MUXAXA

MUXAXA is a defiant anthem of sexual liberation and social dominance that functions as a masterclass in reclaiming stigmatized language. At its core, the song is a celebration of the "Popola" lifestyle—a term Tokischa uses to describe a philosophy of sexual freedom, authenticity, and female power. The lyrics are a conversation between Tokischa and her collaborator, La Mas Doll, where they aggressively deconstruct traditional insults used against women in the Dominican Republic.

The central theme is the subversion of shame. By labeling herself a "trola" (often meaning a woman who uses men for money or is promiscuous) and "maricona" (a slur for queer individuals), Tokischa neutralizes the venom of these words. Instead of denials, she wears them as armor, equating them with being a "millionaire" and a "boss." This suggests that the very behaviors society shames women for—sexual agency, transactional relationships, and queerness—are the sources of her success and independence.

The song also operates as a diss track aimed at women who uphold patriarchal standards or fail to own their sexuality. The insults directed at the "rivals" (calling them "broken," "dirty," or bad at sex) reinforce a hierarchy where the "bad bitch" reigns supreme. It distinguishes between those who are "quedá" (stuck, irrelevant, or unskilled) and those who are thriving. Implicitly, the song criticizes the hypocrisy of societal judgment, suggesting that everyone is playing the same game, but only the fearless (Tokischa) are winning it.

The song opens with an aggressive and proud declaration of identity, where the narrator immediately reclaims a series of derogatory slurs as badges of honor. She introduces herself using terms typically meant to shame women for their sexuality or behavior—calling herself a 'trola' (promiscuous woman/trickster), a 'bitch,' and 'queer'—flipping the script to present these traits as sources of power and wealth. There is a specific appreciation for other women's bodies, particularly those who are 'busty,' signaling a celebration of female forms.

The narrative then shifts to a scathing critique of a rival group of women. The lyrics paint a grotesque picture of these adversaries, describing them as 'broken,' 'wide,' and 'disgusting.' They are dismissed as 'dirty cockroaches' with physical ailments, portrayed as financially and sexually incompetent. The narrator mocks them for being unable to please their partners or secure financial gain, suggesting that their romantic failures are due to a lack of sexual skill. This section serves as a sharp contrast to the narrator's own proclaimed mastery and success.

In the verses that follow, the focus returns to self-aggrandizement. The narrator boasts about her natural physical assets, claiming a 'big ass' without the need for silicone, and flaunts her status as a millionaire. She positions herself as a 'boss' (patrona) to whom others should submit. There is a raw, transactional view of sexuality presented, where she demands subservience. She contrasts her own surgical enhancements—admitting to having work done on her buttocks and breasts while leaving her genitalia natural—against the 'botched' or 'wide' bodies of her rivals, advising them to get surgery in secret to fix their flaws.

The song concludes with a threat of violence and dominance. The narrator and her crew are described as being armed and ready to defend their status, warning anyone who crosses them that they will face lethal consequences. The lyrics dismiss the rivals as drug-addled and irrelevant, reinforcing that the narrator and her collaborator are the true heavyweights in this social hierarchy. The final refrain reiterates the initial list of reclaimed slurs, cementing the song's message of fearless, aggressive self-definition.

Released on August 29, 2025, "MUXAXA" marks a pivotal moment in Tokischa's Popola Super Saiyan era. The track features fellow Dominican artist La Mas Doll and was produced by Tolo Desaparecelo, a producer known for crafting hard-hitting Dembow rhythms. The collaboration was born out of a desire to create a track that felt like an unfiltered, private conversation between two best friends—"intimate, daring, and raw."

The song's rollout was strategic and heavily reliant on viral marketing. Tokischa and La Mas Doll first teased the track via Instagram snippets from the recording studio, building anticipation among their fanbase. The promotional campaign culminated in a surprise appearance at the Bronx Dominican Day Parade in New York City. During the parade, the duo previewed the track to the crowds, creating a frenzy that was captured on camera. These authentic, high-energy scenes of the artists dancing in the streets of Midtown Manhattan and the Bronx were subsequently used as the official music video, grounding the song in the reality of the Dominican diaspora and street culture.

The track serves as a bridge to Tokischa's debut album, showcasing her evolution from a local sensation to a global icon who remains deeply connected to her dembow roots. The timing of the release, following her viral hit "Miami+Celos," capitalized on her massive momentum on platforms like TikTok.

