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Wez G – Narcocorridos Volumen 2

  Tracklist # 1 El Narco de Narcos – Crecer Germán 2 El Gallero – Código FN 3 Popurri de Corridos (En Vivo Jesus Maria) – Enigma Norteño y La Septima Banda 4 Baraja de Oro – Chalino Sanchez 5 El Cartel de Cali – Furia Norteña 6 El Chapo Guzmán ft. Hijos de Barrón – Enigma Norteño 7 Clandestino – Manu Chao 8 Corridos De Los Zetas – Las Claves de Beto Quintanilla (El Mero Leon Del Corrido) 9 La Reina Del Sur – Los Tigres Del Norte 10 Narco Corrido de Michoacan por los de la Familia Michoacana 11 Secuestro De Amor – Los Ticuanes de Tijuana 12 La Mujer De Los Dos – Los Temerarios 13 El Guero – Marca MP Los narcocorridos son baladas populares mexicanas y latinoamericanas que cuentan historias de los bandidos que trabajan en la industria del narcotráfico. De los contrabandistas a los capos, estas aventuras llenas de diversión se retractan, en un estilo fluido, vibrante y son muy populares en las partes del mundo de las que salen. Aquí, yo, un DJ gringo de música electrónica en Gran Bretaña, he producido el segundo de una serie de shows dedicados a este emocionante estilo de música extranjera. ¡Disfrutar! Narcocorridos are Mexican and Latino American folk ballads that tell tales of the bandits that work in the drug trafficking industry. From smugglers to capos, these fun-filled adventures are recanted, in a flowing, vibrant style and are extremely popular in the parts of the world from which they hail. Here, I, an English gringo electronic music DJ, have produced the second of a series of shows dedicated to this exciting foreign music style. Enjoy!

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Review: Gangster Warlords – Drug Dollars, Killing Fields and the New Politics of Latin America – by Ioan Grillo

gangster warlords

This is the second of Ioan Grillo’s books that I have read and I found this volume equally as good as my first encounter with this talented British journalist. Gangster Warlords focuses on 4 separate crime gangs across the Americas. For each group we identify leaders, politics, often brutal and horrendous crimes and a link to the out of control trade in Narcotics across Latin America and the Caribbean that gives rise to the conditions necessary for Gangster Warlords to thrive. The first part looks at the Comando Vermelho or Red Commando of Brazil, focussing on a biography of the ‘brain’ of the guerrilla / criminal gang, William da Silva Lima. From open bocas selling drugs on the streets of the Rio favelas, to political indoctrination in the fusion of leftwing political prisoners and armed robbers in Brasilian jails, this story is eyeopening and violently disturbing. The second part covers Jamaica’s Shower Posse with the rise and fall of its President, Christopher Michael Coke or ‘Dudus’. The impact one man’s crimes can have upon an entire political system that reaches deep into the depths of global cities with their yardie drug gangs highlights how uneasy a relationship is struck between warlords and governments. Third up we have coverage of the gangs of the Northern Triangle – Honduras and El Salvador with its imported from Los Angeles headlining crime group the Mara Salvatrucha. The brutal murder rate of these guys strikes fear into even the hardiest of Latin American gangs with the MS-13 being recruited by powerful Mexican cartels such as Sinaloa to do their dirty work. The global reaches of violent criminal empires is apparent. Lastly there is a focus on Nazario Moreno, El Chayo – El Más Looa – The Maddest One. and his Knights Templar. This NarcoSaint formed from the nucleus of the La Familia Michoacana a devoted following based around the medieval style religious teachings and devotion of the holy warrior monks of the Middle Ages. He faked his death at one stage until he was finally put into his grave by the fierce war with autodefensas who in vigilante justice were the only solution to his expansive Crystal Meth and Marijuana empire. The whole book encompasses many of the same themes. Recurrent violence, cocaine smuggling and distribution internationally, political unrest and inadequate government coping strategies. In his conclusions Grillo identifies possible solutions to the War on…

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Review: Silver Bullets – by Élmer Mendoza

silver bullets

This Mexican author, Elmer Mendoza, is about as vibrant a writer of fiction that I have encountered since Hemingway. A truly unique flowing style that is amazing to digest. The hero of the book is policeman Edgar ‘Lefty’ Mendieta. He is a drunken womaniser and the tale weaves in his affairs with the grisly murder-suicide of a lawyer. Sinaloan drug lords and their families are hunting down Lefty as they do not like his intrusion into their lives as he tries to solve the crime that was of course committed with Silver Bullets. The murder leads to further deaths: a suicide, another assassination. Mendieta eats well in restaurants mainly and has a penchant for Rock and Roll and Western music. The prose is in a verbal style of continuous sentences. The mood is captured brilliantly by the author and he paints a rich tapestry of the dark life of crime in this Sinaloa area of Mexico with all the gangster-wraps (drug hits) appearing daily. Crime, politics, love and betrayal, this novel has all the elements of a modern day classic and I look forward to reading future volumes of this Mendoza series.

