The band Ginebras presents Donde nada es para tanto, their third album. In an interview, its members analyze the relationship between their music and politics. They clarify that they do not create songs with an intentional political message, but acknowledge that it is an inevitable element. They compare the explicit advocacy of other eras with a current lighter tone and admit a underlying fear of being called out on social media during the creative process.
Social 'debugging': filtering the noise to find the creative code 🐛
The creative process described by the group resembles software development under pressure. There is a hostile execution environment, represented by social media, where haters act as users testing the code without knowing its architecture. The band describes the need to implement a filter against this noise, a boundary that allows them to maintain the project's integrity without blocking. Their advocacy for humanity and the right to error is similar to version management, where iteration and correction are possible.
Survival manual for artists in the like-hate era 🛡️
So the new norm is to compose with a mental antivirus activated, scanning every metaphor for Trojans that might anger the Twitter sect. The manual is clear: only opine on what you master, as if you were a plumber giving astronomy lessons. And if you make a mistake, correct it silently, before the court of memes calls an extraordinary session. In the end, creating art today seems like an advanced diplomacy course, where the least controversial song is your greatest achievement.