Mexican history: A love song and a gas explosion

30 May 2026 · 1 h · 16 chapters

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In short

A BBC History Hour episode featuring multiple stories from Mexico’s past: the origin of the Spanish love song “Bésame Mucho,” the 1984 San Juanico (San Juan Ixuatepec) gas explosion, Mexico’s 2000 democratic transition campaign, indigenous women’s political rights in 2014, the 1988 youth football age-cheating scandal “Cacharules,” and Mexico’s role in filming Titanic.

Guests/backgrounds

Stefania Gozza (storytelling host/producer for “Bésame Mucho” segment); Mariano Rivera Velázquez (son of composer Consuelo Velázquez); Michelle Meinhardt (musicology/cultural history reader, Trinity Laban Conservatoire); Jen Dale (interviewer for San Juanico survivor); Virginia Martinez-Téllez (San Juanico survivor, 13 at the time); Helen Ledwick (interviewer for 2000 election marketing strategist); Francisco Ortiz (marketing strategist for Vicente Fox’s campaign); Jacqueline Payne (interviewer for indigenous rights); Euphrosina Cruz-Mendoza (Zapotec indigenous women’s rights advocate); Timo Callaghan (interviewer for football segment); Antonio Moreno (sports journalist, uncovered Cacharules); Jane Wilkinson (interviewer for Titanic segment); Luisa Gomes de Silva (art department assistant coordinator on Titanic sets).

Key claims + notable examples

  • “Bésame Mucho” (written by Consuelo Velázquez in early 1940s) became a WWII separation anthem; first recorded 1941 by Emilio Tuero, international hit after Jimmy Dorsey’s 1944 English lyrics; Velázquez allegedly wrote it before her first kiss.
  • San Juanico: gas leak from Pemex depot near homes; explosion chain reaction across storage tanks; official toll cited: 650 dead, 2,500 injured, 25,000+ homeless; survivor describes burns from metal door handle and later PTSD-like anxiety.
  • 2000 election: Fox’s team used modern branding and TV ads; campaign strategist credits “Voto por el cambio” and debate tactics; Zedillo called Fox conceding.
  • 2014 indigenous women: constitutional amendment overrode “usos y costumbres,” enabling indigenous women to vote/stand for office; Cruz-Mendoza links change to Oaxaca and UN proposal.
  • Cacharules: Antonio Moreno exposed age falsification in 1988 U-20s; CONCACAF disqualified team; FIFA extended bans, affecting Mexico’s 1990 World Cup qualification; “cacharulo” means cheating cover-up.
  • Titanic: Mexico (Rosarito, Baja California) hosted a 90% replica and huge water tanks; Luisa describes historically accurate sets and freezing winter filming.

Written by AI. May contain mistakes. Listen to the episode to check what was said.

Chapters

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The Love Song 'Bésame Mucho'

0:30 to 1:02

Exploration of the origins and significance of the love song 'Bésame Mucho'.

“Now you can invest in what looks good to your CFO.”

The Love Song 'Bésame Mucho'

2:40 to 4:04

Exploration of the origins and significance of the love song 'Bésame Mucho'.

“Hello and welcome to the History Hour from the BBC World Service with me, Max Pearson, the past brought to life by those who were there.”

Consuelo Velázquez: Life and Legacy

4:04 to 10:35

Narrative of Consuelo Velázquez's life, her career, and the impact of her music.

“who wrote the song you're listening to, Besame Mucho, performed by Emilio Tuero.”

Music and War: Historical Context

10:35 to 14:03

Analysis of how historical events like world wars influenced the music produced during those times.

“Consuelo gave up an acting career for love, but got to see some of the greatest artists of the 20th century recording her song, like Frank Sinatra.”

The Evolution of Wartime Music

14:03 to 16:58

Explore how music evolved from World War I to World War II, reflecting emotions and societal changes.

“we think about kind of national pride, sentimentalizing ideas of home, being far from home, in terms of emotion, very general.”

Introduction to the San Juanico Explosion

16:58 to 17:20

Learn about the devastating gas explosion in San Juanico, Mexico, in 1984, its context, and its impact.

“a low point in the story of that country's industrial expansion.”

Eyewitness Account of the Explosion

17:20 to 25:56

Hear firsthand experiences from Virginia Martinez-Téllez during the deadly explosion and its aftermath.

“The light, the noise, chaos, the overwhelming heat, the terror that at any moment it would explode even more.”

Eyewitness Account of the Explosion

27:05 to 28:00

Hear firsthand experiences from Virginia Martinez-Téllez during the deadly explosion and its aftermath.

“Or a second-hand piece of technology that breaks in the first 10 minutes?”

Mexico's Democratic Transformation

28:12 to 37:20

Exploration of Vicente Fox's election victory and its significance.

“and the fight to get equality for Mexico's indigenous women.”

Indigenous Women's Rights in Mexico

37:20 to 42:00

The story of Euphrazina Cruz Mendoza and the fight for indigenous women's rights.

“Another key moment in Mexico's politics, next, which came about on the 2nd of October 2014.”
Show all 16 chapters

Episode Discussion

42:00 to 56:03
“That part of Oaxaca was not governed by traditional laws.”

Building the Titanic Replica

56:03 to 58:24

Learn about the construction of the Titanic replica for the film, including its scale and the attention to historical detail.

“The Titanic is a love story set aboard the liner's doomed maiden voyage in 1912, when it sank, killing more than 1 ,500 people.”

Filming Challenges and Innovations

58:24 to 1:01:26

Discover the challenges faced during the filming of Titanic and the innovative methods used to create iconic scenes.

“Its lavish interiors were painstakingly recreated using plans obtained from the Titanic's original builders, blueprints thought lost since the Second World War.”

The Film's Success and Impact

1:01:26 to 1:02:38

Explore the unexpected success of Titanic and its impact on the film industry and audiences worldwide.

“Titanic became the first film to gross over$1 billion at the box office.”

