The corridos lying have consolidated as one of the most powerful musical expressions of recent years in Mexico and between Latin communities in the United States. With a mixture between the Northern Corrido and urban genres such as the Trap or the Hip Hop, artists such as Natanael Cano, Weight Feather or Junior H have managed to capture the attention of millions, carrying this new sound to international scenarios and global reproduction lists.
His rise, however, has not been free of controversy. In several entities of the country, such as Aguascalientes or Sinaloa, specific songs have begun to sanction concerts, under the argument that the letters make crime apology. The recent case of “Bluish horn”, by Natanael Cano – interpreted despite his veto at the Aguascalientes fair – revived the debate: is censorship a legitimate tool to face the background problems?
The tension is not new. Throughout history, different musical genres have faced attempts for regulation or censorship, from rock in the 60s to reggaeton in its early stages. The central question persists: Does music generate violence or simply reflect it? And what consequences does it have for the industry when a cultural expression becomes the target of restrictive policies?
From a business look, the runs lying represent a real opportunity. Behind the success of these artists there are hundreds of jobs, producers, technical teams, promoters, streaming platforms and record stamps. This ecosystem has boosted the national musical economy at a time when other industries face stagnation. Therefore, a policy that restricts without clear criteria not only impacts creative freedom, it can also discourage investment, emerging talent and cultural export.
That does not mean that the genre is exempt from criticism. There are legitimate questions about the messages that are disseminated, the values that transmit and the context in which they are consumed. But more than close stages or veto songs, maybe the way is to open conversations. Promote informed consumption, boost spaces for reflection in media and in the educational system, and recognize that what is many times is a symptom, not the cause.
Instead of censoring, you can take advantage of the strength of the phenomenon to better understand a generation. One that, like all, is looking for ways to tell its story. Although sometimes it hurts, bother or contradict what is established.
About the author:
*Guillermo Gutiérrez Leyva He is senior vice president of A&R in Sony Music Latin Iberia
The opinions expressed in this article are personal and do not necessarily represent any organization.
The opinions expressed are only the responsibility of their authors and are completely independent of the position and the editorial line of Forbes Mexico.
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