When producer Gonzalo Julian Conde, widely known as Bizarrap, teamed up with trending singer Peso Pluma for a musical endeavor, the duo received polarized feedback. Unveiled on May 31, their ‘Music Session 55’ has fueled a debate among fans—especially those in Mexico.
The project marks their entrance into Corridos Tumbados, a subgenre that leaves no room for middle ground: you either embrace it or detest it.
Subtle References and Their Significance
What has particularly caught the attention of listeners are the subtle nods to the Sinaloa Cartel, specifically to Ovidio Guzman Lopez, the incarcerated son of Joaquin ‘El Chapo’ Guzman. At the time the song was released, Lopez was in ‘El Altiplano,’ the Federal Center for Social Readaptation number 1.
Peso Pluma has a history of crafting lyrics that either directly or indirectly reference various members of what is also known as the Pacific Cartel. The song is no exception; it includes coded messages that have allowed it to be broadcast without issue, even enjoying airtime on Exa 104.9 FM in Mexico City.
Unpacking the Symbolism
Among the subtler nods that aficionados of narcoculture have noted, both Bizarrap and Peso Pluma portray themselves as mice in the clip—a nickname used within the Cartel. There are also vocal shout-outs to ‘Speedy Gonzales’, Mexico’s most iconic rodent. Other hidden references include the recurring theme of cheese, often alluded to in Corridos Tumbados, as seen in lines like: “En el ‘gabacho’ se parte el queso pa’ la ch y la pizza.”
More Than Just Lyrics
In another section of the Bizarrap session, Peso Pluma drops the line “diamantón, llevo en mi Glock”, intimating that his semi-automatic pistol is diamond-studded—similar to the firearms wielded by ‘El Chapo’ Guzmán. It’s noteworthy that one of these weapons also carries Guzmán’s initials.
Consequences of Artistic Choices
Given Peso Pluma’s tendency to reference members of the Sinaloa Cartel in his music, he has drawn threats from rival factions. Members of the Jalisco Cartel – New Generation have issued explicit threats against the Zapopan native. This led to the cancellation of a scheduled performance in Tijuana on October 14, as a narco manta—a banner bearing a narco-message—advised him to refrain from taking the stage, cautioning that his life could be at risk.
In sum, the collaboration between Bizarrap and Peso Pluma has stirred controversy and drawn ire, shedding light on the complex interplay between music, subculture, and criminal organizations. It serves as a vivid example of how art can not only reflect life but also dangerously intersect with it.