Years before Darwin published “The Origin of Species”, Marx and Engels, in their “Communist Manifesto”, identified the destruction of the productive forces with the damage caused by the spells of black magic.
From here, the Austrian economist Joseph Alois Schumpeter developed his theory about “Creative Destruction”, which becomes a common attribute to all capitalist structures; a quality that the same system uses to cope with its critical cycles. In short, the thing is to destroy by creating.
A clear example of creative destruction we have in the music industry since the end of the last century. With the advent of digital media, and to face the epidemic of overproduction that Marx and Engels referred to in their manifesto, the music industry has been destroying itself to create anew and thus not disappear completely and take presence in the leisure market. Everything that goes from the entry of the compact disc to its subsequent destruction, and then the arrival of music broadcasting channels such as Spotify, corresponds to a cycle of capitalism brought to the music industry so that it continues to live.
All this comes to mind because the memoirs of Mala Rodríguez, the rapper of the Jereles, have just been published. bocao to the world and take a vital journey from the mud to the stars. In her book -published by Temas de Hoy- rapper Mala Rodríguez not only tells how, at the age of twelve, she pointed her finger at taxi drivers when they threw curses at her, but also tells of the first time she went on a mission, armed with his spray, to paint a train car or how he “fucked” the husband of the head of his record company.
He also tells of his illnesses, his demons, his relationship with sex, with drugs, his problems with machismo and his loves, the house and the car that he bought for his mother, his silent friends and his scandalous enemies, the beating that he received. they put some “kettles” in a disco in Chipiona because the boyfriend of one of them entered the Mala, in short, a non-stop telling and continuing to tell anecdotes with sincerity and smoothness, and without any kind of modesty.
Between one thing and another, La Mala comes to thank eMule for the dissemination of her songs. For her, the movement of her music on the Internet was positive, especially because it became known in South America. Countries like Colombia or Cuba, places where they vibrate with their rap, would not have existed in their musical itinerary if it had not been for that reason that record executives call piracy and that it is nothing more than an effect of the creative destruction of which Schumpeter spoke ; the same that is set in motion when the rigidity of capitalist structures turns out to be too narrow to contain the superabundance of accumulated merchandise.
Let’s say that there is a Darwinian sense in the crises of capitalism, where the extinction of old forms is a consequence of the production of new forms. The music industry has been the example. La Mala knew how to take advantage of the possibility offered by the chiaroscuro of metamorphosis and, with it, her music was heard all over the world. For this reason, pointing out Internet downloads as the epidemic that has put an end to the old music industry model is a simple way of avoiding Schumpeter’s thesis based on a text as fundamental as the Communist Manifesto.