Half a century after Avándaro was vilified as a moral threat, Mexico is once again scapegoating music. Last week’s small but pointed protests by artists and venue workers barely registered—their silence from power matters—because cultural freedom is democracy’s amplifier. The release of José Manuel Cravioto’s film Autos, mota y rock ‘ n ‘ roll—a faux-documentary revisiting Avándaro—should have sparked reflection. Instead, the modest demonstrations that accompanied screenings, with placards warning against scapegoating songs, barely broke through the week’s political noise. Avándaro’s lesson, as reframed in Autos, mota y rock ‘ n ‘ roll, is that the easiest way to dodge accountability is to blame a riff.