Abstract
Based on extensive fieldwork in Tijuana, San Diego, Los Angeles, and Mexico City, this article explores the intersections of identity, modernity, desire, and marginality in the production, distribution, and transnational consumption of Nor‐tec music. Tijuana musicians developed Nor‐tec by combining sounds sampled from traditional music of the north of Mexico conjunto norteño and banda) with compositional techniques borrowed from techno music. The resulting style reflects the current re‐elaboration of tradition in relation to imaginary articulations of modernity that takes place in Tijuana's youth border culture.
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