Tag Archives: patriarchy

Interview

“Speaking out politically is not just the artist’s right; it is imperative” – interview with Lisa Marie Simmons

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For some people, music is a healing power, for some it is entertainment, and for others it is a life saving shelter. For Lisa Marie Simmons, music plays a role that encompasses all of the above. After a difficult childhood Simmons found solace in music and poetry which eventually led her on a path of art and exploration around the world. She finally settled in Italy where she leads two different ensembles , Hippe Tendencies and NoteSpeak, along with producer and songwriter Marco Cremaschini.

Simmons and Cremaschini released NoteSpeak 12 back in February, an eclectic mix of jazz, hip-hop beats, fusion and spoken word that grooves seamlessly throughout. Simmons’ work is always socially conscious she told me via email. Samia from their first NoteSpeak album was inspired by a documentary Simmons saw about the sad story of Samia Yusuf Omar. Simmons found the author of the book that the documentary was based on: Don’t Tell Me You’re Afraid by Giuseppe Catozzella. Simmons wanted to shine a light on the horrendous numbers of refugees lost to the sea every year, an end to life that she, if not for the luck of a birthplace, might have had to endure herself. Simmons went further in her research for the song and eventually made contact with Samia’s sister, who did make it across the Mediterranean, who gave her blessing for Simmons to share Samia’s story in song.

HK: What’s the backstory here?

LM: I grew up in the U.S., in Boulder, Colorado of the 70s and 80s – hippiedom and counterculture movements. Progressive yes in many ways, culturally diverse, not at all. I was adopted and raised by a Black father and a white mother and I found myself navigating the complexities of race and identity from a young age. My upbringing was marked by a blend of tension and creativity, as I sought refuge in words and music to escape the abuse in our household and the challenges of being a minority in a predominantly white community.

HK: Do you find yourself connected equally to both music and writing?

LM: Absolutely. Music and writing have always been intertwined in my life, serving as both a form of expression and activism. I’ve found solace and empowerment in both mediums. Whether through songs, essays, poems or stories, I strive to amplify marginalized voices and challenge societal norms.

HK: And perhaps an activist as well?

LM: Without a doubt. Activism is at the core of my identity and creative endeavors. I’ve been involved in various social movements throughout my life. My activism manifests through my art, as I use music and writing to advocate for change and do my best to inspire others to join the fight for justice.

My journey as a multi-disciplinary storyteller has been shaped by my experiences growing up as often the only Black person in the room. Through my art, I strive to challenge, among other issues, systemic racism, white supremacy and the patriarchy one song and one poem at a time.

HK: Have you always been concerned about the world around you, the politics of it all?

LM: Growing up in a predominantly white community, and the household I did, there was not much I could find that reflected me. In the town library, though, I found books by people like Alice Walker, James Baldwin and Maya Angelou that showed me another world and how the past informs the present; the institutional racism woven into the fabric of America from its inception. I was keenly aware of the injustices and inequalities that existed in my own home town which helped build empathy for those outside of my experience. I firmly believe that sharing our stories is the key to building compassion. From a young age, I found myself drawn to activism and social justice, whether it was participating in protests or in movements like streaking (Boulder in the 70s!).

Young Lisa Marie, painted by her adoptive mother (used with permission).

HK:  Has your music always been a tool and a voice for the oppressed or the voiceless, or was there a switch at one point?

LM: Music in general has always been a powerful tool for expressing and reflecting the issues of today. From my earliest encounters with literature and music, I was drawn to works that spoke truth to power and shed light on social injustices. I have tried since I began writing and composing to amplify the voices of those whose stories are not in the mainstream’s consciousness. I often use my own intimate and personal experiences to speak to larger issues. From the moment I witnessed the power of protest and expression as a child, I knew that music would be my medium for challenging the status quo. While my approach to activism and advocacy has evolved over the years, my commitment to using stories as a medium for connection has remained steadfast. Whether through songs, essays or poetry, I continue to use my art as a platform for change and empowerment.

HK: Can you tell me a bit about the process of making NoteSpeak 12 and what you wanted to achieve with it?

