The corrido is a popular genre in nineteenth and twentieth century Mexican literature and social practice. Used in the oral and printed transmission of information, education, and, at times, subversive politics, corridos often take the form of narrative song, ballad, and/or poem and deal with oppression, history, and the day-to-day of rural life. Many academic studies of the history and form of the corrido — e.g. Vicente T. Mendoza, Américo Paredes, and Merle E. Simmons — treat it as a genealogical object. Whether that genealogy can be effectively traced — that is, whether there is a broken or unbroken step-by-step development from Spanish romance ballads to Mexican corridos through the resemblance of formal attributes — is a topic of debate, but missing from this conversation are Chicana/o appropriations and deployments of this form, whether in the Chicano nationalism of the 1960s and 70s, or the postmodern and post-nationalist chicanisma/o of the 80s and 90s. A result is the impression that the corrido is, post-1930, static or, even, dead.