Cumbia villera

The cumbia villera is a subgenre of cumbia born in villas miserias, which had its beginnings approximately in 1996 and 1997 in the Argentine Republic, consolidating in the 2000s, and later being popularized in other Latin American countries and American communities outside the region.

It received the name cumbia villera in 2000, after the publication of the album Cumbia villera, by Yerba Brava, one of the best-sellers of the style. His criticized lyrics are considered aggressive, vulgar and the relationship with the lower class defined the name, since the inhabitants of the slums are pejoratively called villeros by some, a term that is extended to people lower class.

The cumbia villera uses the slang of the lower class of Buenos Aires, as well as part of the traditional lunfardo, presenting a concise and colloquial language. Most of the songs are about the daily life in the slums and slums of Argentina, regularly making references to alcohol, drugs, crime, prison life, sex, violence and antipathy towards the police, politicians and hatred of the upper class for different reasons. In addition, bands of this style also make songs that do not differ from regular cumbia songs, which are mostly romantic, as well as some that address social problems, sometimes seeking to raise awareness about them.

Musically, cumbia villera does not have a specific sound and this usually varies depending on the band but, in general, there is an intense use of synthesizers, sound effects, keyboard voices, keytars (keyboard-guitar), electronic drums and other elements of electric instruments. It has great influence from Colombian cumbia and chicha. There are also bands that have made songs where they fuse cumbia with candombe, rap, reggae and ska.

Due to its origins and lyrics, cumbia villera presents similarities with styles such as gangsta rap, street punk, head rock and narcocorrido.

History

Origins and initial development

The cumbia villera subgenre was born in the late 1990s in the midst of an economic and social decline in Argentina. The introduction of policies by Carlos Menem's government gave rapid growth to the nation's economy but progressively marginalized large sectors of society due to the budget deficit, its financing and the corruption of the Menem governments, and by the end of the decade, Argentina was immersed in a deep economic crisis. Some of those most affected by it were the working and lower classes, the latter being a social class where cumbia was the most popular musical genre. However, the popular cumbia bands of the 1990s did not usually make songs about problematic issues. social issues, and their lyrics were limited to themes such as love or partying. At the same time, however, rock and roll bands became popular whose lyrics addressed social problems and, in many cases, recounted the experiences and customs of youth in a raw and direct way, with songs that talked about drugs, sex, crime, street violence and hatred towards the police with vulgar language, this being something new in Argentine rock and roll, since, previously when When addressing themes of this style, the bands only used metaphors, which were also far from being aggressive. This lyrical style of Argentine rock and roll songs was called head rock or neighborhood rock. The term head is a derivative of the term pejorative little black head; while the name barrial is due to the lyrics associated with the street, which was associated with situations that occurred in the slums.

In this way, Pablo Lescano, keyboardist and author of the lyrics of several songs by Amar Azul (one of the most important cumbia bands in Argentina), began to compose more vulgar and direct lyrics under the influence of the group 2 Minutos, punk rock band that he listened to and that is part of head rock. However, the remaining members of the musical group Amar Azul sometimes rejected some songs that Lescano proposed due to their aggressiveness or vulgarity. Thus, Lescano bought instruments and equipment to produce an independent recording, and in 1999 he formed a band with a different aesthetic and lyricism than usual, and called it Flor de Piedra, thus becoming the first band of what one year Later it would be called cumbia villera. Flor de Piedra and Yerba Brava, headed by Juan Carlos Ponce "El monito", lead this new musical movement.

However, Lescano decided not to be part of it and limited himself to composing his songs and being the representative. Flor de Piedra then recorded the first cumbia villera album in history, La vanda más loca, but the record companies refused to distribute it, so the band sent their recording to an illegal station, which accepted. The song Sosbotton was used as the album's distribution cut, thus becoming the first cumbia villera song. Unexpectedly it was successful, and so it was that the Leader Music label finally contacted Pablo Lescano, informing him that he was interested in the band.

