In the same way that other subcultures around the world that are related to crime and drug use (for example the Scottish neds[1][2] and European hooligans,[3][4][5] or the American street-gangstas, cholos, and outlaw bikers),[6] Mexican narco culture has developed its own form of dress, music, literature, film, religious beliefs and practices and language (slang) that has helped it become a part of the mainstream culture in some areas of the country, mainly among lower-class, uneducated youth.
"[8] Many scholars, like Luis Alejandro Astorga Almanza and Jorge Alan Sánchez Godoy, argue that there is no evidence to suggest cannabis or opium were consumed in Mexico prior to the arrival of the Spanish and the Chinese.
Sánchez Godoy argues that after cannabis was brought to Mexico, it was used for medical purposes, and poppy plants were used for decoration and served as inspiration for several Mexican corridos, or ballads.
The US effectively banned all psychoactive drugs when the federal government passed in 1914 the Harrison Act, prohibiting all non-medicinal use of opium, morphine, and cocaine.
[9] Mexico's proximity to the US made it an easy black-market source of these drugs, and American bootleggers and traffickers rushed to obtain illicit narcotics and alcohol.
[9] The black market grew quickly, with millions of Americans creating a sudden demand for a huge supply of alcohol, heroin, marijuana and cocaine.
In 1927, to cooperate with its northern neighbour, Mexican President Plutarco Elias Calles, by federal mandate, ordered the expulsion of the Chinese poppy producers.
Scholars like Jorge Alan Sánchez Godoy and Luis Alejandro Astorga Almanza[citation needed] argue that narcotics were temporarily legalized in Sinaloa in order to supply the United States' demand during the World Wars.
[10] It was not until after the 1970s, with the growth of demand from the United States and alliances with Colombian drug traffickers, that cartels in Mexico were formed to control the production and distribution of narcotics.
Alliances between Mexican and Colombian drug cartels allowed Mexico to serve as a route of entrance for cocaine arriving to the United States from Colombia, becoming a major distributor.
Narcoculture expanded into the urban sector of society and began the process of legitimization, moving away from a subculture into a part of the dominant culture.
Narcoculture in Sinaloa shares many characteristics with Mediterranean culture and mafias in that both are based on honor, bravery, family loyalty, protection, vengeance, generosity, hospitality, nobility, and prestige.
[17][18][19][20][21] These subcultures were characterized by extravagance, ostentation, hedonism, rural roots, honor, prestige, consumerism, power, utilitarianism, religiosity, and violence.
[24] Styles vary in many cities, but it is very common to see drug traffickers wearing luxury brand labels such as Balenciaga, Burberry, Dolce & Gabbana, Gucci, Hugo Boss, and Louis Vuitton hats, shirts, belts and shoes.
[25] Although many businesses have closed down because of the tremendous amount of violence sweeping the nation, the narcobars, restaurants, and nightclubs have remained open and thrived.
Most scholars agree that Los Tigres del Norte were the pioneers of this genre, first appearing in the southwestern United States, then becoming popular in Sinaloa, Sonora, Baja California and Michoacán.
By contrast, traditional corridos often told of a "benevolent bandit" who committed crimes for a good cause, similar to a Robin Hood figure.
The modernity of the city and material desires are expressed through images of mansions, luxury cars, cell phones, and designer clothing.
[28] Despite the poverty that exists in rural areas, narco corridos idealize it as a place where there is no judgment or obstacle that would impede drug trafficking.
However, narco juniors share a cynical pride in being drug traffickers and tend to place more value on spending money, parties, and luxury.
It is a form of superstition and religiosity depicted through drug traffickers' devotion to St. Jude Thaddaeus (patron of lost causes and desperate situations) and Jesús Malverde.
[citation needed] These films were mostly made with a low budget, usually under 140,000 Mexican pesos (US$10,000), telling stories about police, drug dealers, and prostitutes.
The films deal with the identity of the narco, usually focusing on the struggle of an anti-hero immersed in a border culture and articulating narratives of life, death, love, loss, hope, greed, desire, humor, and violence, alongside addiction, repetition, and compulsion.
Compared to Miss Bala, this film is more fictionalized and makes more use of dark humor, developing empathy for an anti-hero and glorifying drug bosses.
Yet one scene from the movie was considered one of the most brutal in Mexican cinema, showing traffickers burning the genitals of two young men in front of a group of children.
Escalante refers to this as exposition, in that it shows how Mexico's youth is being ruined by these kind of people, at times leaving them without anything to look forward to in the future.
This hope is conveyed through the eyes of Estela, a girl who falls in love with an older boy who involves her and her family in the drug world.
[44] Instagram can be used to show off narco lifestyles, which include new cars, expensive watches, designer clothes, fine liquor, exotic pets, and massive weaponry.
Both captured the attention of news outlets and blogs with photos on Twitter and Instagram that showed how they enjoy the sort of spoils that Mexicans relate with the lives of successful drug traffickers.
[55] Claudia posts pictures on social media, in which she poses with expensive accessories like watches, purses, designer clothes, champagne bottles, cars, planes, and big guns.