In the last weeks prior to April 9th of 1866, Baudelaire left instructions for the care of the uncensored edition of his book The Flowers of Evil. Aware of his impending death, he knew that his work was destined for posterity, in spite of censorship and adverse criticism. But Baudelaire could not imagine that his work would transcend not only in universal poetry, but that the new themes, accents, environments, melodic figures and dissonances would shape the artery from which the new urban song would be nourished. What was an ironic moniker, a mockery to describe his poetry as Damned Poetry, would reach the twentieth century as a great poetic and cultural tradition. In Mexico it could not be different. Baudelaire's influence was present in the nineteenth century with the Symbolist and Decadent poets that were organized around the Modern Review, edited by renowned Mexican poet Manuel Gutiérrez Nájera. Mexico generated its own tradition and assimilated the late romanticism, decadence and symbolism trends. This abundant poetic milieu explains the richness and novelty of the urban song that flourished between the 19th and 20th centuries. The twelve songs that make up this second compilation of Damned Songs (Canción Maldita II) were arranged and produced by the great Mexican pianist, composer and arranger Abraham Barrera. With his aesthetic conception, his original arrangements, knowledge of Mexican music, jazz and contemporary music, we have achieved what we set out to do when creating this series: the Bolero of the 21st century.