Emotional Screening Experience

1:02:38 to 1:03:22

Hear about the emotional reaction of the crew during the film's premiere and their feelings of accomplishment.

“who became known as the Titanic generation.”

Emotional Screening Experience

1:04:30 to 1:05:01

Hear about the emotional reaction of the crew during the film's premiere and their feelings of accomplishment.

“Now you can invest in what looks good to your CFO.”
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Transcript

Automatic transcript. May contain errors.

0:00This BBC podcast is supported by ads outside the UK.

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1:51Witnesses have spoken of a wall of water that swept coastlines in Sri Lanka, Indonesia, Thailand. Hear from the people who were there. He heard me praying while he was shooting and he just stopped. He said, I'm not going to. I'm going to leave you here to tell the story. Knowing that you have a spy and that you're following a spy, it doesn't get any cooler than that. Witness history brings you first-hand accounts. Merkel gets up and says, I'm going. And Tusk says, I'm locking the door. Nobody's leaving. you're reaching a compromise or you're not leaving this room. Was it shopping carts that made you rich?

2:25Well, they didn't make me poor. Listen now. Search for Witness History wherever you get your BBC podcasts.

2:40Hello and welcome to the History Hour from the BBC World Service with me, Max Pearson, the past brought to life by those who were there. This week, stories from Mexico's past, as featured on Witness History, including from the 1980s, one of the world's deadliest industrial gas explosions. I heard my mom's screams, stand up, let's go. My dad tried to open the door, but the moment he grabbed the handle, since it was metal, it burned. Also, a pivotal moment in Mexican politics, the fight for the rights of Mexico's indigenous women, and how Mexico played a part in making Titanic, one of the most successful films in movie history.

3:21One of my favourite parts of the film, when Rose first watches the Titanic, when she looks at the ship, because I think that's how I felt when I first saw it. It was massive. That's all coming up, but we're going to begin with a Mexican melody. In the early 1940s, while the world was still engulfed in war, a love song was written by a dreamy young woman in Mexico. It would go on to become one of the most recorded songs of all time in the Spanish language. Stefania Gotza has the story. Lastly, a novelty musical offering, the Spanish tango Besame Mucho, known to most of us as Kiss Me, played by the popular...

3:57My mother hated war. This is Mariano Rivera Velázquez, son of Consuelo Velázquez, who wrote the song you're listening to, Besame Mucho, performed by Emilio Tuero.

4:19It means kiss me a lot in Spanish, and it's a plea to Alova for a last kiss in case they never get to see each other again. It was already the end of the Second World War, and she always thought of the couples that were going to be separated by the world without knowing if they will ever be together again. Although the song became a love anthem during World War II, Consuelo didn't write it searching for glory. In fact, she never meant for others to hear it. So, what happened? Consuelo Velázquez was born in 1916 in the Mexican region of Jalisco during the Mexican Revolution, the country's greatest civil war.

5:12She used to hear a military battalion that passed by her house in Guadalajara. She heard the national anthem of Mexico, and they were astonished in her house because she left all her dolls aside. They had a piano there, and she began to play the national anthem of Mexico. So they said, well, she has to study the piano. Her first performance was when she was six years old. Consuelo moved to Mexico's capital when she was 19 to continue her training as a classical pianist. Three years later, she was hired to play classical music for a radio network. XEQ, 940 of his radio, visiting the Mexican province.

6:04XEQ was a radio station that was a partner of XEW. They were the main radio stations in Mexico City and in Latin America. She was invited to play mainly classical music, Chopin, Debussy, Beethoven.

6:29There was a grand piano at the radio station, and in her free time, Consuelo would sit in front of it to play her own music. She began to play melodies for herself, to ease herself from the rigor of the classical music. But, as in any workplace, there wasn't much privacy at the network. Some of the female singers that were in the AXEQ radio station listened to the songs and said, Oh, they are beautiful, play me another one. And they began to learn the melodies.

7:07The general manager of programming in the XEQ radio station told my mother that some of the female singers of the time, the famous ones, were already singing her songs and that he needed to know who the author was because my mother said that they were the songs of a friend, a female, a girlfriend. In that time, it was not very well seen that a classical pianist player also had songs, melodic, romantic songs of her own. Consuelo thought her romantic songs didn't match her career as a classical pianist, but they were becoming very popular and hiding her authorship was getting harder. At the radio station, the general manager kept pressing her to reveal the name of the composer, and he had good reasons.

8:01His name was Mariano Rivera Conde. They needed to know the details for the copyright that they were obliged to accomplish. And then my mother said, all right, Mariano, they are mine. I am the composer. And if that name sounds familiar, it's because that manager, Mariano Rivera Conde, would later marry Consuelo and become the father of Mariano Rivera Velázquez. My father said, well, congratulations, go on, because they are beautiful. And that was the beginning of my mother as a composer. All my mother's songs, almost most of them, are inspired by my father and their extraordinary love. One of those songs was Bésame Mucho.

8:48It was first recorded by Mexican singer Emilio Tuero in 1941. But it wasn't until three years later that it became an international hit when the lyrics were translated into English and sang by Jimmy Dorsey's band. My mother thought that her song had such an extraordinary success because it reflected the situation of the Second World War and the separation of couples that perhaps we'll never meet again. Bésame Mucho was taken to Europe, to England mainly, by the soldiers. The song opened doors for Consuelo beyond the music industry. My mother had an invitation to Los Angeles, to Hollywood, to meet everybody at the time because Besame Mucho was already at the first place of the American Heat Parade for 14 weeks.

9:44She met there extraordinary people like Gregory Peck, Carmen Miranda, Bing Crosby, Walt Disney. When she was in the United States, my mother was invited to make a film as a movie star. They said, listen, Ms. Consuelo Velasquez, we already made proof to see how you photograph, and you look beautiful. You are going to be a great star, and we are going to launch you. And my mother said, well, thank you very much, but I have to go back. why? Why go back to Mexico City to pick up your things or whatever? And she said, because I am going to be married next month. They were married the 25th of October in 1944.

