What about C. Tangana, El Madrileño and feminism?

The Madrileño, Pucho, Puchito, Antón, C. Tangana, “you were cool when you were cream.” Ten months ago C. Tangana resonated again on mobile phones and laptops with I’m never. Song that, to this day, has 20 million views on YouTube, a third of which will be mine. Months later he returned to achieve large figures with Too Many Women and just a month later he broke records with You stopped loving me. On February 26, after three months, his new album came out to reposition himself at number one. And a day later Split my face it was his most listened to song on YouTube with more than a million views.

But what does C. Tangana or El Madrileño have to do with the feminist struggle?

To deny that music is part of culture and that more or less accepted and socially extended discourses are embodied in culture would be absurd. Just as it would be absurd not to have in your sights that the spread of feminism also means that the movement reaches into capitalist and neoliberal dynamics and systems. The depoliticization and the assumption by the hegemonic powers of feminism to obtain benefits – be it in terms of economic, political, structural power … – is something that cannot be ignored.

That is why it is key not only to attend to the discourses that are generated in the musical spheres because of the importance they have as they reproduce social reality and, consequently, its structures of domination and resistance. But also because discourses generate knowledge and this knowledge produces or reproduces power relations. Is it the same that Puchito says in a song “I grew up thinking that only the ticket would give me my respect, that a man who does not have to spend is not a man, only a doll” to let him loose between rhythms “When I’m done ‘you can fuck her, for now this is my whore and I’m going to fuck her”? Attending and identifying not only what knowledge is being configured in music, but also what powers are linked to it, is a key starting point to know what new elements of inequality and / or violence are being configured and from what perspectives.

C. Tangana came from positioning himself almost as a kind of alter ego of the fuckboy with songs like I shouldn’t have kissed you, which has more than 33 million views on YouTube, or To get your attention, with 39 million views on the same platform. In these songs the representations of women typical of patriarchal culture dominate, in which women are not recognized as subjects, but rather as consumer objects. The myths that place responsibility on women for the causality of men’s behaviors are reproduced, establishing in the “female causes” elements of responsibility related to gender violence and other inequalities (“You shouldn’t have come close, no. You shouldn’t have touched me, no. You shouldn’t have fallen in love, no”). Thus, they are represented as people who “provoke” men (“I shouldn’t have allowed myself to be hypnotized, I shouldn’t have approached without thinking”); a kind of fatal Woman that through her feminine attributes (“How much I saw you happening, spectacular. You were bouncing, spectacular”) manipulates the man and uses him (“I have you imprisoned in my clutches, daddy you have not turned back, I cannot get out of the trap , asking for more and more “) for his own benefit.

In the songs of C. Tangana this representation of women as bad, dangerous and cunning abounded. He even dedicated a song to the bad woman —because women are always one, univocal, equal, with the attributes and characteristics of hegemonic femininity—: “A thief. That you have ruined me. You have taken my heart, my pride, my money, my peace, my life”. However, with I am never takes a turn and positions itself in the female story. A feminine story, however, in which the woman expresses her discomfort to the couple from a position of submission and endurance. There is no agency in that woman who wants to love that partner from whom she does not receive the feedback that she wants (“And again you’re going to miss the plane. And again I’m an idiot waiting for her man”) and that she falls into guilt for being in that position of patience and waiting in which the feminine is enclosed. Thus, it introduces a new position in which women are beginning to be recognized as a subject beyond an object of consumption, although the patriarchal codes of sociability and feminine behaviors are maintained.

It is through Too many women where the story between the two versions of C. Tangana that we had been listening to begins to mix. On the one hand, there are those patriarchal and macho representations that he had been building in which the woman is an object of consumption and that he enumerates throughout the song and, on the other hand, this new face that he expressed in Guille murderer, in which he begins to recognize interactions between genders beyond the sexual component that had been predominant, and begins his criticism of gender roles.

In You stopped loving me is when we see the clearest vision of softboy by C. Tangana. Here the evil that characterizes women in these representations is clearer, however, now it is not identified with provocation or with their sexuality, if not with the lack of reciprocity in the relationship (“You stopped loving me at least I was hoping. When I loved you the most, your desire went away “). In this song it seems that an alternative masculinity is even being expressed, which recognizes vulnerability and expresses it (“I thought I was the most bastard, but I’m noticing my heart”). However, that relationship between genders based on competition and blaming continues to be present, where he, while acknowledging his discomforts, also blames the woman for them.

This “new masculinity” of The Madrileño meet again in Split my face, where he accepts these feelings again (“I sleep with the chain on well, because I think about the nights that I dreamed of its weight and because the rest of the things that matter went with you”) and this dichotomy between hegemonic masculinity that the patriarchal system imposes and individual well-being, this recrimination and blame towards the woman for having changed her mind continues to be present (“Guccis in the closet, a hundred thousand in one night. The life you wanted: the lambos and the porches and everything so that in the end you have I go“).

His latest album is full of this dichotomy between machismo and neo-machismo. Between hegemonic masculinities and patriarchal representations of women and this search for new ways of expressing oneself from alternative masculinity. Thus, in When will i forget we see once again that traditional representation of women as dangerous and manipulative (“Brother, this woman is going to kill me. She has proposed to humiliate me. She is happy with my suffering”), and in Ungovernable his suffering from not being able to have the woman (“It is not good for him to break my chest and shout ‘I love you’ every time it happens. I know that you are priceless. He reigns in and out of the house”) at the same time which continues with its characterization as bad for making men suffer. In You forgot it he regains that masculinity characterized by aggressiveness and substance use (“I live inviting the comrades. I live without looking at the accounts. Always ready for a brawl. Always partying, always partying”) and which is contrasted in Change!, where he exposes the criticisms made of him precisely for sustaining these behaviors (“They made me think that if I wasn’t wrapped up in Gucci every night, I was just a nobody. And now that there are zeros left over in the bank they ask me to change “).

Puchito, Antón, The Madrileño, C. Tangana, Pucho, it is clear that they are not the same. You can see a change in the content of his lyrics in relation to macho behaviors and patriarchal representations, but what change? The music industry is a business and, as we mentioned before, capitalism and neoliberalism are not on the fringes of the feminist struggle. Are the new gaps of alternative masculinity that it opens The Madrileño something beyond an approach to more feminist positions at the hands of the purplewashing Or do you really feel pressured to carry out a deconstruction process? Will your speeches, regardless of your goals, serve more than just dancing or cleaning the house with rhythms? Will you have more views Change! that Split my face?

Source: ElDiario.es – ElDiario.es by www.eldiario.es.

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