The recordings began to have high rotation, and the band soon began to gain popularity, spreading throughout the country. This caused new bands to form, some in the same year (Guachín, Canto Negro or Pala Ancha) and others from the year 2000 (Meta Guacha, Mala Fama, Yerba Brava, etc.). That same year, after a motorcycle accident that took Pablo Lescano away from Amar Azul, he spent several months with little mobility in his bed, time where he recorded songs at home using his voice, which is why he decided to form Damas Gratis, a band that, Years later, it became the most important of the style, and where he not only composed the songs but also became part of it as a vocalist and keyboardist. The new bands also went beyond the initial foundations of Flor de Piedra and began to explore new sounds and themes, bringing elements of rock (Los Gedes) or classical music (Mala Fama), and making the lyrics more socially conscious (Guachín) or radically aggressive (Pibes Chorros). The crisis that exploded in 2001 in Argentina strongly increased the popularity of cumbia villera and symbolized it for all posterity as an icon of a time in Argentine history. It was during this time that some of the most important albums were recorded. of style, like "100% villero", from Yerba Brava (in 2001); and "I only ask God", by Pibes Chorros (in 2002). The style and its musical repercussions were widely debated in the media, and was part of the sound of the television series Tumberos (2002) and the films El bonaerense" (from 2002) and El polaquito (from 2003). Cumbia villera bands even began to go on international musical tours, at first in neighboring countries, and then in the rest of South America and also North America and Europe. This Argentine invasion strongly influenced the public of the Latin American countries where the bands performed, and soon cumbia villera bands were formed from Uruguay (La Clave), Paraguay (Los Rebeldes), Bolivia (Diego Soria), Chile (Buena Huacho), and Mexico (Cumbia Zero), contributing musically to the style by using the different styles and influences of the musical genres of their different countries, and contributing lyrically by using the vocabulary and slang used in everyday life in their respective countries.

Musical maturity

Trends in Argentine cumbia began to change and some new measures in the Argentine music industry that affected the original theme of cumbia villera such as pressure from band managers to stop singing controversial lyrics and censorship of the stations and the COMFER that banned cumbia villera, although to what extent censorship reduced the predominance of cumbia villera or, on the contrary, encouraged the musical genre even more, is debated. The campaign in the villas of Christian groups (both Catholic and evangelical) also contributed. Other causes include changes in the cumbia villera bands such as separations (Guachín), change of singers and/or other members (Yerba Brava) and falls in drugs or other addictions (Pablo Lescano), and the rise of new cumbia bands that were different in both sound and lyrics and even aesthetics, such as La Base Musical, which, in general terms, avoided controversial lyrics and instead That's what they sang about love, and they named their styles as "cumbia base" or other nicknames to avoid the implications of being labeled as cumbia villera and subsequently being prohibited from playing in clubs or receiving promotion, due to COMFER censorship.

Throughout the 2000s, cumbia villera continued to have weight in working-class and poor communities throughout Latin America, with even new bands being formed each year throughout Latin America and continuing the evolution of the genre., along with the usual tours that the most representative bands such as Damas Gratis and Pibes Chorros constantly made around the continent. As late as 2007, 30% of total sales in the Argentine music industry were still from cumbia villera recordings. But its predominance and influence in Latin America was greatly diminished with the change in lyrics with the popularization of reggaeton in the mid-2000s. of the 2000s and in Argentina, furthermore, with the cumbia bands that became popular at that time using the most common cumbia lyrics, dedicated to romanticism. However, certain sociologists, philosophers and part of the public opinion began to vindicate cumbia villera in the 2010s as a genuine representation of the expression of the socially marginalized, just as had happened with rock head.

Features

Cumbia villera is a current of Argentine cumbia whose lyrics frequently address themes related to sex, drugs, alcohol, football, poverty, police repression and crime, it is a vehicle of expression of the marginal classes, which describes the daily life in which they are immersed.

The adjective villera refers to the inhabitants or anything that comes from the slums (the name given to informal settlements in the country made up mostly of precarious housing) and also to lower class people in general, since, in its beginnings, the majority of the public and the musicians of this movement were inhabitants of different towns in Greater Buenos Aires. Although the adjective is used pejoratively by those who belong to other social classes, it has been appropriated by many inhabitants of the villages, who use it as a badge of belonging and even pride, but only when used by a member of the same group. social (in a similar way to the English expression nigger).