10:38Consuelo gave up an acting career for love, but got to see some of the greatest artists of the 20th century recording her song, like Frank Sinatra.

10:57Elvis Presley, The Beatles, Italian tenor Andrea Bocelli and one of Consuelo's favourites, Mexican singer Luis Miguel. Here's Consuelo playing.

11:19She died in 2005 in Mexico City and right until the end she claimed that she wrote this song about kisses before knowing what the kiss was Here's one of her last interviews with the Mexican media Back then, hearing that someone kissed was considered a sin. So I said, well, it is what it is. I'm going to write a song about this, but make them think I'm writing it because I feel it. But I hadn't even had my first kiss. But her son is not convinced. No, I don't think so. She always said that so that the people, the interviewers and people didn't mingle with her private life. But of course she was kissed.

12:09She loved my father very much and my father loved her so much too. Mariano Rivera-Valazquez was talking to Stefania Gozza. His mother, Consuela Valazquez, wrote Bésame Mucho, one of the most recorded songs in the Spanish language. A mournful melody composed at a time of war. So how far does history and what's going on in the world at the time influence the music that is produced? Michelle Meinhart is a reader in musicology and cultural history at Trinity Lab and Conservatoire in London. So let's take two obvious examples, Michelle. The First and Second World Wars, is there a clearly discernible difference in the music produced around those events?

12:49Well, music is really significant for both soldiers and civilians alike during both wars, but there are some key differences. When we think about World War II, we think about people dancing to music, to listening to recordings, to listening to the radio. But that kind of recorded musical culture is still very new in the First World War. The gramophone was still a new invention at that time. And while some people had these machines in their homes and some soldiers had them at the front and so on, they were not widespread. And the radio, of course, was non-existent. So consequently, soldiers and civilians sang and played music themselves.

13:32elves. There were lots of professional singers who were known, though, during the First World War era. They were known through the performances in Music Hall and through a sheet music attribution. What about the content between the First and Second World War and the themes that were being sung about? In the Allied West, so thinking about like Britain, North America and France, in the Second World War, there's this real kind of move away from a kind of masculine bombast that was there during the First World War. When we think about music during the First World War, we think about kind of national pride, sentimentalizing ideas of home, being far from home, in terms of emotion, very general.

14:12And a lot of the music at this time also has exotic flares. So lots of the music that is popular, per se, in Britain is actually coming from the U.S. In World War II, though, the music is different. It's more about longing, separation, but also fidelity and romantic relationships. There's a bittersweet kind of vibe to this music. It's often slow. It's romantic in tone. The message that many of these songs have is wait for me, stay true to me, and remember our last kiss, such as in Besset Maymood's show, right? But also in We'll Meet Again that Vera Lynn Rune made famous. In World War II, there's also a lot of music that is about escapism and kind of hot, just a high-energy joy.

14:52So here the vibe is more upbeat and even frantic. It's heavily rhythmic. It's very influenced by jazz. And the message here is like dance and drink and live for tonight because tomorrow is really uncertain. It sounds to me as though there was something of a sweeping away of naivety after the First World War and perhaps a more realistic attitude towards what war really represents following the appalling deaths of the First World War. Absolutely. Absolutely. After the First World War, there is this sort of growing sense of irony and uncertainty and very much a kind of truthful look at what the war is and what it means.

15:31And so when World War II starts, of course, many people have been through this. They already know what the reality is going to be. Another kind of key difference is that the musical lyrics of this time in World War II and talking about these close relationships are much more romantic and much more sexualized than they would have been in the First World War, in which a lot of the kind of old Victorian and Edwardian morality is still hanging on. You wouldn't be singing about kissing and so on in a very passionate way in songs during World War I. But of course, in World War II, we get that quite a lot as we see in Best of My Mood Show.

16:04And I guess it's a variety as well, because there will be a propaganda element in music produced all over the world at various times. Oh, yeah, absolutely. And in talking about that in World War Two, that the propaganda element wasn't as strong as in World War One in the West. You know, in other places, there is a very strong propaganda element, most notably in Nazi occupied countries, so specifically of Germany and Austria, but also in the Soviet Union. For instance, the song Kutusa, it's a kind of Russian folk march and it features really traditional instruments like the balakava and the accordion alongside kind of military marching percussion.

16:41It's really patriotic and booming. Very, very different in tone, of course, than, say, contemporary music that was being recorded and listened to by the Allies. That's Michelle Meinhardt, reader in musicology and cultural history at Trinity Laban Conservatoire in London. Next, as we continue our look at events from Mexico's past, a low point in the story of that country's industrial expansion. In the 1980s, on the outskirts of the capital, Mexico City, there was an explosion which is widely considered to be one of the world's deadliest industrial gas accidents. And just to warn you, there are distressing details in what you are about to hear.

17:20Jendale has the story.

17:26The light, the noise, chaos, the overwhelming heat, the terror that at any moment it would explode even more. In Mexico City, rescue workers are still pulling victims out of the debris of the thousands of homes and factories devastated by last night's gas explosion. It's 1984 and 13-year-old Virginia Martinez-Téllez lives in San Juan Ixuatepec, now commonly known as San Juanico, a northern suburb of Mexico City. It's densely populated with around 40 ,000 people in the area, living in a mixture of concrete and wooden one-storey houses. In the town, mostly very hard-working people, with not a lot of resources from the lower middle class.

18:17With regard to my family, we were seven brothers and sisters, my paternal grandmother and my dad and mom. Virginia and her family live around a kilometre away from a gas storage and distribution depot owned by Pemex, the state oil company. The teenagers used to seeing the flare stack, the flame where excess gas is burned off 24-7. It's just part of daily life. The site has six enormous spherical storage tanks and tens of cylindrical tanks, often nicknamed sausages. The suburbs have grown over the last 20 years, which means the borders of the built-up area are as little as 130 metres from the plant.

