“Mercedes Carota” by YOVNGCHIMI and Bad Bunny is a raw and unfiltered dive into the world of street life, boasting, and the relentless pursuit of power and respect. This track, filled with aggressive flows and vivid imagery, has quickly become a standout in the Latin trap scene. Let’s break down the lyrics and explore the themes that make this song so impactful.
Unpacking the Verses: Raw Power and Street Credibility
The song opens with YOVNGCHIMI establishing the track’s gritty tone right from the start. The playful intro “Chi-chiPla, pla, pla To’ pa’ la carota En la Mercedes Carota” immediately sets the stage, referencing the “Mercedes Carota” – a key symbol in the song. The lyrics then explode into a barrage of boasts and threats, painting a picture of a life steeped in street credibility.
Adidas entero como Rey Liotta
Good Fellas sin el prom, paguen la cuota (paguen la cuota)
Los Phillie’ tuyo que son changa y eso se bota (y eso se bota)
Tusi con molly, diablo, qué nota (diablo, qué nota)
A la bebecita le mamo el toto, a la bebesota el culo y la tota
Mami, tú ere’ Michael Jordan, sí, sí, jugando pelota, ey
Here, YOVNGCHIMI uses vivid metaphors and cultural references. Comparing his style to Rey Liotta in Adidas and mentioning “Goodfellas” sets a gangster movie-like scene. He dismisses rivals (“Los Phillie’ tuyo que son changa”) and brags about drug use (“Tusi con molly”). The lines about women are explicit and boastful, typical of the hyper-masculine persona often projected in trap music. The Michael Jordan reference elevates the woman he’s addressing, comparing her prowess to the basketball legend.
De lejos se nota que tú no ere’ calle, tú solo aparenta’ (charro)
Cría bien tus hijo’, cabrón, to’ mis discos tienen el parental (chocha)
Aprovecha ahora, yo no voy a hacer esto hasta los cuarenta
Disco que saco, disco que se queda número uno en venta’
YOVNGCHIMI continues to assert his authenticity and street smarts, calling out those who are “charro” (fake). He emphasizes his longevity and success in the music industry, highlighting the parental advisory labels on his explicit tracks as a badge of honor.
The lyrics then shift to a direct address, almost like a spoken word interlude:
Diablo, ¿cuál es la quejadera, cabrón?
Habla, shh
Na, na, en verdad no me importa
Ni siquiera El Father sabía lo que en verdad era tener torta, ey
Nadie me soporta, ey
Seguridad con el presidente Biden
Pero pa’ PR siempre bajo sin escolta (normal)
Jej, alguna mutilá’, otras con licencia, pero aquí tos’ andan con corta
Ey, ustede’ lo dicen to’, parecen un podcast
Cabrón, ¿y esa movie?, ¿a quién carajo es que tú le ronca’?
This section is full of dismissive arrogance. He belittles his detractors, claiming indifference to their complaints. The “El Father” reference is a comparison to a legendary figure in Reggaeton, implying even they didn’t reach his level of “torta” (wealth/success). The line about presidential-level security juxtaposed with moving without escort in Puerto Rico highlights his perceived untouchability and real street presence. He ends by questioning the “movie” (act) of his rivals, challenging their gangster image.
The Chorus: Repetition and Reinforcement
The chorus is a powerful and repetitive affirmation of their street status and firepower, centered around the “Mercedes Carota”:
Ando en la Mercedes Carota
Sesenta tiro’ en la carota
La ganga de la Glizzy
Los Diablo de LLoren’, hijueputa
Esto es Glizzy Gang, Money Wayy
Tú no ere’ bichote, cabrón, tú ere’ un bobo
Un fuletazo en la cara
The “Mercedes Carota” is not just a car; it’s a symbol of status and danger. “Sesenta tiro’ en la carota” (sixty shots to the face) is a brutal and graphic threat, emphasizing their willingness to use violence. References to “Glizzy Gang” and “Los Diablo de LLoren'” are declarations of gang affiliation and territorial pride. “Money Wayy” reinforces the focus on wealth and street hustle. Calling rivals “bobo” (fool) and threatening a “fuletazo en la cara” (gunshot to the face) further solidifies their aggressive stance.
Bad Bunny’s Verse: Expanding the Narrative
Bad Bunny enters with his signature flow, adding another layer to the song’s themes:
El demon
Con el único conejo claro en el infierno
Un fuletazo y volveremo’ a verno’
Ando modo diablo, mírame los cuerno’
Las paca’, el skimask, la trenza y los dreadlock’
Santurce en la casa, las Glock’ te dan welcome
Ando con dos culo’ montando en un jetsco
Un poco de molly, las tramas y las perco
Bad Bunny’s opening lines are characteristically theatrical and boastful. “El demon” and “conejo claro en el infierno” (clear rabbit in hell – a play on his name “Bad Bunny”) create a larger-than-life persona. He echoes the violent threats (“Un fuletazo y volveremo’ a verno'”) and embraces a “diablo” (devil) mode. He lists symbols of street life – “paca’ (stacks of cash), skimask, trenza y los dreadlock'” – and claims Santurce as his territory. The lines about women and drug use mirror YOVNGCHIMI’s verse, reinforcing the lifestyle depicted in the song.
