The music business and imposed marginality ›Musicando› Granma

The dissemination in recent times of music with broad codes that appeal to macho, sexist, socially marginal aesthetics and more, has generated an amazing empathy with certain power groups that try, with marked interest, to champion an alien speech, but potentially delicious to its hegemonic and, logically, destabilizing claims.

If we look for examples in the music industry and its all-encompassing marketing tentacles, we could elucidate similarities and also differences around phenomena that border on the aforementioned edges. Thus, we will notice that once inserted in the devastating whirlwind of the machinery that governs destinies and imposes tastes and tendencies, musicians who once had an insurgent or militant stance will quickly adopt a new outfit, but according, yes, to their new contracts.

The industry as a business, not only seeks qualities or originality in its most comprehensive and creative aspect, but in a fragile balance they cook, dancing on a thin razor, mechanisms and strategies that induce us, like obedient robots, to the cultural gallows in no few occasions. The exacerbated massification of values ​​alien to our own realities, constantly clouds the fact of having conscience and of continuing to contribute to our cultures, sadly subjugated, colonized and attacked from 1492 until today.

Particularly worrisome is the rise of audiovisual corny themes in the Cuban approach, emphasizing, obviously, a mediocre musical career known for its affinity with show business and showy tinsel. Now, I do not intend to judge fans or artists for preferring a certain line of work, but the forced displacement of musical props in recent times does greatly alarm. How has the consumption of popular dance music in Cuba been able to decrease to give way to other genres? Is this a reliable statistic or a well-designed communication strategy? How far does the industry impose its hierarchy?

A necessary question for a serious analysis would be to determine if these expressions have really reached a large population segment as advocated, and henceforth to focus and scrutinize what determining factors have had an impact in that sense, since the exaltation of cutting messages Sexist, racist and the like is not something to be viewed passively or as artistic license. How can some press for an open, inclusive and plural society and encourage such contrary musical expressions?

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There is a dangerous exercise in social networks and publications when flirting and distorting, with harmful ambiguity, when it comes to our reality, with the primary objective of disagreeing about any action of legitimacy that our culture represents, as well as styles and fusions. It is highly questionable that platforms unrelated to Cuban cultural processes, but imbued in the pseudo-industry of the moment, attribute, for example, struggles over gender equality to lash out at certain discourses while supporting campaigns by some that denigrate women in a way. humiliating, but what coincidentally? they have their economic support lines and image guidelines outside the country. That is why the exaltation of marginality does not derive from a phenomenon of spiral and logical consequences in the musical, but from a well-knitted gear that adds a political veil for all purposes.


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