The Wawancó and Cuarteto Imperial, bands originally from Colombia, were the precursors of cumbia in Argentina, in the 1960s, where they managed to be successful and served as an influence for the bands of Argentine origin that were then formed from that same decade, especially in the province of Santa Fe (cumbia santafesina developed there) and in the northwest of the country (where cumbia norteña developed). With the constant internal Argentine migration (mainly occurring since the 1940s) of inhabitants from all over the country (mainly from the north) to Buenos Aires and Greater Buenos Aires, cumbia was gaining popularity in the Argentine capital and its surroundings (in the south of the metropolitan area, Santa Fe cumbia began to have good popularity since the 1970s), as well as due to the migration of population from Bolivia and Peru to the entire country (in those countries cumbia had long been rooted in large segments of the population).

In the 1990s, marked in the political sphere by the conservative neoliberalism of the Argentine government (headed by President Carlos Menem, who ended his term in 1999 and was replaced by Fernando de la Rúa), the economic and social situation It got worse little by little until in 2001 a serious crisis occurred that plunged a good part of the country's population into poverty (in 2002 it exceeded 50% of the total population). Already since the mid-1990s, informal settlements (called emergency slums, miseria villas or simply villas) formed by populations with limited economic resources were growing noticeably in the urban centers, as well as a large increase in crime and street violence.

Since the late 1980s, cumbia had begun to be the most consumed genre in the Argentine lower class, even in the capital and its surroundings, and in the 90s its popularity continued to increase in all social strata. However, the lyrics of Argentine cumbia have always been mostly romantic or referred to everyday life, and although there have been songs for a long time that have addressed topics such as sex and alcohol consumption, they have not done so using vulgar or explicit language. The lyrics referring to alcohol and parties became more common in the 1990s, where Amar Azul, one of the most successful bands of the time, had special influence, although there were no songs that were considered rude, but musicians After leaving said band, they soon formed the three pioneering bands in cumbia villera: Guachin (Grupo), in 1998, and Pala Ancha and Flor de Piedra in 1999. Other bands formed in that year were Canto Negro, Grupo Kalu, Yerba Brava and Sipaganboy.

Pablo Lescano, considered a mentor of cumbia villera, in Amar Azul, in addition to playing the keyboard, composed the lyrics for some songs, but other lyrics were not aired because other members of the band considered them too explicit. His inspiration to write lyrics of this type came mainly from 2', an Argentine punk rock band that he listened to in his adolescence, in addition to the fact that, in his own words, all the young people in his neighborhood listened to it (in the 1990s was a band widely listened to among the lower social strata of the country), and he noticed that in Argentine cumbia there were practically no songs like those of said band, which recounted, in the jargon of lower-class youth, the problems that occurred more and more frequently on the streets (mainly in the slums), such as fights, drug and alcohol abuse, conflicts with the police, crime, etc. Therefore, he gathered several musicians and a friend named Dany Lescano, whom he placed as vocalist, and formed the band Flor de Piedra, and with money he had earned playing in Amar Azul, he paid the rent for a recording studio for the production. from the new band's first album, which was called La vanda más loca, which went on sale in 1999 and was the first of what was later called cumbia villera.

Flor de Piedra tried to call herself cumbia head - this is the name of one of the songs on her first album - after her style (the term cadera derives from the term pejorative cabecita negra), while Pala Ancha and Sipaganboy tried to impose it as cumbia callejera - the name of Pala Ancha's first album, produced in 2000 -. For his part, El Indio began his career in 2000 and released his first album, called Cumbia de barrio , thus trying to impose that name.

Terms like head or de barrio were already used for some years in Argentina to describe the style of rock and roll (rock barrio, rock head, neighborhood punk, punk head, etc.) by bands like Ratones Paranoicos, Flema, 2', Attaque 77, La Renga, Bersuit Vergarabat, Viejas Locas, Jóvenes Pordioseros, etc., and in fact already in the '70s there was a style of punk called street punk > in English), later called oi.

The name cumbia villera appears in the year 2000 due to the homonymous name (Cumbia villera) of the first album (and one of the songs from it) by Yerba Brava (whose vocalist came from the Canto Negro band already dissolved).

In that same year numerous bands emerged (Damas Gratis - flagship band of the movement of which Pablo Lescano is vocalist and keyboardist -, Mala Fama, Meta Guacha, etc.) that were labeled within the same style. There cumbia villera began to have massive commercial success and the media and public opinion immediately began to make aggressive criticism, which only increased its fame and success (something similar to what happened in the 1970s in England with punk rock). In the following years, numerous bands and soloists emerged, among which Pibes Chorros (the other flagship band of cumbia villera), Los Gedes, Altos Cumbieros, Supermerk2, Jalá Jalá, La Piba, Eh Guacho, La Base Musical, etc. stand out.