19:01It's shortly after 5.40 in the morning on the 19th of November. Virginia, who's just days away from celebrating her 14th birthday, is tucked up in bed. Unbeknownst to her and other sleeping residents, gas has been leaking from one of the storage tanks, causing a vapour cloud to form. It ignites, leading to a flash fire and explosion.

19:28I remember a loud bang when I got up from bed. I saw that the curtains from the windows were stuck to the ceiling, as if they were Marilyn Monroe with the skirt all flown upwards. And I immediately looked outside and everything was orange with blue tones and traces like tongues. They were tongues of fire. There was a big whirlwind where a lot of particles were flying. I could see that they were most likely sheets of metal. Just before dawn, the plume of flame shot a mile high into the night sky, showering this shanty town suburb with fiery debris. The fire spread from an exploding gas truck through a chain reaction of explosions across the storage facilities, tanks that normally hold 80 ,000 barrels of liquefied gas.

20:17It's reported the sky can be seen glowing red at the other end of the capital. Virginia can feel the air being compressed in her room. like when you dive and submerge yourself in the water and the deeper you go, the more pressure you feel that's more or less how it feels

20:43I heard my mom's screams stand up, let's go we have to go put your shoes on the first ones you find my dad tried to open the door but the moment he grabbed the handle since it was metal it burned. My dad then had to grab a cloth to protect himself to be able to open the door of the house. When we went out to the patio we felt a lot of heat as if we were in the tropics. Very very hot. A lot of people were barefoot and in their underwear because it was early morning. The whole family races to what they hope is their salvation from the fire and heat radiation. Their old car that needs a push to get it started.

21:23They all squeeze in. Her father drives through the smoky haze, but existing construction and paving works make the roads even more tricky to navigate. Virginia looks out of the car window. A lot of chaos, a lot of people running, screaming, people climbing the hill like ants. They were moving to Zacatenco Hill to reach the federal district. It was grayish, black a lot, like it's very foggy. I guess it was the waste from the first explosion. We took the Mexico-Pachuca Highway towards Indios Verdes, and about a kilometer from San Juanico, the second explosion occurred. The roar of the explosion, I looked back and saw a huge column of fire, huge, huge.

22:13I was very scared that San Juanico was not there anymore. The inferno spread fast across the shanty town. It ranged out of control for seven hours. I am the third of the seven. There are two older sisters. The older ones tried to comfort us, to hug us. In turn, we tried to comfort and control the little ones. My parents, of course, were very scared too, but my dad kept his composure to ensure their safety, getting out of there as soon as possible. There are yet more explosions known as blevies as other storage tanks rupture. As Virginia and her family escape to the east of Mexico City, thousands of emergency service workers head towards the epicentre of the disaster.

22:59Through the day, 3 ,000 police helped by troops and Red Cross workers pulled more and more victims from the ruins. The city's medical resources were strained beyond the limit. The family reaches the safety of relatives and they watch the television news in horror as the scale of the devastation unfolds. Children who got lost, people who were separated from their families or those who couldn't get out and stayed huddled together, they were all their charred. Virginia's family want to return home but it's not that simple.

23:37It was a ghost town cordoned off. The Mexican army didn't let us in. My dad, along with some nephews, got in first. I found out they bribed some guards. And they were able to get in on foot to feed the pets that were left at the house. They were the first to see everything, all the desolation that was there. Virginia doesn't return until December. Her childhood home has turned into the stuff of nightmares. Two mass graves have been dug for the hundreds of victims. Very sad. Something inside me broke. I grasped the magnitude of the disaster. It looked like a war zone. It was a smell that to this day I can't describe.

24:24It's entirely different. My parents say it smelled like burnt meat. There was graphic evidence, too, of the blast furnace heat and of the force of successive explosions that flattened the district. A storage tank flown four blocks across the shanty town. I saw destroyed houses along the Rio de los Remedios, homes belonging to classmates. I also looked up at the hill and spotted where projectiles had fallen. Pieces of spheres, or those long containers we call sausages, had fallen on the houses. Official figures from the Federal Disaster Agency reports 650 people dead, 2 ,500 injured, with more than 25 ,000 losing their homes.

25:08Pemex accepts responsibility and agrees to pay compensation to victims. Health and safety experts say the tragedy was caused by a combination of technical failures, safety issues and poor urban planning.

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25:24For Virginia Martinez-Tejas, the San Juanico explosion continues to impact her life more than 40 years on.

25:35I'm hypersensitive to the smell of gas. I get really upset, very alert. When there's a situation like that, it really affects me. In fact, I developed a kind of anxiety because of it, what you would call post-traumatic stress. Virginia Martinez-Téllez, survivor of the deadly gas explosion in San Juanico in November 1984. She was speaking to Jen Dale. We all can agree that housing is expensive. Rent, mortgage, it doesn't matter which one you're paying, it stings every month. But BUILT can make you feel a little better. Let me explain. BUILT started out rewarding members on their rent. Now, as of 2026, BUILT members can also earn points on mortgage payments wherever they live.

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28:11Still to come, how Mexico played a part in the making of the film Titanic. and the fight to get equality for Mexico's indigenous women. Before this Honourable Congress and hundreds of indigenous municipalities in Mexico, the voice of women begins to be heard. But first, a landmark moment in Mexico's democratic past. Helen Ledwick is taking us back to the year 2000 and the presidential election which saw a change in government after 71 years of continuous one-party rule. 10pm on the 2nd of July, election day. And in Mexico City, the main opposition candidate, Vicente Fox, is at party headquarters with his team.

28:57They've been camped out in what they call the war room, monitoring the results as they come in. TV screens, phones, faxes. They've even hired their own satellite feed so they don't have to rely on official channels. And then... it happens. So before we had the official results, Fox received a call from President Zedillo telling him, you won. Francisco Ortiz is the campaign's marketing strategist. He's in the room when the call comes through. So, well, I'm now getting... I'm feeling the same excitement that I felt at that time because President Zedillo called him telling him you won. President Zedillo of the Institutional Revolutionary Party, the PRI, has just conceded.

