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 web, fast conquered an international viewers. advertised as one of those "ethnic" digital dance track, Nor-tec samples sounds of conventional tune from the north of Mexico, and transforms them via machine know-how utilized in eu and American techno tune and electronica. Tijuana has media hyperlinks to either Mexico and the USA, with peoples, currencies, and cultural goods--perhaps specifically music--from either side circulating intensely in the urban. Older citizens and their extra cellular, cosmopolitan-minded childrens therefore interact in a continuing fight with identification and nationality, appropriation and authenticity. Nor-tec song in its very composition encapsulates this city's fight, resonating with concerns felt at the international point, whereas keeping drastically diverse meanings to the range of groups that embody it. With a magnificent hybrid of musicology, ethnomusicology, cultural and function stories, urbanism, and border reviews, Nor-tec Rifa! bargains compelling insights into the cultural creation of Nor-tec because it stems from norte?a, banda, and grupera traditions. The publication is usually one of the first to provide targeted money owed of Nor-tec music's composition technique.
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Additional info for Nor-tec Rifa!: Electronic Dance Music from Tijuana to the World (Currents in Iberian and Latin American Music)
Throughout the book, I see Nor-tec as a strategy invented to come in and out of the web created by the multi-ideological conditions of both radicalized modernity and postcoloniality. At a moment in American history when the fear of the “edge of national identity” has launched a conservative crusade about “closing the border,” transnational cultural phenomena like Nor-tec are ideal forms for studying and understanding the complex and contradictory state of “marginal” cultures under conditions of globalization.
It is in their everyday use and appropriation by regular folks that claims to authenticity become powerful tools of social and cultural mediation. I am interested in understanding how authenticity itself acquires meaning by articulating the past and the future according to an imagined global present. The concept of desire, as employed by philosophers Slavoj Žižek, Gilles Deleuze, and Félix Guattari, is also fundamental in my critical apparatus. ”27 In other words, desire is perpetually reproduced in an impossible circular economy between a subject and his/her object of desire because every time the object is attained, it is also transformed into something different; thus, desire is never satisﬁed and is always reproduced.
However, the “reﬂection” and the “voice” found by Fussible in this recording point toward the United States and Europe and not necessarily toward the local musical practices of Mexico or Tijuana. Certainly, if Fussible were considered to be the “next big thing” in 1999, it was because of its relation to the sounds, rhythms, and genres of the First World music market, the tijuanenses’ nostalgia for modernity (“if we had a bit of techno culture”) that Fono’s sonic world fulﬁlled, and not because of the improbable and kitschy rhythmic patterns of local cumbia grupera and banda sinaloense that their soon-tobe-born Nor-tec aesthetic would deliver.
Nor-tec Rifa!: Electronic Dance Music from Tijuana to the World (Currents in Iberian and Latin American Music) by Alejandro L. Madrid