According to Marxist historian Eric Hobsbawm, “the most spectacular political fact of the Golden Age, especially in the 1960s and 1970s, was the mobilization of age classes.” As a result, “the record industry generated great economic benefits in less politicized countries”. This activity focused especially on rock and the leisure industry “sold 75-80% of the production to young people between 14 and 25 years old”. In the 80s and 90s, from the punk and hardcore world, the market was criticized and alternatives to do it yourself were created! and other movements. However, in the 1990s, Negu Gorriak made it clear: In the Rock&Roll industry many had the slogan “Get Money Out of Chaos”.

In any case, we define, against other national variables, some of the qualities of capitalism that would have the Basque value. In other times, Basque capitalism would be associated with León XIII.arekin and cooperatives; today, for example, with an apparent rebellion. Performing with decibels, words, shapes and gestures supposedly pre-established breakers, and meanwhile having one more group from the Roadruner Records catalog, which is actually an arm of Warner Music Group, won 56 million dollars net in 2009. In Basque capitalism, self-production projects as symbolic support would be cynically bolstered (“YOU do it yourself, keep on guys beeing authentic, I prefer being radical chic and alternaVIP”), even if it seems a lie, because the autonomy of creation, self-management and self-composition have had a rich field, especially in music: Esan Ozenki, Metak, Talka, Bidehuts, and Magic Squirrels (Kerobia), Jo ta Ke productions, etc.

It is a violent form of possible Basque values – only the powerful from Sad can commit the infringement, Polanski and DSK are transgressors. Torn the throat by saying “Barcina Slut!” is to revolutionary join the anti-UPN majority of Nafarroa Garaia (most UPN are also very anti-UPN). Another characteristic is the strengthening of the language: there is also the possibility of being a star in Basque. But deep down, I think there are few priests who today propose to hold Mass in Latin. Rock has to be in the local language.

Following the ideology, the rupturist rebels – by the dynamics of the radio formulas –, to say shitmusic or in Euskera, will fundamentally criticize the workers' bars, wholesale-practicers-popa-and-frequented. The shitty music will be despised without giving a single musical argument: “Since when is garbage fun here?” Total, to realize that the chords of VI-VII-I, I-III-IV, II-V-I, etc. They follow the same chord sequences as Shakira and Berri txarrak, and that despite the variety of words, except the depressive and castrating touch of the second, the global projects are quite similar: “Fame as it is.” Music is nothing more than leisure, one more tool to follow everyone the same, and by representing virtual rupture, a double fascination. One contains onomatopeyas, other minimalist applications of the “ouo”, the “uoo”, the “ooo” and the vocalic system.

The laxative father, for example, will propose to the millennial mass a micro full of watts that leaders are wrong: “leaders are very txarrak (naughty leaders!)” Leader anti-leader: new laxative chocolate. Berlusconi, who defends capitalism with Italian values, also erodes authority with autoderrisis: “It’s not true what the old slut says, and I’m going to show the judge that the penis gets upright!” (I’m not comparing Berlusconi’s erection ability with Berri txarrak’s). In the meantime, it sends the military to the stations on the pretext of preventing violations.

Or he will sing love songs without liberating love, “licking the anus” will be insult, for example. In Basque values there is one thing clear: poetic commitment is out of place, and we will jump the minimal notions of poetry claiming the punk spirit. Don’t forget that for a 90-minute show, the orchestra musician – or an ertzaina – asks him what he wins in a year. From time to time, with a solidary song, social sin will be overcome: charity, when the dose of venom is slightly alleviated.

The only problem I see to this kind of capitalism is that it's very similar to the Anglo-Saxon model in the promotion campaign: the mysterious case of musicians who don't talk about music. Musicians who prefer to talk more about fetishes than about music. New rich with your car: new guitar, new battery, technician resume, tour cities. I have the feeling that the current pop-rock is nothing more than the showcase of the textile industry, that music is the least.

When it comes to changing the consumption habits of the Basques, we will be reminded that we have no idea of the last 30 years of Anglo-Saxon music, in which music began. Humility, therefore, and self-criticism, that it is the atheist gods who speak to us. From subordinate ignorance, I recognize that I've been a fan of Bad News for a decade. However, the analysis of music and the scalpel of the economic issue was not close. Today we know that there is no correlation between the artistic production and the dissemination of Harkaitz Cano. In the musical presence, something similar to what happens in the literary presence occurs, with a kind of omertta suspected of the musical press: there are no filters. In 2005 there has been no bad record in Basque music due to criticism from Asier Leoz to Xoriek 17, all have been better, more special, more elaborate, more international. Do not apply growth theory to the pop-rock industry.

At the time of social renditions, we should not be prepared to regard products that are not liberators as liberators. I'll keep listening to Willis Drummond in good time with no Epic problem. We do not need charity from stars that demand respect for “music.”