29:49Francisco's boss, Vicente Fox of the National Action Party, or PAN, will be the next president of Mexico. I mean, we were extremely happy. At that time, I thought I may die now. It was the feeling, I mean, that you already accomplished a big, big task which look like an impossible one. Impossible, because the PRI had won every single presidential election since it was founded in 1929, leading to decades of mistrust. And even though there'd been changes to make elections more transparent, it was hard for people to believe that another party could win. So, a year before the election, Fox's team decide they need a fresh approach.

30:33Someone outside of politics. Someone who knows how to build brands. Someone like Francisco, who's working for a big media company. The headhunter called me and told me, are you interested in handling a presidential marketing campaign? And I said, how is that? Because here in Mexico we have only a ruling party, which is PRI, and there is no another position, I mean, that has the possibility to win. And he told me, no, have you heard about Fox? And I said, yes, the TV station in the US, Fox Television. I said, no, no, no, no, this is the governor of one of the Mexican states, which is Guanajuato.

31:12So I run and buy a political magazine, which is called Proceso, trying to understand who is Fox. This is how the BBC described him at the time. Vicente Fox is a tiring man with a brisk moustache who looks like the chief executive of a big company. That's not really surprising because that's what he used to be, head of Coca-Cola in Mexico. So a businessman, but in signature cowboy boots, a wide-brimmed hat and a silver belt buckle that spells out F-O-X. And he grew up on a ranch. He's a marketeer's dream. The character was like a Mexican superhero, you know. He was a very, very good product. Francisco is in and it's full on.

31:56Fast-moving, modern marketing, nothing like the traditional campaigning that voters are used to. The team churns out 65 TV adverts in just nine months. And at first, not everyone gets it. As a matter of fact, the first TV commercial that we produced, I remember that day that we were at the PAN building and we present the TV commercial and everybody says, what's that? Because the only thing that we were saying was, ja, ja, ja. Ja, ja, ja, ja, ja, ja, ja. Which is, do it now, do it now, do it now. Showing that you are tired of all the other things, but the only thing that you was looking at was people only saying, yeah, yeah, yeah.

32:43And doing this signal with the fingers, which is the B of victory and the B of Vicente. Voto por el cambio, Vox Presidente. So nobody expects to see this kind of things. so it helped us a lot to position us against the official candidate which was Francisco Labastida for the PRI. At this point, Labastida is leading in the polls, the clear front-runner. But as the campaign rolls on, Fox narrows the gap. In spring 2000, there's a televised debate with Fox widely seen as the winner and now a second debate has been lined up. The next one supposedly was intended to be only between the three top candidates, which were Fox, La Bastida and Cardenas, which were the top three parties.

33:36But they didn't want to have it. I mean, the PRI didn't want to have it because they knew that we won the first. They didn't want to have the second one. So when the day arrives, a last minute press conference is called. You can see the whole thing on YouTube. Three candidates sitting side by side in a garden, surrounded by reporters, arguing. Fox's opponents are saying the format hasn't been settled. The TV networks haven't agreed. And Fox said, no, I want the debate today. In Spanish, it will be hoy. I want it hoy. Lo quiero hoy. I want it today. I want it today. El viernes. Hoy. El viernes.

34:15Hoy. Francisco is worried, and he's right to be. the polls drop and the headlines are brutal. I saw him in the morning and I said, well, all the newspapers say, stubborn folks, stubborn folks. He didn't understand that we can conduct the debate, blah, blah, blah. So all the media was against folks. So at the end of the day, I said, well, what are we going to do now? Francisco calls a crisis meeting, but the other candidates are one step ahead. Cardenas and La Bastida start with a commercial that say, you don't want a president that is very stubborn. And they use the image from the meeting in which Fox was today.

34:59Today. So we said, OK, let's apply the jiu-jitsu strategy. Ah, the jiu-jitsu strategy. They're thinking, can we flip this on its head? Here in Mexico, we have a saying that says, don't live for tomorrow what you can do today. So we said, okay, these old politicians, they want to do all the things that has to be solved today, tomorrow. But folks want to solve all the problems of the country today. So what do you prefer? So we put it on air and we reverse, we shift the tendency of the polls. And then we start being up. It was a very, very, very key day for us. When election day finally arrives, Fox's team is confident.

35:52And at 11pm on the 2nd of July, only an hour after that phone call, President Zedillo goes on television and publicly concedes.

36:05Then we had a big celebration inside the party with Fox at the balcony. and then I decided to go and have some tacos before going to El Ángel de la Independencia because I maybe have not eaten in the last three days, I don't know. And then I went and celebrated the winning. Tens of thousands of Fox supporters are out on the streets of Mexico City surrounding the monument known as the Angel of Independence, chanting, celebrating, car horns blaring. It's a proud moment for Francisco. We had a ruling party that was more like a dictatorial party, I mean, because we didn't have any opposition during 71 years.

36:50So it was very important for Mexico, but for Latin America too, because then you show that there is a possibility to change government. So it opened the possibility for another party to win. Vicente Fox went on to govern Mexico for a six-year term. Francisco Ortiz stepped away from politics in 2003, but stayed in marketing and still works in Mexico City today. He was speaking to Helen Ledwick. Another key moment in Mexico's politics, next, which came about on the 2nd of October 2014. That was when the lives of millions of indigenous women in the country were completely transformed. And it happened because they had finally won the right to vote and stand in elections.

37:38Jacqueline Payne has the story. The system of usos y costumbres has meant more than 500 years of living in silence without the right to raise our voices or to express the right to govern and to choose the rulers of our own destiny. That's Euphorzina Cruz Mendoza addressing the Mexican parliament in the capital, Mexico City. She's an indigenous woman who grew up in the mountainous state of Oaxaca, and she was explaining how local traditions, or usos y costumbres, meant that women were held back and discriminated against, because those old practices said women should serve men and look after the children, and not hold political positions.