LM: The making of NoteSpeak 12 was a journey filled with serendipitous encounters and creative synergy. My co-founder, Marco Cremaschini, and I met in Brescia in 2005 after several near misses of crossing paths over the years. Our collaboration began as a result of our shared passion for music, both of us drawn to the others’ artistry. After so many years of working with one another it was an organic evolution from our first band Hippie Tendencies to the NoteSpeak project. The first album was NoteSpeak (Amori e Tragedie In Musica), NoteSpeak 12 was the sophomore offering and we are currently working on the third in the trilogy. We are intent on making sure Marco’s compositions and my words complement each other seamlessly.

Our creative process is collaborative and dynamic. We exchange ideas, trade work, and continuously push each other to explore new territories. The songs on NoteSpeak 12 are a reflection of this shared vision, each with its own story and inspiration. Some songs started from poetry, while others began with the music. Some musical ideas were mine, some concepts for the poems were Marco’s but all were intricately woven together to form a cohesive and expressive whole.

Our goal with NoteSpeak is to create a body of work that transcends traditional boundaries of music and poetry. We wanted to blur the lines between spoken word and music, allowing each to complement and enhance the other. Through this fusion, we aimed to convey a range of emotions and experiences, from introspective reflection to impassioned protest.

With NoteSpeak 12, Marco and I sought to continue this tradition by using our art as a platform for social commentary and protest. Each song on the album carries themes of resilience and resistance, addressing issues ranging from immigration to environmentalism. Through our music and poetry, we strive to spark dialogue, inspire action, and give voice to those who may otherwise go unheard. Through our collaboration, we hope to challenge conventions, provoke thought, and ultimately, effect change.

HK: Musicians that sing about politics, animal rights, women‘s rights and raise awareness about different issues sometimes get backlash and are told to keep politics out of music. What is your take on the connection between music and activism in your opinion? Why can music be such a powerful tool for getting a message across? 

LM: Speaking out politically is not just the artist’s right; it is imperative. In the course of shopping for a home for NoteSpeak (Amori e Tragedie In Musica), an A&R guy at a well-known indie label chastised me when I sent him the project, saying that, “It is not the musician’s job to be political.” I find it pretty much impossible to understand that stance. However, I know many musicians decline to perform for any political party for various reasons, chief among them not to risk alienating any fans who may be across the aisle. But to say that musicians should not voice an opinion on political issues makes me wonder what that A&R dude had been listening to. Famously, Bob Dylan refuses to endorse a political party, but c’mon now, the history of his oeuvre makes it very clear where he stands on a variety of issues. In today’s tumultuous political landscape, it’s more crucial than ever for artists to stand up and be heard, especially when faced with the cacophony of our world order’s rhetoric. I’m keenly aware that we are privileged in our birth countries, more so even by the fact that we can take the time to wrestle with such questions. Exceedingly lucky that we don’t suffer more pressing issues, such as having to take three hours out of our day to fetch water, fight for the right to an education, battle the suppression of free thought, or countless other obstacles. If the artist does not hold up a mirror to injustice we are missing an opportunity to effect positive change.

HK: Are you following other contemporary artists whom you‘d like to give a shout out to? Are you aware of other musicians, perhaps in your local scene or elsewhere, who use their talents in a similiar way as you? (I understand that you are in Italy at the moment, so you might have interesting perspectives on the music scenes there and in your native home?).

LM: So many. Esperanza Spalding, Aja Monet, Saul Williams, Ani DiFranco, Evan Greer, Angélique Kidjo, Buffy Sainte-Marie, Sarah Gee, and on and on and on. As for using their talents in a similiar way- there’s nothing new under the sun, except we are each our own little universe, our experiences form how we see and respond to what surrounds us, so each, if digging deep, is entirely unique. In Italy there’s a long history of musicians working for social change like DeAndrè, DeGregori, Gaber etc. Today there are voices from Afro Italians like writer, journalist, activist Igiaba Scego, whois a fiercely dedicated leader as is author, journalist, activist Cristina Ali Farah, another whom I deeply admire. Director, writer and actor Alfie Nze is making incredible films that inspire dialogue. Model and activist Bellamy has created the digital platform AfroItalian Souls celebrating AfroItalians while simultaneously providing a space to amplify black Italian voices. Afro-Italian queer immigration activist Medhin Paolos is a photographer, filmmaker, and musician whose current project in collaboration with Harvard University, “Mind the Gap” will have far-reaching effects as the heart of the work will be implemented in Italian classrooms. Activist Karima 2G makes music with a message. ARTivist Kwanza Musi Dos Santos is getting national attention with her non-profit work, as is interpreter, journalist, and activist Uche Bridget,  and so many more,  there are way too many marvels disguised as humans to list here. In my own little corner of Italia, I am awed by and honored to work with: Uno Collective, activist Francesca Sanneh is one of the collective’s intrepid leaders whose commitment and tireless energy to the cause inspires me daily – and Afrobrix. Musicians: Osasmuede Aigbe, Eva Fuedo Shoo, Daniela Savoldi, and Anna Bassy are talent and beauty personified while fighting the good fight.

