Media evolution is continually changing, as different aspects are incorporated to attract a broader audience. Narcocorridos is undoubtedly an example of a media evolution of the Corrido in Mexico. The media gives a narrative of the lives of drug traffickers. It also explores the struggle of the poor and other vulnerable groups seeking identity and power through illegal means. The explorations made and advancement infer Narcocorridos as a media. In this paper, I will discuss Narcocorridos as media regarding Amaya's article on Narco.
Media primarily transforms and brings out a whole new idea from the original form to a target audience. The Mexican history of communities living at the border were changed and commodified by the music and drug trafficking industry characterized in the Narcocorridos. It is, therefore, lucid to categorize it as a media. It focused on the lives, deed, and adventures of people who were known for drug trafficking. Not only did this create a career for different people, but it became popular on many platforms, including radios, distribution technologies as well as bands. Through this transformation, Narcocorridos made a potent and highly marketable product that attracted many, including Mexican and Latino youth, and those that experienced power and poverty disparities (Amaya 223).
Creating a brand depends on various factors. Thus, a brand is a form of media. The narco-brand, according to Amaya (226), incorporates authenticity, which is more like giving exposure to a piece of music or information to other groups. Amaya delves further into the aspects provided by Banet Weiser on authenticity. Categorically, branding is a manner of self-identity. Narcocorridos is brand as it mostly creates an interconnection between performers, the Mexican -American youth as well as the Billboard. It is, therefore, more intriguing that it forms a unique media platform
Overall, Narcocorridos is a media as it a brand of self-identity and transforms different groups through the content produced, mostly discriminating activities of drug-traffickers and those oppressed of power. Amaya's article is affirmative of insights that Narcocorridos is a media, not performance art. It is equally essential to explore and appreciate it in understanding Latin media.
Amaya, Hector. "The Dark Side of Transnational Latinidad: Narcocorridos and the Branding of Authenticity." Davila, Arlene M., and Yeidy M. Rivero, eds. Contemporary Latina/o media: Production, circulation, politics. New York: NYU Press, 2014. 223-235. <https://books.google.co.ke/books?id=DhRTBAAAQBAJ&printsec=frontcover&dq=Contemporary+Latina/o+media+by+Arlene+M+Da%CC%81vila&hl=en&sa=X&ved=0ahUKEwjiwYfA9d3oAhXN5-AKHXcBB3YQ6AEIJjAA#v=onepage&q=Contemporary%20Latina%2Fo%20media%20by%20Arlene%20M%20Da%CC%8>.Ariel, Carlos. C. Narco Cultura Documental. 4 April 2017. Youtube. <https://www.youtube.com/watch?v=3lmo7YJDalQ&feature=emb_title&has_verified=1>.
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Narcocorridos: Mexico's Media Evolution of the Corrido. (2023, May 15). Retrieved from https://proessays.net/essays/narcocorridos-mexicos-media-evolution-of-the-corrido
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