Te mato dónde sea, you know I don’t play, boy
Chingando putas como el viejo de PlayBoy
Siete carros, eso es un convoy
Con más herramientas que en Pep Boys
Ando en la Mercedes Carota
Sesenta tiro’ en la carota
Yo valgo mil kilos de coca
A mí en la calle no me tocan
Bad Bunny reiterates his ruthless nature (“Te mato dónde sea”) and luxurious lifestyle (“Chingando putas como el viejo de PlayBoy”). The “convoy” of cars and “herramientas” (tools – weapons) at his disposal further emphasize his power and resources. He returns to the “Mercedes Carota” and the violent threat, then boasts about his value (“mil kilos de coca”) and untouchable status in the streets.
Tú no ere’ bichote, no tienes poder y no mandas en tu canto
Yo ando con la cone planeando la vuelta
En Perú, estoy meti’o en un campo
300 y el AK, salimo’ a cazar cabrone’
Vivimo’ en Grand Theft Auto
Me dieron la verde después del rutial
La H, yo hablé con los santos
Bad Bunny directly diminishes his rivals (“Tú no ere’ bichote”) and contrasts it with his own global reach and criminal activities. References to Peru, “300 y el AK,” and “Grand Theft Auto” paint a picture of a dangerous and lawless lifestyle. “La verde” (the green light) and “La H” (heroin/H) along with “santos” (saints/godfathers) further solidify the drug trafficking and criminal themes.
Te estamo’ cazando, tu tiempo se está acabando
No respetamo’ los rango’, los palos en el Hellcat Durango
Sin licencia, pero arma’o caminando
Dime, Bad Bunny, tengo la Glizzy en el rony
El Lambo clavo electrony, el mundo es mío como Tony
Tengo millone’ sin firmar con Sony, bitch
The final lines of Bad Bunny’s verse are a direct threat and a powerful statement of dominance. “Te estamo’ cazando, tu tiempo se está acabando” is a chilling warning. He dismisses hierarchy (“No respetamo’ los rango'”) and boasts about illegal gun ownership (“Sin licencia, pero arma’o caminando”). The “Glizzy en el rony” (gun in the fanny pack) and “Lambo clavo electrony” (Lamborghini with electronic rims) are modern gangster status symbols. The final claim “el mundo es mío como Tony” is a clear reference to Tony Montana from Scarface, a classic gangster icon. Ending with “Tengo millone’ sin firmar con Sony, bitch” is a flex about his independent wealth and success, even without major label backing.
Repetition and Outro: Emphasis on Dominance
The song returns to a question-and-answer section, further mocking rivals and reinforcing their own self-proclaimed status:
¿Que tú ere’ bichote? (No, no)
¿Que tú ere’ bandido? (No, no)
¿Tú no mata’ a nadie? (No, no)
¿Y qué tú ere’? ¿Y qué tú ere’?¿Tú ere’ un sicario? (No, no)
¿Tú ere’ millonario? (No, no)
¿Tú manda en tu barrio? (No, no)
¿Y qué tú ere’? ¿Y qué tú ere’?
This repetitive questioning highlights the perceived lack of credibility of their rivals. By negating each gangster archetype (“bichote,” “bandido,” “sicario,” “millonario,” “manda en tu barrio”), they emphasize that their rivals are none of these things, further elevating their own image by contrast.
The outro is a final declaration of identity and affiliation:
El diablo’, hijueputa, YOVNGCHIMI
Dime, Bad Bunny
Hydreezy
Los Diablo’ de LLoren’, hijueputa
Esto es Glizzy Gang, Money Wayy (real hasta la Glizzy)
Tú sabe’ los sello’, cabrón, ¿oíste?
This outro serves to solidify the artists’ brands and crew. Shoutouts to YOVNGCHIMI, Bad Bunny, Hydreezy, “Los Diablo’ de LLoren’,” and “Glizzy Gang, Money Wayy” act as sonic signatures, branding the track with their identities. “Real hasta la Glizzy” is a gang slogan, and the final line “Tú sabe’ los sello’, cabrón, ¿oíste?” (You know the labels, bro, you heard?) is a final assertion of their established presence and recognition in the music and street scene.
Conclusion: A Bold Statement of Street Life
“Mercedes Carota” is more than just a song; it’s a statement. YOVNGCHIMI and Bad Bunny deliver a potent mix of boastful lyrics, violent threats, and vivid imagery that paints a picture of a dangerous and opulent street lifestyle. The “Mercedes Carota” itself becomes a central symbol, representing status, power, and the constant threat of violence. For fans of Latin trap and those drawn to raw and unfiltered expressions of street life, “Mercedes Carota” is a compelling and impactful track that leaves a lasting impression.