HK: What musicians, authors or activists have inspired you in your life? What kind of extra curricular activism (outside your art) do you partake in, in one way or another?

LM: Again the list is endless. The usual luminaries Angela Davis, Alice Walker, Maya Angelou, Sonia Sanchez, Nina Simone, Audre Lorde, Mari Evans, James Baldwin, Toni Morrison, Nikki Giovanni, Billie Holiday, Marvin Gaye, Gil Scott-Heron and so many more. Coming of age in Boulder there were also the influences of Joan Baez, Woodie Guthrie, Bob Dylan and, again, so many more. As for extra curricular activism, I believe in living a life of conviction, and demonstrating one‘s ideals in every facet of the path we walk. You can find essays on my advocating for the rights of Black birth fathers, sharing stories on DAWTA the podcast with my co-host Dionne Draper to support the transracial adoptee community, writing about the racism in my adoptive mother’s family.

HK: What is on the horizon for you, musically and in life?

LM: At our artist residency at SUNY Oneonta in November we began writing the new NoteSpeak album in earnest and have begun full band rehearsals, now I’m hunting for the funds to head back into the studio to record it. Then we’ll tour it as widely as we can and perhaps I’ll then have more concentrated time to continue the work on my semi-autobiographical novel.

HK: Anything else you‘d like to shout from the rooftops?

LM: Love love love, always love.

Essay

“A Suitable Beast”: Towards an Autopsy of Patriarchy

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Cover art by Gadzooks Bazooka for the song “A Suitable Beast”

Men cannot change if there are no blueprints for change. Men cannot love if they are not taught the art of loving. – bell hooks1

I held the idea of the song “A Suitable Beast” in my mind for years before I could connect it to my heart. I didn’t want to write an ode or a critique, but an investigation cloaked in curiosity. As I dove deeper I dove into Ernest Hemingway’s life, the song quickly became a mirror where I confronted my own self-inflicted rage, Whiteness, and patriarchy. As noted by Carole Pateman and Charles Mills, this dominator culture is intertwined: “race is gendered and gender is raced.”2 Many authors have critiqued Hemingway on his white supremacy, masculinity, and upholding of colonial thought.3 Toni Morrison notes in Playing in the Dark how Whiteness often hides behind the term “American”:  “The act of enforcing racelessness in literary discourse is itself a racial act. Pouring rhetorical acid on the fingers of a black hand may indeed destroy the prints, but not the hand. Besides, what happens in that violent, self-serving act of erasure to the hands, the fingers, the fingerprints of the one who does the pouring? Do they remain acid-free? The literature itself suggests otherwise.”4

Reflecting on Judith Butler’s concept of gender being a performance I have a bar in the song, “It’s hard to live up to those lies that bloomed in you.”5 As a White male who grew up in a working-class setting, I learned to play the part of masculinity by holding in emotions, appearing stoic, and seeking to intimidate. The gift of art and hip-hop for me was encountering artists such as MC Lyte, Black Thought, Tupac, and Yasiin Bey, particularly Tupac’s song “Dear Mama,” which helped me unlock my emotions with the key of vulnerability. Tupac in “Dear Mama” rapped how he cried with his sister about their family being in poverty and how he made mistakes and opened up vulnerably about how he loved his mother. Along with vulnerability, Yasiin Bey’s song “Rock N Roll” showed my colonial mind a more honest history, exposing appropriation and exploitation of how many White musicians stole and profited from Black musicians. Revisiting Morrison’s extended metaphor, Tupac and Bey expose the crime scene of Whiteness and masculinity showing where and when the acid has been poured.