The songs used to tell about life in the poorest neighborhoods of Buenos Aires and Greater Buenos Aires. Throughout the country, poverty and educational deficiencies gradually increased in the 1990s, increasing the marginalization of many working-class young people who were unemployed. The lyrics of cumbia villera usually reflect this fact, recounting the lifestyle of young people from that social stratum, related to the consumption of alcohol and drugs and the maintenance of promiscuous sexual relations, and also in many cases with delinquency (the songs who engage in that theme tend to glorify it).

The current began to perceive great transformations around 2004, due to the censorship that already in 2002 received songs that used vulgar language or contained explicit lyrics. In this way, songs with cruder lyrics stopped being widely distributed and the music industry itself began to produce bands and singers (which were taken through castings).) more marketable with songs whose themes were further removed from lyrics related to marginal life. It should be noted that many of the new bands and singers did not usually write their lyrics, so it was the producers who invented them and in many cases they simply resorted to making covers. In this way, the cumbia villera bands turned to making less aggressive songs or they dissolved, causing the movement to have a great decline. There were also cases of bands (such as Pibes Chorros or Yerba Brava) where the producers, who owned the names of the bands, replaced the old musicians for opposing the changes, and in their place placed others, maintaining the same name but with a different conformation. Although cumbia continued to have massive commercial success, the new bands were considered part of cumbia villera merely for their sound and not for their lyrics, which were no longer explicit in most cases, which is why many no longer considered it. villeras to new bands and soloists.

This phenomenon was accompanied by the progressive economic and social improvement of Argentina, which caused cumbia villera to become widely consumed even by the middle class as festive music, also due to the softening of The lyric. This meant that for the new bands and artists it was no longer important to give a villera image, but rather they focused more on fun and festivity, also related to sex, alcohol and soft drugs, but in a less aggressive way.

With cumbia villera the urban tribe (or subculture) of the cumbieros was born (it should be noted that the term "cumbiero" is also used to refer to any listener or fan of cumbia beyond belonging or not to the aforementioned subculture), who are followers of mainstream bands and the vast majority belong to the working class. Their clothing at first had a certain resemblance to that of the rolingas (Argentine subculture that originated in the mid-1980s that influenced the cumbieros in their way of dressing and is related to the fandom of The Rolling Stones), although slightly more sporty. Hair was usually worn long or medium long, which was common for some decades in Argentine urban youth, influenced by the hippie, metal and rolinga subcultures, which had a significant presence in the country's large cities since the 1960s (in the case of hippies, since the other two subcultures appeared in the country in the 1980s - at the end of that decade the hippies began to decrease noticeably). Towards the mid-2000s, clothing became sportier and looser, and the use of short hair also became more common, all influenced by the hip hop subculture, and sometimes dying it in different colors., which was taken from the punk subculture. At the end of the same decade, clothing once again had slight changes and the use of baggy but more elegant and less sporty clothing became common, this due to the social improvement that Argentina had and the great incursion that middle class youth made in the villera cumbia. The use of small crests flush with the hair (not raised with gel as punks usually do) also became common, sometimes dyed yellow.

Influences

Within its musical composition, cumbia villera takes some electronic sounds from cumbia sonidera, and the sound of the accordion from a side of Colombian cumbia. In Argentina the diatonic accordion is used to play a folk musical genre called chamamé; In cumbia, instead of the diatonic, the keyboard and piston accordion is used. The Peruvian and Bolivian cumbia bands of the 1970s, 1980s and 1990s were also influential in the origin of the so-called cumbia villera.

The themes frequented by cumbia villera had already been addressed since the mid-80s by the rolinga rock and barrial rock bands (included in those categories (also known as neighborhood punk) in general but less frequently and sometimes less explicitly. This current of Argentine rock and roll had an important influence on cumbia villera, inheriting certain codes of language and behavior, which were common among lower-class young people, who in the 1980s and 1990s used to have as their favorite music that rock and roll style. Bands like Ratones Paranoicos, Flema, 2', Attaque 77, Viejas Locas, Bersuit Vergarabat, La Renga, etc., had already advanced in lyrics about the common consumption of alcoholic beverages and drugs, promiscuous sex, neighborhood identification (similar to identification or sympathy for a football team), street violence, crime and hatred towards the police and an understandable rejection of the bourgeoisie, all of this sometimes using vulgar and explicit language. Bands like Bersuit Vergarabat actually made some songs where cumbia and rock and roll were mixed. In the 2000s, several underground bands from the punk movement appeared that mixed that style with cumbia.