38:27I probably went up with a lot of fears and my voice trembled. That girl from the mountain was standing there in front of the crowd. Born into a Zapotec community, an indigenous population in southern Oaxaca, Euphrazina faced a different future to her brothers. You have to get up at 3am, like my mum, like my aunts, to wait and to serve. I didn't know what it was like to have a voice. I didn't know how a girl laughed. I didn't know how a girl could play because my eyes had never seen it. I saw the daily work of what was said to be the role of a girl becoming a woman. Because you don't grow up playing dolls, you don't even play.

39:12As a child, you grow up learning to be a woman at 8, 9, 10, 11 years old. Because at 12, you're ready to become the wife of a man you don't even know. I had to help my mom make extra tortillas to eat, take care of my brothers, and from there go to the field to work. So effectively, we are doing a double work day. It was a normal custom in these environments. Euphrazina's anger grew at the system around her, especially when she saw how it affected her sister. Because at 13, my sister was already the mother of a child. And at 31, she was already the mother of nine children. She learned about the menstrual process after giving birth to nine children.

40:01And that is the story of thousands of women in my country and around the world. While such practices were not acceptable in the rest of Mexico, Oaxaca had a special law dating back to colonial times that allowed indigenous communities to self-govern. Many of these local or customary laws were even stronger than the state's laws, with the aim of protecting the community's traditions. But those self-same traditions also stated women could not govern or take part in any decision-making. In my community, women could not participate in being presidents of our communities. We were invisible by a system called usos y costumbres, Her town of Santa Maria Chiegolani had no electricity, no hospital, no road, only a primary school and some girls grew up unable to read or write.

40:57She was one of the lucky ones when a new teacher arrived. Joaquin helped Euphrasina to learn Spanish, taught her she could change her life and encouraged her to fight for her rights. At 12 years old, my teacher who inspired me, my teacher who had to walk more than 12 hours to reach my community and was the one who taught me the first words in Spanish. And that's where my inspiration was born. My dream of one day speaking like my teacher, right? I had to flee my community because my dad was going to marry me when I was 12. But thanks to my teacher who inspired me on that mountain, who taught me that there was another colour, that there was another smell.

41:44When you're born into so much adversity, there are times when you just need a spark to start questioning and asking. She refused to marry against her father's wishes and eventually convinced her parents to let her stay with her uncle in the city of Salina Cruz, four hours away, to continue studying. That part of Oaxaca was not governed by traditional laws. And there, she began to examine her life at home. And I began to question what was happening in my community environment, where public space was not for girls or for women. My mum had never sat in the town court. There wasn't a basketball tournament for girls.

42:27There was for boys. And that's when I started to question things and started going to those spaces. I became the crazy girl in my community, the girl who hung out with all the boys in town. But I understood that was the price that I had to pay to start changing things. After graduating with a master's degree in 2007, Euphra Zina felt inspired to change her society. She decided to run for mayor of her hometown. Many people in power didn't want her in government, but she was allowed to take part because no one would vote for a woman, would they? Euphorzina won the election, but customary laws meant that as a woman, she was unable to take office.

43:11And that's when I realised that there was no institution that would embrace us as indigenous women. 19 years ago, in the Mexican constitution, the word woman was not written for us. and what did that mean? We couldn't even vote or be voted for. But she didn't give up. Jufresina began campaigning for women's rights and in 2010 she became president of the Congress for Oaxaca helping secure political rights for indigenous women. Four years later on the 2nd of October 2014 the Mexican Senate approved a constitutional amendment guaranteeing indigenous women and men the right to vote and stand for election on equal terms.

43:57It meant that women's suffrage, introduced in Mexico in 1953, would override customary laws. The reform was brought in quietly, without any comment from lawmakers. Some said it was politically too sensitive to challenge traditions linked to cultural identity, even when those traditions excluded women from voting or taking office. Before this Honorable Congress and hundreds of indigenous municipalities in Mexico, the voice of women begins to be heard. In 2010, I changed the Constitution of Oaxaca. In 2014, I changed the Constitution of Mexico. And also in 2014, the UN adopted my proposal, which says no customs can deny the participation of women in the elections of their communities to participate or be presidents or whatever they want to be.

44:58And that's allowed today in all the indigenous municipalities of Mexico. And women are now part of that decision-making in their communities. They can sit at a table. They can participate in churches. They can go to the courts. Today, there is parity in my town, 50 % women, 50 % men. Today, there are two secondary schools. There are primaries. And most girls are going to be architects or engineers. Why? Because we broke everything that the world shouted at us that was our custom. It was what violated us. And it was a system that denied us and made us invisible. And we had to take it away to be named in the constitution of our country.

45:48That's why I tell them today, my nieces, my mother's great-granddaughter, my sister's granddaughter, to never ask for permission again to be in that public space that my mom and sister and myself were told wasn't for us. Jacqueline Payne was speaking to the remarkable Euphrosina Cruz-Mendoza, who continues to campaign for the rights of indigenous women in Mexico. There's a photo of Euphocina on our website, and her story will be added to the Women in History collection there. Find them by searching for bbc.com slash witnesshistory. For this week's Sporting Witness, we go back to 1988 and a football scandal in Mexico which rocked the country.

46:34Some believe it cursed the Mexican national team at the World Cup. Timo Callaghan has the story of Cacharules, which was uncovered by a young sports journalist called Antonio Moreno. It was like a bomb for Mexican football. But what was the cause of that explosion? And how do some think it's potentially cursed Mexico at the World Cup? Well, it's April 1988 and Mexico's under-20s side have just come second in the Confederation of North, Central America and Caribbean Association Football Tournament, or CONCACAF, in Guatemala, meaning they qualify for the FIFA Youth World Championships a year later.