Masculinity’s Faustian bargain of domination for masking feelings, veiling emotions, and burying love is a deadly deal of disconnection.  In A Farewell to Arms, Hemingway profoundly writes, “If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills.”6 Harkening back to A Farewell to Arms the last parts of my song say:

His dad shot himself with his father’s revolver
The world breaks everyone the cycle revolves
He was a big game hunter but the last beast was in his head
He piled up the dead animals but could never bury his dread
Did you hit the target or did the target hit you?
You were the bull and the matador that paradox split you

Even though Hemingway became more progressive on race and gender later in his life and had the courage to create and wrote with vulnerability, he too battled with his avatar of masculinity intersecting with traumas and ghosts.  Commenting on Hemingway and masculinity, Diane Herndi writes how “masculinity itself becomes a self-inflicted wound.”7 Art has the ability to communicate on multiple levels, convey massive amounts of information, and make us reflect, beautiful art is gauze for self-inflicted wounds. These paragraphs aren’t panaceas, but if cis men work to break down hierarchies and collaborate to destroy patriarchy by “being disloyal to the dominator model,” countless lives could be saved.8

Reflecting on the extended metaphor I used in the song–that the last beast he had to hunt was in his head–turned the topic into an autopsy on patriarchy. Unfortunately, patriarchy is alive and well in myself, people, culture, and society. My hope is that we can continue to support subcultures where boys, men, and people can continue to diagnose where patriarchy animates them and silences them into a rage so we can stop doing singular autopsies on people (mainly women) who died too soon from patriarchy, and we can one day do a universal autopsy on patriarchy and speak of it in terms of fossils and the past tense. 

chris time steele is a writer, poet, and rapper, and part of the group Calm. with AwareNess. Time has worked with Common, Kool Keith, Xiu Xiu, Ron Miles, Mick Jenkins, Psalm One, Che Noir, Extra Kool, namebuddha, scott crow and more. Time is host of the Time Talks podcast.  He has chapters with Noam Chomsky and Joy James, and in the books Building Power While the Lights Are Out and Trust Kids.  He also has a forthcoming book with Dr. Gerald Horne titled Acknowledging Radical Histories.

1 bell hooks, The Will to Change: Men Masculinity and Love (New York: Washington Square Press, 2004), xvii.   
2 Carole Pateman and Charles Mills, Contract and Domination (New York: Polity, 2007), 4
3 Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (New York: Vintage, 1993): Josep M. Armengol, “Performing Manhood through Animal Killings? Revisions of Hunting as a Performance of Masculinity in Ernest Hemingway’s Late Writings,” Men & Masculinities 23, no. 5 (December 2020): 833–51, doi:10.1177/1097184X20965454.: Margaret E. Wright-Cleveland, “Hemingway’s Dialectic with American Whiteness: Oak Park, Edward Said, and the Location of Authority.” Hemingway Review 39, no. 1 (Fall 2019): 40–61. doi:10.1353/hem.2019.0016.
4 Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge: Harvard University Press, 1992) 9, 46
5 Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990)
6 Ernest Hemingway, A Farewell to Arms (New York: Charles Scribner’s Sons, 1957)
7 Diane Price Herndl, “Invalid Masculinity: Silence, Hospitals, and Anesthesia in ‘A Farewell to Arms.’” Hemingway Review 21, no. 1 (Fall 2001): 38–52. doi:10.1353/hem.2001.0003.
8 bell hooks, The Will to Change: Men Masculinity and Love (New York: Washington Square Press, 2004), 59.

This article was originally published on 21 December 2023 on hemingwaysociety.org and written by chris time steele.

Editor's Picks, Interview

Femicide and the Punk Rock Scene in Chile: Interview with Sin Lencería

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This article was originally published in The Advocate

At the time of writing this article Chilean president Sebastián Piñera has declared a state of emergency in his country. In one of the strongest economies[1] in Latin America inequality reigns[2] and the country’s citizens are currently voicing their frustration by taking to the streets in protest.

Economic inequality is far from being the only thing Chileans have had to protest in recent years. A little over four decades ago its citizens had to experience a U.S. backed military coup that overthrew the government. This resulted in more than 2,000 people being killed and thousands of people tortured, among those internationally acclaimed protest musician Victor Jara[3].

