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Meaning of ‘Natanael Cano’ by ‘Bizarrap’ feat. Natanael Cano

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Released: 2024

Features: Natanael Cano

Alright, let’s dive into the deep end of “Natanael Cano: Bzrp Music Sessions, Vol. 59” by Bizarrap featuring Natanael Cano. Now, here’s a track that’s essentially a flex anthem, with Cano laying out his journey from struggle to success, declaring his tastes for all things luxe, and unapologetically embracing his newfound status. The lyrics are steeped in Mexican pop culture references and street slang, so let’s break down this lyrical trip.

The opening lines, “Endiamantado, siempre volado”, translates roughly to “Always stoned, diamond-encrusted”. This is Cano flaunting his wealth and indulgence – ‘diamond-encrusted’ as a reference to his lavish jewelry, and ‘always stoned,’ a nod to his weed-smoking habits. He also mentions “Mucho más dinero de lo ganado” signifying he spends more than he earns, straight up boasting about his high-rolling lifestyle.

Cano then employs a bit of introspection with “Muchos me han fallado” – many have failed him, suggesting that his rise to the top hasn’t been without its betrayals. Still, he’s not letting it bog him down, instead focusing on his cash flow and diamond-clad status.


“La party en el carro tronando corridos brindando con Dry Rosé” tells us he’s partying in a car while blasting ‘corridos’ – traditional Mexican folk ballads, and toasting with Dry Rosé. A celebration of his cultural roots juxtaposed with global luxury, an encapsulation of modern pop culture fusion.

He drops a reference to Lil Wayne with “Ando todo tatuado como Lil Wayne”, emphasizing his shared affinity for tattoos with the American rapper, and edging the imagery towards global pop culture. Iconic Argentine singer Carlos Gardel is not left out as Cano feels like Gardel while on the famous Buenos Aires avenue, ‘the 9 de Julio’.

The verse, “me compré mi primer Cayenne, Y fue a los 16” he steps into storytelling mode, reminiscing about buying his first Porsche Cayenne at age 16, giving listeners a glimpse into his early encounters with wealth and probable sources of his daring, hustler mentality.

In the chorus, the phrase “El jesucristo en el pecho, innecesario, Pero lo traigo endiamantado,” he mentions having a diamond-encrusted Jesus Christ on his chest – a classic image combining wealth, religion, and status, asserting his earned right to luxury.

To sum up, “Natanael Cano: Bzrp Music Sessions, Vol. 59” is a braggadocious narrative of Cano’s rise from hardship to prosperity. It’s a heady mix of cultural pride, unabashed self-indulgence, and a streetwise world-view, a true encapsulation of what contemporary pop’s attitudes can be.

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