The controversy was unraveled by Uruguayan bishop emeritus Jaime Fuenteswhen talking about the lyrics of the song “Triple T” by Tini Stoessel and warn mothers and fathers about its content. The videos you upload to your YouTube channel usually have between 200 and 900 views; in this case it already exceeded 26 thousand. After reading the lyrics, he spoke to them: “Are you aware that this type of literature, so to speak, enters the little heads, hearts and behaviors of your own daughters? I do not think so. I want to think it’s because of ignorance. I want to think that no dad or mom thinks ‘well, it’s perfect, it’s nonsense’. Whoever thinks it’s nonsense, poor him. I feel it in the soul”.
The bishop opened an interesting debate that, of course, does not end with the Argentine artist nor does it stigmatize her. In the ’70s, perhaps rock’s most enlightened lyricist, Luis Alberto Spinetta, wrote “I like that cut, which I met yesterday; she warms me up, I want to invite her to sleep”. Beyond the exceptionality of this letter in her repertoire, rock reached a young audience, but not children. Now, surely, the prelate was struck by the large number of girls and adolescents who attended Tini’s recital in Montevideo (as happened here with his series of shows at the Polo Field).
That is the real heart of the debate, and it goes beyond a particular musician or singer: the effect that the lyrics of urban music (which includes, among other rhythms, trap, hip hop, reggaeton and a certain type of cumbia) has in the minors. That’s why Sources pointed not so much to Tini, but to the paternal responsibility about what their children listen to (or see) in general. The doctor in Social Sciences and researcher at the Gino Germani Institute Ana Wortmanin his work “Internet, digital platforms and musical tastes of CABA adolescents” published in the Hipertextos magazine in 2019, pointed out: “The musical consumption of adolescents constitutes a key foundation of their identity. The formation of spaces for youth socialization, the expansion of the years of schooling, the growing presence of the media and ways of reproducing musical sounds, have allowed these new social groups to find a language in music”.
The sociologist and researcher from CONICET Mendoza also studied the new music scene. Bravo Nazarenewho together with the music teacher Maria Emilia Greco wrote in his research “The elaboration of globalized identities through the trap. Youth marginalities, consumerism and musical experimentation”: “One of the striking characteristics of this music scene is its lyrics, full of references to the use and sale of drugs, ostentation of wealth, theft, among other. These items coexist with the vindication of the group of friends, love for the mother, life in the neighborhood and the importance of being ‘real’. As usual, extremely sexist positions are raised regarding womeneven among the singers. And they add that this style -the one that has the most incidence in our country-, from which true world stars like Paulo Londra, Duki, Khea, Trueno, María Becerra, Cazzu, Nicki Nicole, Emilia Mernes, Rusherking, among others, “is dedicated exclusively to these aspects or, at least, they are its backbone. That is to say, it is not a question of a thematic detachment, but of its leitmotiv”.
Elvecia Wheat (M. 5442) is a prestigious psychologist, specialist in psychoanalysis of children and adolescents who belongs to the EAPG, the Argentine Graduate School of Psychotherapy. In her opinion, to understand this problem, it cannot be ignored that children have almost unrestricted access to this material: “parents should pay attention to the lyrics they listen to. The underlying problem is that the boys have access to the cell phone before the allowed age, which would be 12 years. And what their children consume on the screens, with social networks where everything is, also in terms of pornography, are songs that sexualize, eroticize and they generate a perceptual sensory distortion in their heads. Through these songs, the notion they build of the encounter with the body of the other or another is not careful, but crude, grotesque, insensitive, and does not help at all.
The psychologist also points out that “if the father is attentive, reads those letters, listens to them and has a dialogue with the son, he can explain that they talk about drugs, sexuality and abuse in human relationships, in the couple. All this is very bad, because coexistence and good relationships are supposed to be what one tries to teach a child. There is an important point, and that is the child is subjectively and psychically in the middle of a construction, in which you have to try to give it harmonious, creative elements that put the interest towards something that does you good. The father has to control what he hears, what he sees.”
For Trigo, a good way to address the issue would be through the school, because, he emphasizes, “Forbidding something in adolescents is useless. What works is getting together, talking about the lyrics. It would be ideal if workshops were held in schools, but unfortunately, it seems that at this time no one is interested in making people think. Since the boys sing, and they are interested in music, the analysis of this should be promoted, so that they are not surprised and know how to differentiate what is good for them and what is bad for them. (Mario) Pergolini used to do it at one time, he brought teenagers together to talk about the lyrics of the songs and find out what they thought. the teenager from the age of 13 or 14 he is able to analyze these letters”.
For the specialist, the hypersexuality of the songs does not reach the point of violating the rights of children and adolescents, but she warns that “this eroticization in the lyrics distorts the development of the psyche of children under 12 years of age. It is not a healthy sexuality. They do not understand very well what it is about, they are not prepared to fully understand what a loving, intimate, sexual relationship is. What it does is spell it out, fill the head with concepts, images and words that distort the construction of the true sexual relationship, which must be harmonic, loving and caring.
-That can cause anguish in minors?
– Of course it can distress them. If there is no filter in the head of the parents or the teaching adult explaining to them, can cause fear, confusion, inhibition, rebellion and aggression, All this. Because the child is something fragile, vulnerable, fragile, sensitive, who is curiously open to the world, and becomes a hostage of this type of lyrics. He is in evolution, in a subjective constitution to become a person with freedom of thought, with harmony and emotional balance, a more secure and autonomous person, and all this would prevent him. Let us think that sexuality is a current of life if we take it as libido, the opposite of thanatos; but hypersexuality is thanattic, it means that for a child it is destructive, is destroying the subjective construction of a child to whom we must teach what this is about relationships, love, care, attention. There is the responsibility of the adult, with his ethics of saying yes and no.
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A psychologist talks about the controversy over “Tini”: “The eroticization of the lyrics distorts the psyche of children”