Origin of Narcocorridos

In the book, The vade mecum of Texas Dan Dickey writes that in the late 1940s and 1950s when Tex-Mex music became commercialized, so did the Music called corridos. Back then it became popular to hear songs more or less dose smuggle and violence. Music from the genre corridos which was about drugs and drug smuggling was called narcocorrido, which some(prenominal) would say is Mexicos style of gangsta rap. An excellent example of narcocorrido would be El Avion de la Muerte (The Plane of Death) performed by Los Tigres del Norte, which is arguably one of the more or less popular corridos bands in history.Los Tigres del Norte have written and performed many songs throughout their career. This famed Mexi post band started in 1968 and was made up of three brothers (Jorge, Raul and Hernan Hernandez) and their cousin-german (Oscar Lara). They started to play their grandparents instruments in bars, and like thousands of immigrants they crossed the border to accommodate it in America. T heir first hit came in 1970 and was a song about both rival drug dealers. However, in 1972, their song Contrabando y Traicion (Contraband and perfidy) became a topic of controversy.Not only was it about drug smuggling unless how a woman killed a man before he could abandon her. Why would the act of murder committed by a woman spark such controversy? Batailles tells us that, such a divinely violent manifestation of violence elevates the victim above the humdrum world where men live out their calculated lives. To the rude(a) consciousness, oddment can only be the result of an offence, a trial to obey (Bataille, 82).Even before Los Tigres del Norte, there was Rosalino Chalino Sanchez, a renegade artist from Sinaloa, a state in the north of Mexico that is well kn feature for its plethoric marijuana fields. Hodgson writes, When he was 15, Sanchez shot and killed a man who had raped his sister, and fled to California, where for a while he worked as a coyote, smuggling illegal imm igrants and drugs crossways the border. Only when he was arrested, and spent nearly a year in Tijuana prison, did he discover his skill at song piece of music.He began report corridos for fellow inmates, and once outside, found his skills in demand from both dealers and accepted immigrants. While not the best singer, his incredible lyricism built his constitution quickly. Having earned his street credibility in jail, he soon by and by was contacted by famous Mexican drug lords who would commission him to write songs about them and their criminal exploits. To shed some light on this fascination with death, we can turn to writer Margaret Atwood in her book Negotiating with the Dead All writing of the narrative kind, and perhaps all writing, is motivated, deep down, by a fearfulness of and a fascination with mortality &8212 by a desire to make the risky trip to the Underworld, and to bring something or someone back from the exanimate (157). Chalino, in this way, had a sought-a fter ability to immortalize the Mexican drug lords. Chalino, himself, portrayed the brave image of the Mexican cowboy. After dealing with the narcotraficantes, he acquired both powerful friends and enemies.According to an informer that talked to Martin Hodgson, The cartels used the groups music to lay out a code of conduct for its members by the corridos comes the philosophy, how the members of the cartel have to behave. If you listen carefully, the songs tell you what they did wrong. You learn what you have to do so they dont kill you. At the same time, the death drug-lords became heroes through corridos. Some enjoyed their hero status while still alive, but most of them earned it after death. This returns us again to Beckers invention to Human Nature and the Heroic in his book The Denial of Death.He explains, The problem of heroics is the central one of human life, it goes deeper into human nature than anything else because it is establish on organismic narcissism and on the childs take for self-esteem as the condition of human life. Society itself is a systemise hero system, which means that society everywhere is a living story of the significance of human life, a defiant creation of meaning. Hence, by direction corridistas to write about them, narcotraficantes could satisfy that narcissism and become heroes in their own right.