C-41 films are very flexible, consider for a moment the lighting range disposable cameras have to operate in and there is no adjustment provided to change the time or f-stop. The reason these cameras do just fine in most situations is the inherent latitude of negative films.

The exposures that come from disposables or toy cameras may vary by 4-5 stops, say 1 under to 4 over. Surprisingly decent prints displaying normal color, contrast, and detail may be doable across that whole range. YMMV depending on lots of things but lets keep it real simple for a moment.

Negatives normally record a much larger range of info from every scene than will actually be printed directly.

As an analogy, think of yourself standing on the second rung of a 15' tall ladder and your hands are on say the 9th rung. The ladder represents the range negative catches, you represent the range the paper can print. As long as you (the paper) stay inside the ladder's (the negative's) range you can get essentially equal prints in terms of detail and contrast.

In the analogy if you reduce camera exposure you, the paper, moves down the ladder and when you hit ground you start losing shadow detail. Increasing camera exposure is like moving yourself (the paper) up the ladder, at some point you reach the top of the ladder and start losing highlight detail.

Photographers like Jose Villa claim to lean significantly toward the overexposure side, there is more to the story though. Jose's shots are typically backlit portraits. IMO he is simply giving his main subjects very full exposure so that he can print bright skin tones/mid-tones. He is willing to let the background fall where it may. The background in Jose's shots is simply a light pastel blur. It is a style choice he has made. In contrast a landscape shooter might not want to use that much exposure, detail in the clouds may be important.

So, rather than saying one "should" give negatives extra exposure in general, I'd suggest simply that generally you should avoid underexposure until you have tested clear to the print to find your minimum and maximum exposure limits in all the various lighting situations and subjects you normally encounter.

No push or pull is needed for any of this to work.