Chamamé also had a cultural and musical influence on cumbia villera due to the migration of the population from northeastern Argentina (where it originated) and Paraguay to Buenos Aires and surrounding areas, where it interacted with the population from other regions of the country and from nearby countries where cumbia was already rooted. In chamamé there are examples from the middle of the XX century of songs that talk about conflicts with the police, drunkenness and fights, although the lyrical is usually more poetic. There have also been bands that fuse cumbia and chamamé for some decades, such as Los Caú, Los Dioses del Chamamé and Los Caté. Mala Fama, an important villera cumbia band, has a chamamé song.

Rap is another genre that strongly influenced cumbia villera mainly from a cultural perspective, although there are bands that mix cumbia with rap (such as Bajo Palabra, a rap band that in most of its songs usually fuses it with some cumbia).).

Reggae and ska are genres that cumbia villera bands such as Damas Gratis, Flor de Piedra, Mala Fama and Los Gedientos del Rock, among others, ventured into, generally mixing it with cumbia. There are also reggae bands and soloists (like Fidel Nadal) who have made songs where they mix it with cumbia. In ska, the most important example is that of Los Auténticos Decadentes, a band that, although labeled within ska, has songs from many other genres (bolero, quartet, cumbia, pop, etc.), and from the beginning had some cumbia songs. In fact, it is a very popular band in Argentina in all social strata, and some of its songs have ''rude'' but done in a humorous way. This band was another of those that had a clear influence on cumbia villera with its characteristic mix of popular musical genres in the country and especially in the working class. Other important ska bands that made cumbia songs are Los Fabulosos Cadillacs and Dancing Mood.

The quartet has an indirect influence. It is a genre that originated in Argentina, in the province of Córdoba, and also arrived in Buenos Aires through internal migrations. Already in the 1980s there are examples of songs that mixed cumbia and quartet in bands that later influenced cumbia villera.

The influences of tango and milonga are also indirect since they have been part of Argentine culture (in the case of tango, especially the culture of Buenos Aires and surrounding areas) for decades. The influence of candombe also reaches cumbia villera and through the murga (a celebration similar to a carnival - although smaller - where candombe is used as music, just as in Brazilian carnivals samba is used as music), traditional festival of Buenos Aires (especially in humble neighborhoods). Yerba Brava and Los Gedientos del Rock are bands that have songs where they mix cumbia and candombe.

Reggaeton had a musical influence on cumbia villera since the late 2000s. Although most of the bands that use sounds taken from reggaeton are not from cumbia villera, bands from that movement that are currently important, such as The League, they do it.

Electronic music from the early years of cumbia villera began to make its influence noticeable. Bands like Damas Gratis and Eh Guacho used to present remixes of their own songs, where they placed multiple sounds and effects of electronic music. Pop began to have influence from the late 2000s, which is evident in the sound of soloists who in recent years were the most successful in cumbia villera, such as El Dipy and Mc Caco.

Diffusion outside Argentina

Cumbia villera recordings have reached various countries in the south of the continent and Mexico. It has spread in countries such as Uruguay, Chile, Paraguay, Bolivia, Mexico and Colombia. Since the cumbia style in general has spread throughout Latin America, it is not easy to determine the sources and influences of a country's specific sound, so it is more reasonable to speak of a cultural phenomenon of mutual and intersecting influences.

It is important to note that although all these countries speak Spanish, the local vocabulary varies greatly, and in particular that used by Argentine cumbia villera groups can be difficult and even incomprehensible for inhabitants of other countries, which limits their possibilities. of success.

However, in Spanish-speaking countries the genre has permeated, adapting locally to the respective idiosyncrasies of each country, which has even generated an interest in creating local musical groups dedicated to this genre and even making the local public of each country is motivated to look for authentic cumbia villera creations originating from the country that started it all, thereby generating new fan bases of the original Argentine groups in several Spanish-speaking countries such as those mentioned below.

