The Mexican corrido is one of the most popular cultural manifestations both in the United States and Mexico. From its origins in the mid-nineteenth century, the corrido has dealt with “people’s stuff,” such as war, love, honor, immigration and/or belonging to a land, among other everyday life issues. The corrido is, in short, a symbol of identity and belonging, and can be considered a marker of the Mexican identity on both sides of the border. In this sense, it is to be expected that the corrido, as an expression of “people’s stuff,” voices the relevance of a “national” symbol. In the same way, tequila is regarded, at least internationally, as directly related to “lo mexicano/chicano,” and in many cases also to Mexican/Chicano masculinity. Starting from this premise, the aim of this article is to observe the presence of tequila and its significance as a symbol of “lo mexicano/chicano” in the work of Los Tigres del Norte, one of the most prominent corrido bands, both locally and internationally.

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The border between the United States and Mexico, since it was first conceived in 1848, has marked the lives of those who live on both of its sides, as well as of those who want to cross it. It has also become the source of a vast array of theoretical and artistic work. Chicano writers have written about it, and so have theorists dealt with its meaning and conceptual implications. The aim of this essay is to observe the way Malín Alegria's Sofi Mendoza's Guide to Getting Lost in Mexico (2007), a novel for young adults, serves as a way for young adults to "evolve a moral conscience" (Scharf, 1980: 101), through a process of "critical witnessing" (López, 2009: 205) of what it means to be on one or the other side of la frontera.