Events like these are bound to leave marks on a nation. It was not until 2004 that the liberty flame that Pinochet ignited in 1975 was put out. Not only are these flames (popular in many countries) a waste of energy and usually commemorate war and violence, but for decades families of those murdered by Pinochet had to see that flame burning.

The inequality in the country shows its teeth in other aspects of society as well. Femicide (feminicidio), although not as rife as in Mexico and Colombia, is a grave problem in the country. The term started being used in Latin America due to the hundreds of women murdered in northern Mexico[4] since the 1990s. A specific term had to be coined for this type of homicide to design situations in which women were being murdered solely because they were women.

One of the main problems for women living through this history of violence towards them and their sisters is the lack of action from the governments that are supposed to protect them. Fortunately, this is changing – in some countries at least. In Chile, law number 20480[5], now also known as the femicide law, shows amends to violent intrafamiliar offenses[6] and increases punishment for those crimes. These small steps come with many hurdles still, because the people in power of the judiciary system continue to find ways to lower sentences twisting language to their ways.

But all is not lost and today rises a new generation of musicians and activists that keep the protest flame lit and the legacy that Victor Jara and other artists left behind alive. One of these artists are the young women that make punk rock band Sin Lencería (which translates to ‘without lingerie’).

The band has been active since 2012 and since day one they have used their voices on and off stage to communicate to their audience the injustice their fellow women face in general society as well as in the very ‘machista’ punk rock scene. Their album Sin Lencería, Ni Miedos came out last August and, as they told me via email, the band has no other plans but to keep speaking up for women around the globe and fighting the good fight.

Halldór Bjarnason: Your music is a fighting tool against gendered violence. How have you perceived ‘machismo’ and gendered violence so far in the music scene around you and your community since the start of Sin Lencería?

Sin Lencería: Even though the punk scene tries to be more aware of social conflicts, it’s still in debt with gender related problems. There’s still harassment at gigs and very little participation of women in the public and as part of the bands and that’s something that needs to change.

Being female musicians hasn’t been easy, the band started in 2012 and since the beginning there’s been prejudice against us and the way we play, some people used to think less of us just because we’re women and because we look young. And sometimes even the compliments were weird, like one time a guy told our drummer that she was so skilled that she “played like a man”. He was trying to be nice but he didn’t even realise that by saying that he was implying that women usually are bad at playing their instruments.

But there’s still a bright side. There are some local collectives inside the punk scene that are trying to change this situation like “Femfest” or “Mujeres Al Frente”, they create different types of musical events that encourage inclusiveness and invite women to be part of the scene – providing safe spaces. Women are getting together and we’re raising our voices. “Mujeres Al Frente” has done 4 different feminist shows in these past years in Chile and one in Mexico. We love those events because they’re one of the few times that we get to see so many girls gathered together and at the center of the mosh pit with full energy!

HB: Has your music always been political or made in protest?

SL: Yes, since the beginning we’ve wanted to show our discomfort and talk about the problems that affect women in their daily lives. The band starts from that base point, from realising that it’s time to talk about sex harassment, gender violence, feminicides, discrimination, prejudice, etc. We need to change that Latin American culture that’s so patriarchal that needs special words that does not exists in other languages like “machismo” to explain how bad things are and the lack of equality that exists.

HB: Feminicidio (feminicide) is a fairly young term but an age-old problem that furthermore has been quite the plague on South, Central and North American countries. How do you feel your government is tackling this problem that you have sung about?

SL: In our country there’s still a long way to go for these problems to be taken seriously. There’s been some improvements over time but it’s not enough. A couple of years ago the government created the “Ministerio de la Mujer y Equidad de Género” (Ministry for Women and Gender equality) that supports women that are victims of violence, providing legal and psychological help. There’s also a “Ley del Femicidio” (Feminicide law), but these laws are still too soft towards this type of problems and the feminicide law only works for violence inside legally married couples or couples that live together.

The Chilean law is working on new ways to protect women that are not married and people that suffer couple/partner violence, but to this date it’s still not approved. The only thing women can do when they suffer harassment from a violent partner is to make a legal complaint with the police and they’re usually very questioned in the process, and even if they make repetitive complaints the best they can get is a restraining order in most cases and, even then, they’re left with fear that the violent partner could easily ignore the charges against them and find the victims anyway.