Mexico

It arrived in Mexico by the brave bands of Argentina who traveled from the south of the continent to the soccer matches of the gaucho teams against Mexicans when the latter played Conmebol tournaments (Copa Libertadores and Copa Sudamericana), from there it was It spread to some parts of the country with limited success although it did appear on national television programs. In 2003, Pablo Lescano and Damas Gratis, along with reggae singer Fidel Nadal, arrived in Monterrey and played at Café Iguana, in a show organized by the Tigres brava bar. Then, hits like "Laura" and "El humo de mi fasito" went viral among the bars of Tigres and Monterrey, in addition to dances that take place in the city. In 2015 it had its own festival, the Sos Villero Festival, where exponents such as Damas Gratis, El Pepo and Supermerka2, among others, have performed. It is common to hear different versions made by local musical groups of already consolidated hits whose origin comes from this musical trend. For example, the song "No te vas", originally from Ráfaga, was performed in Mexico by Aarón and his Grupo Ilusión.

In Ciudad Juárez, on a single occasion as a promotion through the group Damas Gratis and their CDs are sold in small volume in the main stores in the country such as Sanborns and Mixup for import and they perform concerts in popular sectors of the east and north of Mexico City, in addition, in 2008, the Veracruz musical group Super Lamas has released a CD under the Universal label Cumbia con flavor villero.

Another Mexican-style cumbia villera group that gave a turn to the musical generation in Mexico is Cumbia Zero, a group born in 2007 in Nezahualcóyotl that achieved great success with its song "Ya will pass"; This ten-member group mixed a combination of lyrics of love and heartbreak with current music and sounds, and continues to be played on radio stations. It is one of the few cumbia villera groups still active in Mexico, as well as other groups that have made good contributions to the genre, such as Klasiqueros, Los Negros Fumancheros (mixing cumbia villera, salsa and bachata), Tu Fazo and Atrako Guachín (both mixing cumbia villera with tex-mex), Los Ojos Rojos (from Los Reyes Vallenatos), Barra Libre (originally a Colombian project), Mala maña, La Kondena and Pura marijuana.

Paraguay

In the case of Paraguay, and exemplifying the mutual influences mentioned above, it is worth mentioning that for many years one of the most popular cumbia bands in Argentina was Los Wawancó, of indeterminate origin, and with a much less aggressive style than the villera cumbia. The influence of groups like Los Wawancó extends to this day in Santa Fe cumbia, with a romantic style (the Argentine province of Santa Fe is culturally close to Paraguay). The modern cumbia villera entered Paraguay through the different local stations and the constant flow of Paraguayans to Argentina, the first groups to play and record cumbia villera were: "Tornado", "Grupo Rebeldes" #3. 4; and "Cómplic's", who already included this style in their repertoires and promotional recordings. Then came the group that definitively imposed cumbia villera in Paraguay called Máximos Cumbieros, whose vocalist had a Buenos Aires accent to mix with the other Argentine groups, and later new groups emerged to the point that a group of rockers from high society Asunceña changed musical style, from rock to cumbia, entering the Paraguayan music market with the phrase, "from Jujui" which had an impact, and the group was called Los Kchiporros.

Other cumbia villera groups in Paraguay: El Aguante, Zona 10, CumbiaJuan, Café Caliente, Remixero, El Bache, Los Qranderos, Nadia la cachorra, among others.

Bolivia

This movement entered Bolivia in 2000 with the emergence of the groups: Flor de Piedra, Damas Gratis, Mala Fama and Yerba Brava; but it reached its peak in 2004 with the groups La Base Musical, América Brass, Águilas de Corazón, Los Sigmas, Agrupación Nicotina (from Bolivia) and others, thanks to the compilations of Andean cumbia hits from the eighties.

Starting in 2006, in Bolivia this subgenre was divided into two currents, one the "Classic Cumbia Villera Argentina" and the "Villero Paceño" or also popularly known as "Villero Chicha", which arose from the fusion of the former with Cumbia Sureña.