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Review: Narrating Narcos: Culiacán and Medellín – by Gabriela Polit Dueñas

The author is exploring the impact of local culture on the artistic output of Narcoculture in the form of literature and art in two specific par excellence Narco cities in Latin America. We are introduced to the Culichis of Culiacán in Mexicos Sinaloa and they can be contrasted with the paisas of Medellín in Colombia. There are unique linguistic characteristics to each area and each city produces distinct styles in terms of its experience of drug war and wide scale narco-trafficking. Culiacán is the capital of El Chapo’s Sinaloa Cartel territory and faced the brunt of the President Calderon Mexican Government War on Drugs. Medellín was home to Pablo Escobar’s capo rule during the 1980s when he declared war on the State and ran a brutal campaign akin to terrorism, brutalising many of the local population in the crossfire. The rough nature of macho Culichi campesinos, raised in the surrounding rural mountains is portrayed in the natural acceptance of violence and the local landscape is scarred with the memories of narco killings and warfare. Post Escobar paisas are dealing with the world where they had to face paramilitary suppression and the middle classes have been integrated with fast money immigrants from the shantytowns, the home of sicaresca (cultural works about sicario hitmen). Authors may use local dialects such as Medellin’s urban poor parlache in order to express their work. Most of the artists and authors have either suffered directly from the violence or know people killed in the wars. The underlying tone for cultural content from both areas is one of ultraviolence that is socially accepted and ingrained in the conscience and collective memory. The popularity of narconovelas is rising globally. The author of this study does some great work in exposing some perhaps lesser known creators and does a relatively in depth analysis of their works, often drawing on external cultural ideas and philosophies in order to justify her analyses. I found this text to be very enlightening and it opened many doors to this area for future critical study. The often dark subjects prove to be very adept at dealing with their work, often under extreme circumstances that fellow artists across the world do not have to endure. The culture of Medellín and Culiacán is opened to the world by Gabriela Polit Dueñas and I highly recommend her work.

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Review: Narrating Narcos: Culiacán and Medellín – by Gabriela Polit Dueñas

narrating narcos

The author is exploring the impact of local culture on the artistic output of Narcoculture in the form of literature and art in two specific par excellence Narco cities in Latin America. We are introduced to the Culichis of Culiacán in Mexicos Sinaloa and they can be contrasted with the paisas of Medellín in Colombia. There are unique linguistic characteristics to each area and each city produces distinct styles in terms of its experience of drug war and wide scale narco-trafficking. Culiacán is the capital of El Chapo’s Sinaloa Cartel territory and faced the brunt of the President Calderon Mexican Government War on Drugs. Medellín was home to Pablo Escobar’s capo rule during the 1980s when he declared war on the State and ran a brutal campaign akin to terrorism, brutalising many of the local population in the crossfire. The rough nature of macho Culichi campesinos, raised in the surrounding rural mountains is portrayed in the natural acceptance of violence and the local landscape is scarred with the memories of narco killings and warfare. Post Escobar paisas are dealing with the world where they had to face paramilitary suppression and the middle classes have been integrated with fast money immigrants from the shantytowns, the home of sicaresca (cultural works about sicario hitmen). Authors may use local dialects such as Medellin’s urban poor parlache in order to express their work. Most of the artists and authors have either suffered directly from the violence or know people killed in the wars. The underlying tone for cultural content from both areas is one of ultraviolence that is socially accepted and ingrained in the conscience and collective memory. The popularity of narconovelas is rising globally. The author of this study does some great work in exposing some perhaps lesser known creators and does a relatively in depth analysis of their works, often drawing on external cultural ideas and philosophies in order to justify her analyses. I found this text to be very enlightening and it opened many doors to this area for future critical study. The often dark subjects prove to be very adept at dealing with their work, often under extreme circumstances that fellow artists across the world do not have to endure. The culture of Medellín and Culiacán is opened to the world by Gabriela Polit Dueñas and I highly recommend her work.

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Review: Narcocorrido: A Journey into the Music of Drugs, Guns, and Guerrillas – by Elijah Wald

Whilst planning to do a university translation dissertation on some aspect of narcoculture I was drawn to this work (in English – also simultaneously released bilingually with a Spanish version) by American author and folk musician, Elijah Wald. Having been introduced and hooked on the sounds of Los Tigres Del Norte for years, the Narcocorrido is a music form that particularly interests me. The Spanish word ‘Correr’ = to run, gives way to the Corrido form of music, a Mexican musical ballad, originally historically done as the spoken word, but more recently with Mexican folk music of accordions, guitars and harps added. It is a form of Norteño / Ranchera / Mariachi music, very spicy in rhythm, with neatly rhyming lyrics, telling a popular story. A lively, popular music artform, where masculinity and hyper-masculinity can flourish. The traditional Corrido has been superseded by the Narcocorrido, which tells the stories of Mexican and Latin American drug lords and their conquests – their crossborder trafficking, their grisly assassinations, their lovelife, their organisations. The Corrido is an alternative form of news and corridistas may cover any political event, with some controversial writers documenting political scandals and guerrilla uprisings. Elijah Wald takes us on an interesting personal journey as he hitchhikes and buses across every conceivable region in Mexico and also dips into the Corrido communities of North America. We meet the stars of the genre, the well known celebrity figures, from Los Tigres Del Norte themselves and their most famous writers such as Jefe del Jefes, Teodoro Bello. The issues of assassinated star Chalino Sánchez were particularly interesting and displayed the true dangerous nature of these musicians and their controversial cultural work. We head from the Sinaloan narcocorrido heartland, up to Texas and onto rural Michoacan. Not only do we learn more of the drug trafficking inspirations and the gruesome Mexican drug war, but also we learn of other areas of Mexican culture, history and politics. Wald is a man of the people and the rural campesinos are never far from his heart. He is equally at home listening to corridista buskers on the bus aswell as being able to snort cocaine whilst partying with the stars. For me, the translations done by the author about the often unknown corridos are a true revelation and, being an apprentice translator, I particularly found this aspect of the book exciting. The book is a real…

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