47:22I'm a journalist who likes to investigate and accumulate information. And there was something happening in Mexico that was common knowledge and it was becoming really normalized. Football players who were older than the age limit were able to play in tournaments with altered documents and so I wanted to reveal this. But how was Antonio going to uncover this? Covert recordings, forensic examination of documents, a confidential source in the heart of the Mexican Footballing Federation. In 1988, the Federation of Mexican Football itself created a magazine with information and they had the ages, the correct ages on there.

48:12So they exposed themselves. So I arrived home and I checked the age of each player and there were four or five who were too world. And I thought to myself, how can the federation itself give out a document that has these? Basically exposing their own game. And I was completely surprised. So the very next day, I published Innovaciones magazine that the federation was cheating and that they were saying so in their own annual report. Other journalists pick up on Antonio's reporting and begin to interview the players accused and also try to obtain the players' birth certificates from the Mexican authorities.

49:01Two players are found to be two years older than the permitted age. One is three years older and the captain, Aurelio Riviera, was four years older than the maximum age allowed to play in the tournament. On the 19th of June 1988, CONCACAF disqualified the under-20s team from playing in the Youth World Championship. and banned several Mexican officials for life, who decide to appeal against the decision. They went directly to FIFA to talk to Joao Avalanche, FIFA's president at the time. Because something important to note is that in 1986, two years before, Mexico had organised a great World Cup and the Mexican directors thought that they were great friends of the FIFA directors.

49:50But it doesn't go to plan. FIFA don't overturn the ban on the officials or the under-20s team. In fact, they extend it to every Mexican team for the next two years, meaning the men's national side won't be allowed to qualify for the 1990 World Cup in Italy.

50:10It was an earthquake. So if we imagine a building, the highest part was the directorate. So they were all expelled for lying to FIFA. and then there was also the players in the under 20s team who went to Guatemala who qualified for the youth world cup they could no longer play in that tournament anymore but it also affected the players in all other categories as well because Mexico was banned from all international sporting competitions and it also affected sponsors and the Mexican Football Federation itself. It was worse because they went to FIFA to talk to them about the punishment, because if they hadn't done that, the punishment would have remained with the under-20s team.

51:02But because they went to Zurich, it made matters worse. Did you have any indication that it was going to be such a big scandal when you discovered it? No? No, because I thought that the directorate would lie and say the publication was wrong and that they would say that it wouldn't go any further. But at the same time, other journalists went directly to the Mexican government and looked for the official documents. So, the official birth certificates and the official passports. And because they had this concrete evidence, the Mexican Football League couldn't deny it. But what we didn't expect was that FIFA would take it so far and use the Mexican team as an example, as a warning for all those teams from Africa, from Asia, from Europe to prevent cheating.

52:00The scandal becomes known as cacharules in the Mexican media. In Mexico, the word comes from like a piece of fabric that you put over something to cover a hole. so for example if you have a hole in your jacket you'd put a cachirulo on it to cover it so in football a cachirulo is someone who cheats who covers up for someone else essentially the players were pretending to be a different age putting a patch over their real age to cover it up and so becoming a cacharule Antonio's role in uncovering the scandal which stopped Mexico competing at the World Cup in 1990, gets a mixed reaction from the public.

52:45The public was divided in two halves. There were those who consider us traitors, because it was the Mexicans accusing other Mexicans and the other half respected us. So they said it's the duty of journalists to say the truth. A theory has emerged since Cacharulés that the men's national team are cursed at World Cup. The only teams to have qualified for more World Cup finals than Mexico are the footballing powerhouses of Brazil, Germany and Argentina. And since the ban, Mexico have qualified for every World Cup. However, for seven tournaments in a row between 1994 and 2018, they are eliminated in the last 16, quite often in agonising circumstances.

53:33In 2022, they don't even make it out of the group stage. So does Antonio think this is all a coincidence or is it a curse? It's real.

53:46It's real. In Mexico there's an obsession because the most we've done is make five games when the World Cup was played in Mexico in 1986, two years before the scandal.

54:00In all other World Cups, Mexico has been knocked out in the third or fourth game. So we have very average goals and we dream of getting only to the fifth game. Because in reality, we recognize that there are football superpowers and we are not a power. And we only hope that one day we will get to the fifth game again. Do you regret that you uncovered this and what it led to, Antonio? Or do you think it would have happened anyway because the Mexican Federation basically uncovered it for themselves? I don't regret uncovering the scandal because I studied journalism and I worked with my boss, José Ramón Fernández, and we respect journalism and we respect the truth.

54:48Telling the truth so we were never party to blackmail or complicit in any lies. We wanted to uncover the truth. That was our priority. Antonio Moreno. He's worked as a sports journalist for the last 45 years, and he's currently the president of the International Football Hall of Fame in Mexico. Antonio was speaking to Tim O 'Callaghan. Finally this week, Mexico and the movies. Jane Wilkinson takes us back to 1997 for the making of one of the most successful films ever, and, at the time it was made, the most expensive. Titanic was called the ship of dreams. And it was. It really was. All right, open your eyes.

55:37It was breathtaking. And I would say that would be one of my favorite parts of the film. When Rose first watches the Titanic, when she looks at the ship, because I think that's how I felt when I first saw it. It was massive. Meet Luisa Gomes de Silva, who was 25 when she began her first job in the movie business, on the set of what was expected to be a major blockbuster. The Titanic is a love story set aboard the liner's doomed maiden voyage in 1912, when it sank, killing more than 1 ,500 people. The film has already attracted huge publicity, mainly because it cost a cool$200 million to make. The budget was not the only groundbreaking milestone.

56:22The director, James Cameron, wanted to film on an almost full-size replica of the ship. And for that, he needed to create the world's biggest water tank. So he headed to Mexico. And they were in a helicopter scouting the whole area. And then they saw this piece of empty land south of the border. And at the time, there wasn't any roads built there. It was like pretty much 45 acres. and they decided that was a good spot for a temporary facility. In May 1996, building began in Rosarito, in the Mexican state of Baja, California. They call it the 100-day studio because at the same time that they were building the ship, they were building the tanks and the sets.

