When we talk about masculinity, we generally tend to associate it with strength or what we were taught masculinity is, understanding that it must be tough or manly. Of course, we understand that the construction of masculinity follows a general criterion linked to certain social and cultural details, which means we do not speak from a single concept of masculinity, but rather masculinities,  yes, in plural! This process, in some contexts, is not well received, since there is a tendency to recognize that only one concept of masculinity governs.

Where can these types of masculinities be seen? In the marketplace gallery, on public transportation, in classrooms, on the streets, and in songs. Some are very similar, but others are very different. Among all the spaces and communicative moments where masculinity can be talked about and understood, the sonic context through music and songs stands out because it allows us to reveal, through sound, landscapes of masculinity. Everyday sounds that have remained and will continue to accompany human beings through radio stations, personal playlists, parties, or social events,  whose environment marks individualities or collectivities depending on the case, regardless of socioeconomic status or academic standing, at some point also bring us closer to understanding masculinity through the lyrics of songs.

In music, we constantly find stereotypes of masculinity associated with age, gender, and context. For this reason, reviewing theory on the influence of music on the mind, it is found that music can generate dimensions related to: emotions (romantic relationships, breakups, sorrow, sadness), memories (someone who is no longer here, childhood, better times), learning (today children are taught colors, shapes, and even multiplication through music), and attention (this is more associated with concentration, some people need to listen to music to focus). I believe we have observed this in students of all ages.

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Reflecting on masculinity, especially in the sonic dimension and specifically in songs, means talking about performers, composers, and everyday situations that transcend emotions and inspire song lyrics. Before continuing, I want you to ask yourselves, as you read this brief text: What songs do you consider speak about or relate to masculinity?

In a research exercise a few months ago, I made a list of several songs that speak to us from a stance of masculinity. For this reason, I would like you to engage with the following song titles and their years of release so you can remember, get to know them, and approach the fabric of their lyrics and messages:

• Aquel viejo motel (That Old Motel) 1989

• Jardín prohibido (Forbidden Garden) 1990 — (Sergio Dalma 2011 — Sandro Giacobbe 2016)

• Amigos (Friends) 1990 — Conjunto Chaney 1997–2005

• Esa niña (That Girl) 1990

• Por qué será (Why Could It Be) 1991

• Te compro tu novia (I Buy Your Girlfriend) 1993

• Santo Cachón 1994

• Se le moja la canoa (His Canoe Gets Wet) 1995

• Virgen (Virgin) 2001

• Ya me cansé (I'm Tired Now) 2015

• Maldita traición (Damn Betrayal) 2015

• Que sufra, que chupe y que llore (Let Him Suffer, Drink, and Cry) 2015

• Si se fue, se fue (If She Left, She Left) 2015

• A mi me gustan mayores (I Like Older Women) 2017

• El aventurero (The Adventurer) 2019

• Tusa 2019

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Have you listened to these songs? Possibly yes, it all depends on the context. If you haven’t heard them, I want to tell you that this brief text, which leads me to reflect on the lyrics of songs, allows us to clearly understand how songs establish their codes, their references, their languages, and how they take up everyday elements to dimension masculinity. The reflection is open for understanding, of course, not hegemonic masculinity but the one that is being written and transformed in society.

 

Written by: Álvaro Gerardo Fernández Sánchez Professor, Department of Social Communication