Nor-tec Rifa!: Electronic Dance Music from Tijuana to the by Alejandro L. Madrid

By Alejandro L. Madrid

On the sunrise of the twenty-first century, the Nor-tec phenomenon emerged from the border urban of Tijuana and during the net, fast conquered a world viewers. advertised as one of those "ethnic" digital dance track, Nor-tec samples sounds of conventional track from the north of Mexico, and transforms them via laptop expertise utilized in ecu and American techno tune and electronica. Tijuana has media hyperlinks to either Mexico and the USA, with peoples, currencies, and cultural goods--perhaps particularly music--from either side circulating intensely in the urban. Older citizens and their extra cellular, cosmopolitan-minded youngsters hence interact in a relentless fight with id and nationality, appropriation and authenticity. Nor-tec track in its very composition encapsulates this city's fight, resonating with concerns felt at the international point, whereas keeping significantly assorted meanings to the range of groups that include it. With a powerful hybrid of musicology, ethnomusicology, cultural and function reviews, urbanism, and border reviews, Nor-tec Rifa! bargains compelling insights into the cultural construction of Nor-tec because it stems from norte?a, banda, and grupera traditions. The ebook can be one of the first to supply distinctive money owed of Nor-tec music's composition procedure.

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S. tourists. S. S. S. entrepreneurs. S. Congress passed the Volstead Act in 1919, which prohibited the sale of alcoholic beverages nationally and increased the flow of California tourism and capital into Tijuana. Many more bars were opened (La Ballena, a famous saloon that claims to have the largest bar in the world, dates from this time), and beer and liquor factories were built in the city as a result of 16 Nor-tec Rifa! the new alcohol restrictions in the United States. The growth of Tijuana as a refuge for tourists provided fuel for the development of the city’s dark legend in the imagination of the most radically moralist in the United States.

S. teenagers to form amateur bands. S. and European music flowing into the ears of Tijuana’s youngsters. It is important to take such conditions into consideration since they permitted Tijuana’s electronic music to survive and prosper. 10 However, in the mid-1980s, a radical shift took place among Tijuana’s electronic musicians and fans. S. music production (equipment and technology to which middle-class tijua- Myth and Discourse in the Nortec Collective 29 nense bands had relatively easy access) and with the underground development of La Movida Española (the alternative pop movement in Spain) with its proliferation of provocative electronic bands such as Aviador Dro, Alaska y Los Pegamoides, and Muzak.

Globalization and postmodernity are phases where the contradictions of this project are made evident via the self-reflective character of modern thought. These phases discursively praise the emancipation of the individual, the individual’s empowerment via an imagined access to equal consumption beyond the borders of the nation-state, and a sense of transnational democratization. Regardless of the celebratory tone of those for whom globalization stands as a scenario for individual equality and liberation, however, the increasing gap between the rich and the poor that globalization has witnessed throughout Latin America suggests that globalization has done nothing but further encourage the unequal distribution of wealth that characterizes capitalist expansion in modernity.

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