57:05At the time, it had three water tanks. The big one, it was like two sizes of a football field. More than 4 ,000 people were working at the time there. Carpenters, painters, plasterists, plus everybody else. And there was the ship itself. Built in 1912 and 269 metres long, the Titanic was originally the largest object ever to move on water. And the movie version was almost as big. It was a 90 % size replica. When you see the plants, you never realise the magnitude. You could see the facade with all the windows and it had the decks. and all the entrance to the rooms. We had a huge tower crane to lift the funnels, to put the funnels on.

57:54And as an assistant coordinator in the art department, helping the replica to look authentic was part of Luisa's job. Everything had to be historically perfect. So even the carpet was made and it had the stamp of Her Royal Majesty. All the china was also done in the same place that it was fabricated for the actual Titanic. The set decorator even showed us how to fold the napkins, how to set up the table. So everything was perfect. Throughout production, the ship sat in a 70 million gallon tank of water. Its lavish interiors were painstakingly recreated using plans obtained from the Titanic's original builders, blueprints thought lost since the Second World War.

58:40I think it was James Cameron. He is such a perfectionist. Everybody says like, oh, he's so strict and he yells and he does this and he does that. But to me, the learning experience that I had from him, it's that he knew how he wanted things done. Filming took seven months with a cast of hundreds, headed by Leonardo DiCaprio and Kate Winslet as the lovers Jack and Rose. We were working very long hours and we were shooting in the middle of the winter and it was freezing. and then you had to wear layers and you can see Cameron in the crane with the hat, with the earmuffs and there were so many extras.

59:20And when the ship started sinking, it was in different stages. Augsburg, run ahead! They get to 90 degrees and that's where everybody starts to jump off into the tanks. People with their dresses and their nightgowns and under it, they had like a sort of a bodysuit or wetsuit because they were many hours in the water. This is it! Hold on! Do not let go of my hand! And these dramatic, panicked scenes as the ship begins sinking are among Louise's favourites in the film. I guess like that part, it shows you the frailty of humans. All of this confrontation between power and the elite and the class, that people do everything they can to save themselves.

1:00:05I think that part to me was like the most shocking. But the scene that probably had the most impact would later be recreated by lovers around the world. Jack and Rose, arms outstretched on the ship's bow. I'm flying! Jack!

1:00:24I'm the king of the world thing? Yes. And we've all did it. We've all climbed into that. Did you do it? I did. I did. And we kept it for a while at the studio when it became like a small Titanic exhibit. But meanwhile, the film's budget was soaring. The average Hollywood movie costs$60 million. The Titanic was priced at$100 million, taking into account the size of the set and expensive special effects. I think it was very tense. We had auditors there, and it was like a creative situation going on at the same time. So you saw the suits, like, discussing money and discussing where to cut. And then you saw James saying, OK, I want this, I want this, I want this.

1:01:08And he wanted more and more. And then he, well, like everybody knows, he said, OK, don't pay me. I'm not taking my salary, but I want to do this. Many, many more people have to see the film if it's to make a profit. Revenue needs to exceed$400 million worldwide. And many, many people did see it. Titanic became the first film to gross over$1 billion at the box office. We had so braced ourselves for just utter defeat and humiliation. And then when the film came out, and not only did it not go down as films are meant to do, but it actually went up on its second and third weekends, and then it just kind of defied gravity.

1:01:47It was like literally watching somebody levitating. That's James Cameron, who in 1998 was named Best Director, one of the film's 11 Academy Awards. The Oscar goes to James Cameron for Titanic. Nobody was aware of the success that the film was going to have. I think we were under such a rush of like adrenaline and trying to deliver. It was just like work, work, work. And the set and Titanic was already being pulled apart. Trying to dismantle this massive ship because the studio was built on a temporary basis, ripping off the carpet, taking out everything. And all the steel was sold. And because of the water, a lot of the props got damaged.

1:02:31So that was, of course, trashed. But like the original, the legacy of Titanic lives on. Louisa still remembers seeing the film with the rest of the production crew, who became known as the Titanic generation. We were invited to the LA screening. And before the show started, James mentioned to everyone, like he said, please watch the film, not as the work you did for it. Just watch it as a spectator. Just see what you did. And I remember that when the credit starts and you hear the song, everybody started sobbing. And even like I started, it was very emotional for everybody. We made it. Luisa Gomez de Silva stayed in the movie business, becoming a film and television producer.

1:03:16She was speaking to Jane Wilkinson. And that's it for this Mexico-based edition of the History Hour. Next week, the first Irish language television channel and Adolf Eichmann. Join us for that. This is Max Pearson. From all of us here, thanks for listening. Goodbye.

1:03:57Sporting Witness. Subscribe wherever you get your BBC podcasts.

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From the publisher

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service.

Our guest is Michelle Meinhart, a reader in musicology and cultural history at Trinity Laban Conservatoire in London. We start by hearing about a Mexican song that captivated lovers in World War Two. Then, a marketing strategist recalls how he worked on a Mexican election campaign in 2000 that saw a change of government for the first time in 71 years. We hear how millions of indigenous women in Mexico won the right to vote and stand in elections in 2014. Plus, a woman recalls her family's escape from a deadly gas explosion in Mexico City in 1984. Finally, we find out how Titanic, one of the most successful films in movie history, was made in Mexico in 1997. Contributors: Mariano Rivera Velazquez - son of singer Consuelo Velazquez who wrote Bésame Mucho. Michelle Meinhart - a reader in musicology and cultural history at Trinity Laban Conservatoire. Francisco Ortiz - marketing strategist. Eufrosina Cruz Mendoza - campaigner for indigenous women's rights. Virginia Martínez Tellez - San Juanico resident. Antonio Moreno - sports journalist. Luisa Gomez de Silva - assistant coordinator in the art department for the movie Titanic. (Photo: A welcoming kiss. Credit: Topical press agency/Hulton archive/Getty images)

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