Uruguay

In Uruguay the cumbia villera groups are, 100% (band)|100%, the creature and La Clave, the token Cumbia Pa Bailar, Varrilete Cósmico! VcosmicoLa MonadaLa QuemandaRaskaman, La Plebe, At Another Level,More Than Cumbia Brand Akme el alto tun Romanticists Resk-t el La PBC, breaking style the b33red zone flower of cumbiaThe Fifth Pavilion, etc. In Uruguay, Charanga or Cumbia from the interior is Strong in more than half of the country and Plena preferably in Montevideo and among its main exponents of charanga or Cumbia from the interior rooted strongly in the interior are Lucas Sugo, [Sonido Caracol]], Martin Piña, La Dupla, Chacho Ramos, band Zeta Tambora karta Blak La Machine Professional Sound Mario Silva Mario Silva jr, Kumbia Base karabel crystal sound. Gerardo Nieto, Bola 8, Karibe con K, Chocolate Mayonnaise, Azul, Charly SoSa, Gemini La Furia, La Cumana, La KGB, Caramel Monterrojo Mayonnaise L'Autentika, Marcos Sandy de Rabona, within the Charanga or Cumbia are found. Strongly rooted in the interior are Lucas Sugo,[Sonido Caracol]],Martin Piña,La Dupla,Chacho Ramos, Professional Sound Mario Silva Mario Silva jr,Kumbia Base karabel sonido cristal. There is also another new current called "cumbia Cheta" such as Rombai, Mano Arriba, give me five, song to dance MawiMiway, Márama, Agustín casanova, Give me a kiss, 7 and 3 the revolution, Golden roket, Valeria Gauy among others.

In 2001, the little monkey Juan Carlos Ponce came with the original band touring Uruguay and groups like Mala Famala Pibabajo Palabra, exploiting cumbia villera.

In 2002 Perla "la piba" achieved many successes by Uruguay even as he left in the program being urban a tour of Uruguay

And in the year

In 2003 2004 with. The influx of cumbia base groups come and sound in all the clubs, displacing all groups the base, eh guachoel originalla rama, pure movement djescuchayerba bravabanda uno, supermerk2 that exploded everything at the time and continues to explode from what is still heard

In 2006, hits were heard such as Bombón Assassino de los Palmeras or Por la Ihuana Mary.

2009 achieved great success bands like El Perro, Miguelito, the champions league, the facebuk, Marito the sarna, Jackita with the group La Zorra and gigaboys, which continue to sound in Uruguay

2017 2018 Pablo Lescano and his free ladies take over the land and the songs are heard everywhere, don't think it's so important, you're going to miss me regardless of the part of the country.

Colombia

The beginnings of cumbia villera in Colombia were almost imminent, since this musical genre had been unleashed with fervor throughout the South American corner. Around 2009, the first Cumbia Villera band was formed in Colombia, more specifically in Bogotá, Los Pibes Rolos. Some of their songs were relevant, but in the end there was no project established by the band; Currently, it is still playing but under the name Cumbia Delito.

Chile

Cumbia villera caused a sensation in Chile, it was not far behind when it came to creating and several groups began to emerge, groups like La Última the first Cumbia Villera group in Chile since 2002 although Before that they played tropical cumbia (1999) being from the eighth region, or Furia Latina who transformed their style from sound to villero in 2001 and in 2002 they recorded their first album in Argentina called La Danza de La Pobla . Behind them in that same year came Buena Huacho, who won a radio contest which consisted of recording an album completely free and would be played on the radio as well, all of this was thanks to the Chilean musical consortium. Then the group Súper Cumbieros emerged from a contest in which the group won a government project called "La cultura del pueblo", with most of their songs covered on their albums it was one of the favorites, while Several groups had already come out in Temuco, such as La Tekla, Ta' La Mano, Palmas Arriba and Funa Guacha (which would later change its name to El Enganche, which played throughout southern Argentina and Chile), then the group Pásale Bala emerged, which released two albums and other popular and unreleased ones. Over time they lost popularity and groups of this style are almost no longer active, although some continue. Between 2008 and 2010, when the style was no longer so popular, new groups and soloists emerged. From 2014 onwards there was a renaissance of the style in Chile, as new bands and soloists began to emerge, one of the notable ones being the band Meta Cumbia from the eighth region, and others that had broken up rejoined. At the beginning of 2022, a new group called La Yerba de Chile emerged, which brought back the classic sound of cumbia villera in the purest 'Yerba Brava' style, causing several followers in Chile and some South American countries in a few months..