MALA SANTA by Becky G Lyrics Meaning – Unraveling the Dualities of Self
Lyrics
Que no le temo a lo malo (A veces soy candela)
No te confundas que no soy nada de buena
En mis ojos ves maldad
No soy ni mala ni santa
Tráeme alcohol pa’ que se moje la garganta
Una como yo a ti te hace falta
Calladita pero a veces soy mala
Empiezo y no quiero parar
No soy ni mala ni santa
Tráeme alcohol pa’ que se moje la garganta
Una como yo a ti te hace falta
Calladita pero a veces soy mala
Empiezo y no quiero parar
No soy ni mala ni santa
Me pongo el boom-boom como un sismo
Par de trago’ y entro en erotismo
No digo na’ pero quiero lo mismo
Y cuando yo bailo así
Me agarra’ ‘e la cintura
Me sube la calentura
Veo su cuerpo cómo suda
Y eso que todavía no me ha visto desnuda en su cama
Estoy pa’ perder la cabeza
No me hablen de amor
Eso a mí no me interesa
Te gusta el juego, yo soy la que empieza
Pero recuerda que
No soy ni mala ni santa
Tráeme alcohol pa’ que se moje la garganta
Una como yo a ti te hace falta
Calladita pero a veces soy mala
Empiezo y no quiero parar
No soy ni mala ni santa
Quiero un shot de tequila
Rumba hasta el otro día
Soltera, así me quería
Que yo daba fuego decían
Y que esto no pare
Que a penas comienza
Apaguen celulare’
Estamo’ pa’ maldade’
Y que esto no pare
Que a penas comienza
Apaguen celulare’
Estamo’ pa’ maldade’
(Santa)
(Tráeme alcohol pa’ que se moje la garganta)
(Una como yo a ti te hace falta)
(Calladita pero a veces soy mala)
(Empiezo y no quiero parar)
(No soy ni mala ni santa)
At the heart of pop culture’s vivacious beats and irresistible hooks often lies a deeper resonance that echoes through the narratives of our lives. Becky G’s ‘MALA SANTA’ is no exception, as it pulsates with the dichotomous nature of identity, exploring the multitudes each person holds within. The track is more than a Latin-infused anthem; it’s a bold declaration of autonomy and self-acceptance.
Outlined by the smoky back-beat and the infectious rhythm, ‘MALA SANTA’ has Becky G peeling back layers of societal expectations to reveal the complex individual beneath. The song is a vibrant tapestry of rebellion against the Madonna-whore complex, celebrating the freedom to be both ‘mala’ (bad) and ‘santa’ (saintly) without yielding to reductive labels.
The Madonna-Whore Duality Dissected
At the surface, ‘MALA SANTA’ thrives on the contrasting elements of sanctity and sin. The very title juxtaposes the notions of holiness and transgression, challenging listeners to delve into the age-old dichotomy. Becky G refuses to be pigeonholed into one-dimensional interpretations of femininity, pushing against the confines of what society traditionally celebrates or condemns.
By claiming she is neither ‘mala’ nor ‘santa,’ Becky G is asserting that women can embody every shade of their personality, not just the extremes often emphasized in cultural archetypes. Her declaration resounds as an anthem for those who have felt pressured to fit within binary constraints, inviting a proactive dismantling of outdated tropes.
A Coded Call for Uninhibited Expression
The liberating essence of ‘MALA SANTA’ lies in its call to self-expression. As Becky G dances through the track, her words become an ode to autonomy, to the inherent right to move, act, and feel freely without external imposition. The song thrives upon the idea that to be your true self, often, entails a certain level of defiance.
In a society where the female form and its expression are often objectified or censured, the act of dancing ‘como un sismo’ – like an earthquake – becomes a powerful metaphor for reclaiming the body, and by extension, the identity that society tries to mold or suppress.
Seduction and Autonomy – The Hidden Narrative
Beneath the alluring surface of ‘MALA SANTA,’ lies a deeper narrative on sexual autonomy. Becky G’s lyrics weave a complex dynamic of seduction where the allure is on her own terms. She is in control of this dance, the narrative, and the subsequent heat, ‘calentura,’ that rises with the rhythm of her own movements.
This narrative is not about submission to another’s desires but about the empowerment and liberation that come with owning one’s sexuality. ‘Maldad’ in her eyes could be interpreted as the power and confidence derived from acknowledging and utilizing one’s sexual agency, challenging the listener to redefine perspectives on desire and control.
Memorable Lines That Exude Confidence and Defiance
‘No me hablen de amor, Eso a mí no me interesa’ epitomizes the song’s embrace of independence over romantic entanglements. The potent dismissal of love as a priority speaks volumes of a modern perspective that values self-fulfillment and pleasure over socially constructed end goals such as relationships or emotional bonds.
‘Te gusta el juego, yo soy la que empieza,’ is another compelling line that puts Becky G at the helm. She initiates the game – be it of seduction, expression, or confrontation – and in doing so, she seizes the narrative power typically reserved for male counterparts in the musical conversation surrounding desire and romantic pursuit.
The Unstoppable Force of Feminine Liberation
‘MALA SANTA’ is not just a tune that you can dance to; it is a rebellious war cry, a potent serum for the soul that seeks to break free from constraint. Becky G stands as the figurehead of a ship cutting through waves of judgment, leading a movement where to be both ‘mala’ and ‘santa’ is to be whole, unapologetically complex, and authentically human.
The resonating call of ‘Que a penas comienza, apaguen celulares, Estamo’ pa’ maldades,’ is a clear signal to disconnect from external chatter, societal pressures, and to begin a personal journey of hedonistic self-realization. It’s a dive into celebration, where the only rule is to live in the moment, forsaking labels and embracing every facet of self.
