Using different kinds of texts regarding massive popular music, as it is rock, ranchera, grupera, corrido, as well as going through the nature of the so called“protesta” music of the sixties and seventies, looking into the musical construction of Gloria Trevi, La maldita vecindad, Tijuana No, Caifanes, Café Tacuba, Los Tigres del Norte, Juan Gabriel, José José among others. The author states the delimitation which are relative between the public and the privateness in a society in which massive communication media and cultural industries publish intimate life, and privatize the “Public Matter” within a context characterized by the division and the decrease of the use of public spaces. This relationship is discussed from the thematic perspective (governmental and political issues versus domesticity), as well as from the perspective of the construction of audiences and the weakening of the “territorial” variable (home vs. street) of its location.