The ‘Peso Pluma’ phenomenon can be unraveled in all its complexity just by paying a little attention to his dress. The white leather jacket with Louis Vuitton embroidery that he chose for his presentation on Jimmy Fallon’s show, his peculiar taste for baggy sports shorts or expensive brands like Balenciaga and Burberry, the bizarre Spiderman-shaped jewels from Mexican jewelry Baglio, his love for the Icon caps, from the DSquareD2 brand, or the Alicia Keys collection for Moncler, speak quietly of the multiplicity of elements that inhabit him and survive in his lying corridos.
Each of these choices is evidence, for example, of his own life paths: before music, his passion for sports. No one in the urban regional had worn shorts so hard on stage, but Peso Pluma, who was from the youth bases of las Chivas de Guadalajara, makes them a mandate.
His style also speaks of those underground connections that have always linked the African-American slums in the United States, the cradle of gangsta rap, with the Mexican immigrant populations, who always carried corridos in their baggage and whose immigration routes took them to those same neighborhoods. Just look at his head, one that disobeys the almost canonical mandate to sing corridos always protected by the good brim of a hat.
Despite the fact that many had transgressed the forms of the corrido in their sounds and their narratives, as Ariel Camacho did, for example, the aesthetic of the Texan boot and pitiado headband had remained intact. Everything changed, according to Professor MartÃn Mulligan, a doctor from the University of Missouri-Columbia, an expert in corridos and Mexican transnational culture, when groups like Herencia de Patrones appeared in Los Angeles, “a kind of gangsta rap, but with corridos.” . This aesthetic departure from the cowboy was consolidated with the fame of Natanael Cano, who exacerbated an urban aesthetic of tattoos, chains and sneakers.
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