Cain Culto and Xiuhtezcatl’s ‘¡Basta Ya!’ Sets a Strong Message Against ICE
Basta Ya: A Call to Resistance in Contemporary Music
The phrase “Basta ya” — translating to “that’s enough” — has long served as a rallying cry against oppression in Spanish-speaking countries. This powerful expression first emerged in the music of Argentine songwriter Atahualpa Yupanqui, whose 1951 anti-imperialist song called for an end to social inequalities and improved conditions for the working class.
In the 1990s, the Zapatista Army of National Liberation adopted this mantra during their armed struggle against the Mexican government. It was also invoked by Spanish citizens during that decade and the early 2000s to advocate for nonviolence from the Basque separatist group ETA.
Recently, the phrase has resurfaced in the contemporary music scene. Artists Cain Culto and Xiuhtezcatl released their single “¡Basta Ya!” in November 2025, channeling its historical significance to oppose imperialistic forces both domestically and internationally. This track gained further prominence following the tragic death of Renee Nicole Good, who was killed by an Immigration and Customs Enforcement (ICE) agent during an operation in Minneapolis.
In response to the incident, Culto, a queer Latinx artist of Colombian and Nicaraguan descent based in Santa Ana, shared an Instagram video showcasing him burning three piñatas spelling out “ICE,” with “¡Basta Ya!” playing in the background. The post’s caption read, “Justice for Renee Nicole Good. ICE out of LA. ICE out of OC.”
Although initially inspired by a different context, the essence of the song took shape two years prior. “The original concept came to me during the early days of Israel’s genocide of Gaza,” Culto recalled. He noted that the hook arose from personal frustrations, which he put aside for a while until the political landscape in the U.S. shifted dramatically under the Trump administration. “I remembered the song and felt the urgency to create something that encouraged protest and action,” he explained.
Culto’s artistic vision guided the selection of various musical styles for the track. “It’s merengue and hyper pop but has a punk element through distortion,” he described. “The message had to embody cultural pride while simultaneously demanding a ceasefire and an end to oppression.”
To amplify the single’s message, Culto enlisted Xiuhtezcatl, a well-known activist and hip-hop artist engaged in environmental and human rights issues since he was a child. “Cain and I found each other online, and he showed me the song he was working on,” Xiuhtezcatl said. “It resonated deeply, highlighting the intersectionality of struggles for liberation from Palestine to Sudan and beyond.”
The ongoing crisis involving ICE agents has left Xiuhtezcatl grappling with a mix of rage and grief. “This song serves as a way to process that anger constructively,” he shared. Following Good’s death, he also posted a clip of the track’s music video on Instagram, declaring, “ICE out of our communities. We must resist the politics of death this administration embodies.”
Reflecting on the song’s renewed relevance, Xiuhtezcatl noted that ongoing global and local struggles may necessitate the track’s message for some time. “Art can transcend mere entertainment; it often reflects the political realities in our communities,” he remarked.
Both artists, connected through their Latinx and Indigenous roots, expressed concern over the impact of ICE actions on their communities. “The abduction of Native American tribal citizens by ICE highlights the interconnectedness of our struggles,” Xiuhtezcatl added. “This moment illustrates a growing political consciousness that transcends borders and emphasizes solidarity against systemic violence.”
