Correa literally translates to "belt" or "strap." It's an everyday word, but its usage in this song is quite striking and unexpected.
The lyric "Y yo con un peine que parece una correa" (And I with a comb that looks like a belt) creates a vivid and somewhat surreal image. This unusual comparison makes the word memorable and piques curiosity about the context and the artist's unique style, making it an enticing word for learners.
MA MA MÁ is Dominican dembow at its bluntest. Huan62 spends the whole track on one hookup, in street Spanish that drops nearly every final s, and the chorus is explicit from the first word. The delivery is flat and deadpan rather than heated, which is what makes the boasting land as comedy instead of bravado.
The small details are the good part. "Ella se pone faldita pa' que la vea" [She puts on a little skirt so I can see her] and "Ella me tira como en eso de las cinco" [She hits me up around five] read more like a standing appointment than a romance. Then the flex arrives: "Amiri to' el tiempo, designer to' el día" [Amiri all the time, designer all day], and by the closing verse it is "A ella le gusta los diamantes" [She likes diamonds] and "Y más si lo tienen los gangster'" [And even more if the gangsters have them]. The last line, "Le dije contigo no era como antes" [I told her with you it wasn't like before], is the one place he admits anything shifted.