An example of the problems with the femicide law in Chile, that also affected the punk community, happened in 2017 with the murder of Isidora “Dorito” González. Her case was very brutal and cruel because she wasn’t only murdered, but her body was also dismembered. Once they found the culprit and took him to trial, he was initially sentenced to 40 years of prison for femicide. But later his lawyers argued that the victim and the culprit didn’t have a romantic relationship, nor they lived together or were married, so his sentence changed from femicide to simple homicide and they reduced his sentence from 40 to 15 years. And that makes it clear that the laws are still very basic and don’t reflect the Chilean reality, where women are still getting killed just because they’re women.

HB: How do you feel people have been receiving your feminist music? How do you get your message across to the people that need to hear it the most?

SL: People have been very supportive in general, we think it’s because Latin America is going through a period of change and we’re speaking up for women rights and diversity. What we like about making songs is to think that the same things we feel and go through are also experienced by other women and at the end of the day we’re not alone, instead, we are a huge net of sisters fighting for the same reasons.

“…we like the fact that the song makes some people uncomfortable, because it’s the first step to start questioning why it makes them feel that way.”

But we’ve also been criticized by some people, especially because of our song “No quiero tus piropos” (I don’t want your catcalls) that speaks against street harassment and has some insults in its lyrics. But we like the fact that the song makes some people uncomfortable, because it’s the first step to start questioning why it makes them feel that way.

Our message flows in our songs by essence, but we also use other resources to get our message across. Playing live is very important, because it can help women to feel represented and motivated to start their own bands. Sometimes we create zines and sometimes we use social media to share our thoughts. We also try to participate as much as we can in collectives like the ones that we mentioned before.

Besides, nowadays is easier to share our music because of technology, in the past the options were limited and even if your music got some recognition, there was the fear that the media would misunderstand your message, like what happened with the press blackout of the Riot Grrrl! movement in the 90’s. In our case we manage our own media and that give us a lot of freedom to express what we want and to have a closer bond with people.

HB: What do you hope to achieve with your music?

SL: We hope that our music works as support for women that don’t feel protected or represented by social norms. And that when they listen to us, they can feel freedom to shout as loud as they can about everything that’s bothering them and that they had to keep quiet in the past. On the other side, we also hope that singing about these issues could help people to start questioning themselves and open up to be a little more understanding and empathetic.

HB: What bands or musicians influence you? Are you following any contemporary protest musicians?

SL: Our strongest influence is Bikini Kill and all of Kathleen Hanna’s projects in general. We’re also very inspired by L7, Joan Jett, The Distillers, 7 Year Bitch and other classic punk and postpunk bands like Ramones, Misfits, The Clash, The Slits and Siouxsie & the banshees.

On a Latin American level, we have influences from the Peruvian band Los Saicos, with his classic “Demolición” which we like to play live from time to time. And we also feel influenced by Chilean bands like Los Prisioneros, Los Ex and Lilits. In the present, we admire the work of a lot of our fellow hardcore and punk bands like Portaligas, Dizclaimers and Límbico. We’re also listening to music from around the globe and we like bands like Vivian Girl, The Coathangers, The Regrettes, Skating Polly and Hands off Grettel.

HB: What is on the horizon for you?

SL: At the moment, we want to keep speaking up for feminism, we plan on continue making music and recording new material, because we still have a lot to say. And in the near future we would love to travel around sharing our songs.

HB: Lastly, thank you for participating and for your music. Anything else you’d like to shout from the rooftops?

SL: Don’t be afraid to make music, don’t be scared to say what you think if you feel something’s wrong, your opinions are important, you are important.

Follow Sin Lencería on Facebook ı Bandcamp ı Twitter ı YouTube

Endnotes:

[1] https://www.worldatlas.com/articles/the-richest-countries-in-south-america.html

[2] https://www.borgenmagazine.com/economic-inequality-in-chile/

[3] https://shoutsmusic.blog/2018/07/05/justice-finally-served-for-1973-murder-of-chilean-musician-victor-jara/

[4] https://en.wikipedia.org/wiki/Female_homicides_in_Ciudad_Ju%C3%A1rez

[5] https://www.leychile.cl/Navegar?idNorma=1021343

[6]https://books.google.es/books?id=dkNuDQAAQBAJ&lpg=PA263&dq=law%2020480%20chile&pg=PA263#v=onepage&q&f=false