un Viaje Dentro de la Musica de Drogas, Armas, y Guerrilleros

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No existe tradiciÓn mÁs mexicana que la de los corridos, las herÓicas baladas que celebran a los de abajo -- a los fugitivos y pistoleros. Al igual que las baladas de Robin Hood o de Jesse James, los corridos han sido para los pobres una manera de enaltecer a sus hÉroes. Los corridos siguen, pero sus hÉroes han cambiado: ahora son cÉlebres los narcotraficantes. Elijah Wald cuenta la fascinante historia de esta nueva versiÓn de una vieja tradiciÓn: la de los narcocorridos. Traza el desarrollo de los corridos desde sus orÍgenes en el indÓmito Oeste hasta su mÁs reciente encarnaciÓn en la costa del mar PacÍfico, la cuna del trÁfico de drogas mexicano. Sigue su expansiÓn hasta Los Angeles, donde los corridos son la voz de la juventud actual de los barrios latinos, y hasta los estados de MichoacÁn y Guerrero, donde canciones sobre narcopistoleros coinciden con baladas sobre los guerrilleros en las montaÑas. Wald viaja a la Ciudad de MÉxico para encontrarse con el juglar viajero de la rebeliÓn zapatista, y continÚa hasta Cuernavaca para encontrarse con Teodoro Bello, el genio iletrado que se ha convertido en el compositor de mayor Éxito en la historia de MÉxico. Discursivo, vÍvido y perspicaz, Narcocorridos descubre una tradiciÓn musical llena de vitalidad mostrando de manera fascinante el lugar que ocupa el narcotrÁfico en la cultura mexicana.

From Publishers Weekly

Sep 17, 2001 – Guitar in hand, journalist and musician Wald (Josh White: Society Blues) takes a yearlong journey through Mexico and the southwestern U.S. tracking down composers and performers of the narcocorrido, a modern spinoff of the 19th-century Mexican folk ballad (corrido) that combines the traditional accompaniment of accordion and 12-string guitar (bajo sexto) with markedly current lyrics. Gone are the old "song stories" celebrating heroic generals and lost battles of the Mexican revolution. Narcocorridos romanticize the drug trade the botched smugglings, fallen kingpins and dishonorable police. Wald interviews dozens of key players, from Angel Gonzalez, whose 1972 "Contrabando y Traici n" ("Smuggling and Betrayal") is credited with launching the narco-trend, to the Rivera family, whose popular Los Angeles record label releases "songs that are notable for their lack of social consciousness, their willingness to push the limits of acceptability and baldly cash in on the most violent and nasty aspects of the drug trade." The style has become hugely popular in L.A. and northwestern Mexico and has spawned a narcoculture marked by cowboy hats, sports suits and gold chains. Unfortunately, Wald's narrow, first-person account reads like a travel journal, blithely moving from subject to subject, ignoring historical context. He glosses over the U.S. and Mexican governments' antidrug military campaigns, which disrupted the lives of many innocent civilians. Wald may think the history of U.S.-Mexican drug trafficking has been sufficiently recounted elsewhere, but explaining the narcocorrido without this background is like writing a history of the American protest song without discussing Vietnam. B&w photos not seen by PW.
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  • $7.99
  • Available on iPhone, iPad, iPod touch, and Mac.
  • Category: Music
  • Published: Apr 24, 2012
  • Publisher: HarperCollins Español
  • Print Length: 352 Pages
  • Language: Spanish
  • Requirements: To view this book, you must have an iOS device with iBooks 1.3.1 or later and iOS 4.3.3 or later, or a Mac with iBooks 1.0 or later and OS X 10.9 or later.

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