Abstract
Popular music has not yet been widely considered by popular geopolitics practitioners. This paper develops such a perspective, using the US–Mexico border as a case study. In the area, the classic corrido and the more recent narcocorridos are flourishing. Their lyrics, exalting the deeds of border trespassers, usually represent the border as a superimposed boundary. Around the border, other more hybrid kinds of music stand for a very mixed borderland. The border is also portrayed in Anglo songs, referring to the ‘South of the border’ experience. In these, depiction leaves room for a different perception, since the border is represented as an open frontier, easy to cross, to find an abundance of girls and alcohol on the other side. Popular music can also offer a metaphorical representation of the US–Mexico border, transforming it from a local space to the symbol of all global power asymmetries, as in Manu Chao’s songs.
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