By John Q. Hosedrinker 
Mexico’s President Claudia Sheinbaum launched “Mexico Canta,” a song contest aiming to counter the narcocorrido genre’s glorification of cartel culture. The contest, open to Mexican and U.S. artists aged 18-34, encourages songs on themes of love, despair, and Mexico, in contrast to narcocorridos’ violence and misogyny. Recent incidents, including visa revocations for a band displaying cartel imagery and violent fan reactions to a narcocorrido ban, underscore the initiative’s urgency. The contest runs from April 28th to May 30th, with submissions limited to three-minute songs.
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The Mexican president’s decision to organize a song contest aimed at countering the popularity of narcocorridos, a musical genre that glorifies drug cartels, is a fascinating and, frankly, somewhat bizarre approach to a deeply complex problem. It’s easy to see the intent: to shift cultural narratives away from romanticized portrayals of cartel violence and towards a more positive image of Mexican society. The hope, presumably, is that catchy tunes celebrating community, hope, or even just everyday life might supplant the allure of narcocorridos.
However, the very idea raises some serious questions. The risks involved for any contestant are undeniable. We’ve seen instances where musicians who have criticized cartels or refused to perform narcocorridos have faced dire consequences, even assassination. Winning a contest explicitly designed to counter this genre could unintentionally put the winner in the crosshairs, making the prize a potentially deadly one. It’s not just about a little risk; the stakes are incredibly high. It’s hard to imagine a scenario where winning this contest wouldn’t feel at least somewhat terrifying.
The comparison to a similar initiative, such as a hypothetical ban on gangsta rap in the US and a subsequent government-sponsored song contest promoting positivity, illustrates the inherent difficulties. This would undoubtedly be a challenging undertaking, especially given the deeply embedded nature of the cultural appeal of certain music genres, even those that arguably glorify violence. Whether the Mexican president’s contest could achieve anything near the success of Eurovision, which celebrates entirely different cultural values, is extremely doubtful. The concept of “Mexivision” is intriguing, yet the contexts are so different that direct comparison seems unrealistic.
Furthermore, the notion that simply replacing one genre with another will eradicate the appeal of cartels seems naive at best. The cartels’ popularity, especially in certain regions of Mexico, isn’t solely based on musical glorification. In some areas, they function as de facto authorities, providing services and resources – sometimes even acting as a kind of Robin Hood figure dispensing goods to the poor during holidays, further solidifying their influence and making them appear benevolent to some.
The idea that the cartels are already deeply entrenched in Mexican society, and that the government’s approach is more focused on maintaining a delicate balance of power and avoiding open conflict, is certainly a relevant consideration. Previous attempts to forcibly suppress cartels have resulted in intense retaliation and increased violence. The current administration’s strategy seems to prioritize maintaining a degree of stability, even if it means accepting the continued presence of these criminal organizations.
The suggestion to promote existing bands like “The Warning” offers a more pragmatic alternative. While they don’t directly address the narcocorrido issue, their music represents a vibrant and successful aspect of Mexican culture, offering a positive counterpoint without directly confronting the cartels. This approach acknowledges the importance of creating positive alternatives without the inherent risk of directly challenging powerful criminal organizations. It’s a less confrontational, arguably safer route.
Ultimately, the president’s song contest is a high-stakes gamble. While the intent—to counter the normalization of cartel violence through music—is commendable, the practicality and effectiveness are highly questionable. The potential risks outweigh the probable benefits, and it remains a risky strategy with unpredictable consequences. More nuanced approaches that focus on addressing the underlying social and economic factors that contribute to the cartels’ appeal, alongside promoting positive cultural initiatives, would likely be a more effective and less dangerous approach in the long run. The focus should be on long-term solutions, not quick fixes or symbolic gestures.