Controversy over violent imagery plagues Mexican popular music
At the heart of the controversy are songs known as narcocorridos, which portray the lives of deadly cartel members in terms that are often sympathetic or even admiring. These songs have speak to a very real issue in the lives of far too many Mexicans – on both sides of the border – but in addition to portraying narcos such as members of the notorious Guzman in a positive light, narcocorridos can have untended consequences for the singers themselves. Sometimes the subjects of the songs don’t like the portrayals, and other times rival gangs don’t like their competitors receiving free publicity, something Mexican megastar Peso Pluma, who has built his career praising the Sinaloa cartel, learned @rst-hand. The Washington Post reported what happened just before one of Peso Pluma’s scheduled concerts in Tijuana:
“In September, four banners appeared simultaneously in different parts of the city, warning the singer that Oct. 14 would be his [Peso Pluma’s] last performance if he dared to venture into Tijuana. Later that month, another band, Fuerza Regida, canceled its Oct. 6 concert after yet another menacing banner was found.”
These were among the many incidents that, in November of last year, prompted Tijuana’s city council to unanimously pass a law restricting the performance of music that can lead to violence. The law levies heavy @nes against any performer who “transmits, exhibits, sings or reproduces music, videos, images or any other similar thing that promotes the culture of violence or makes apologies for crime or for the authors of illegal acts in a live performance.”
But it isn’t just the glori@cation of the drug trade that is of concern in many popular song lyrics. The denigration of women is another very real problem.
In recent times, some songs in Latin American music, including those popular in Mexico, have come under scrutiny for their content. Songs such as "Unas Nalgadas" by Alejandro Fernández, "Revenge" by Nicki Nicole, and "La Planta" by Caos have been noted for their explicit and potentially harmful messages.
"Unas Nalgadas" by Alejandro Fernández, for example, contains verses that re0ect physical and emotional abuse in a dysfunctional relationship. The lyrics suggest violence as a response to unfaithfulness and describe actions that normalize violence against women.
Nicki Nicole's "Revenge" has been interpreted as portraying the physical and psychological violence exercised by a man against a woman. The lyrics are explicit and depict a scenario of retribution against an abusive partner.
"La Planta" by Caos is another example where the lyrics attack a woman for being with multiple men, using derogatory terms and showcasing psychological violence.
These examples highlight the importance of being aware of the messages conveyed in popular music and the potential impact they can have on societal attitudes towards violence and gender relations.
The city of Chihuahua in Mexico has taken legislative action against such music. The city council banned artists from singing lyrics that promote the "denigration, discrimination, marginalization or exclusion" of women at public music events. This ban targets songs that might glorify violent and sexist attitudes, and violators could face signi@cant @nes. The move comes amid concerns over increasing violence against women in the region. While some critics argue that such a ban could be seen as unconstitutional or a form of censorship, proponents believe it is a necessary step in addressing gender-based violence. The reality is, even if these sorts of bans take effect in patchwork efforts by Mexican states and municipalities, impossible hurdles remain in the United States, and controlling what’s on the internet is another challenge altogether. (La Semana)