The song utilizes a straightforward AAAA or AABB rhyme scheme typical of Dembow, where the end rhymes are often mono-rhymes to maintain momentum. For example, the hook relies heavily on the rhyme sound "-ona" (cabrona, culona, maricona, tetona, lambona, mamona). This assonance creates a hypnotic, chanting effect that makes the chorus instantly memorable and easy to shout in a club setting.

Rhythmically, the vocals are syncopated against the steady 4/4 dembow loop. The delivery is rapid-fire, matching the high BPM (beats per minute) of the genre. The pacing is relentless; there are few pauses for breath, mirroring the frantic energy of the street or a peak-hour party. The interplay between the rhythmic lyrics and the beat creates a sense of urgency and aggression, driving the song's rebellious "in-your-face" emotional tone.

Musical: The track is built on a quintessential Dembow beat—fast-paced, repetitive, and percussion-heavy, designed to induce immediate movement (perreo). The production by Tolo Desaparecelo is stripped back, allowing the vocals to take center stage, which is characteristic of the "raw" Dembow style.

Literary/Lyrical: The defining technique of the song is the Call-and-Response structure. Tokischa and La Mas Doll trade verses and interjections seamlessly, mimicking the rapid-fire cadence of gossip or a heated argument. They employ reclamation (re-appropriating slurs) and hyperbole (exaggerating their wealth and sexual prowess) to build a larger-than-life persona. The delivery is aggressive and rhythmic, often sacrificing melody for percussive flow, a technique known as "chanteo." The use of onomatopoeia and ad-libs (like "Ah") punctuates the rhythm, acting as percussive instruments themselves.

"MUXAXA" reinforces Tokischa's position as a disruptor in the Latin urban scene. Upon its release in 2025, it went viral on platforms like TikTok, where users adopted its unapologetic lyrics for transformation videos and skits about confidence. The song is significant for its explicit embrace of queer terminology ("maricona") within the historically machista genre of Dembow, further cementing Tokischa as an icon for the LGBTQ+ community in the Caribbean.

The music video's setting at the Dominican Day Parade in the Bronx highlights the song's deep connection to the Dominican diaspora, celebrating the culture's export to New York City. It stands as a modern anthem of Dominicanidad that refuses to be respectable or sanitized, influencing a wave of female artists who prioritize raw authenticity over polished pop aesthetics.

The lyrics of "MUXAXA" are dense with Dominican slang and metaphors that revolve around the body, status, and warfare.

• Muxaxa (The Title): A stylization of "Muchacha" (girl). While typically a neutral or infantilizing term, here it is used ironically to address grown women, belittling the rivals as immature or beneath the narrator's league.
• "Trola" and "Pistola": The song frequently pairs the identity of the trola (a promiscuous/cunning woman) with a pistola (gun). This metaphorical linkage suggests that her sexuality is a weapon. She is not a passive object of desire but an armed combatant in the social jungle.
• "Sin Silicona" vs. "Opérate": Tokischa contrasts her "natural" assets (specifically her "big ass") with the "wide" or "botched" bodies of her haters. This serves as a metaphor for authenticity versus artificiality. Even though she admits to surgery (breasts), she claims her "toto" (genitalia) is still "tight" and natural, symbolizing that her core essence remains untouched and valuable.
• "Galleta" vs. "Tiro": She claims, "I give shots, I don't give cookies (slaps)." This metaphor elevates the stakes of her conflict; she doesn't engage in petty schoolyard fights (slaps), she engages in lethal, definitive action (shots), symbolizing her high status and seriousness.

"Soy una trola, cabrona, culona...": This list of attributes serves as the song's central mantra. Its repetition reinforces the theme of radical self-acceptance. By listing these terms essentially as a resume, Tokischa neutralizes their negative power.

"'Tán quedá'": This phrase (meaning "they are stuck" or "left behind") recurs as the primary insult against the rivals. It acts as a motif of stagnation versus progress. While Tokischa moves forward (financially and globally), her haters are "quedá," unable to evolve or succeed.

"Tokischa, Tokischa... Dolly, Tokischa": The constant repetition of their names acts as a sonic signature or watermark, asserting ownership over the track and the lifestyle it promotes. It creates a brand identity within the song itself.