Dani Mocanu – China Lyrics
[Strofa 1]
Am corupt femeile
Și-mi asum toatã vina
Și le-am mãrit procentele
Pentru export în China
Le pun douã nume false
Yaonbuchy și Cekuray
Gagici cu centura neagrã
La kung-fu și la parai
La kung-fu și la parai
[Pre-refren]
Hai cã am ajuns și-n China, nu credeam c-ajung aici
Româncele ia cu totu’, cã ãștia sunt cei mai mici
Intrã câte șase-șapte, zici cã-s boabe de orez
Dragoste pe interes sus pe Zidu’ Chinezesc
[Refren]
Mã numesc Ționpyng, Ționdes, țigan mafiot chinez
Am gagica cea mai tare, ochii mici și curu’ mare
Ționpyng, Ționdes, țigan mafiot chinez
Am gagica cea mai tare, ochii mici și curu’ mare
Ționpyng, Ționdes, țigan mafiot chinez
Ționpyng, Ționdes, țigan mafiot chinez
Am gagica cea mai tare, ochii mici și curu’ mare
[Strofa 2]
Am un cuplu la Beijing
Cu ei vreau sã facem swing
Vreau neapãrat sã-i ard
Sã ne dea PIN-u’ la card
(??) ne arãți bikini
Fac mascații harakiri
Cã n-au cum sã mã gãseascã
În mafia chinezeascã
În mafia chinezeascã
[Pre-refren]
Hai cã am ajuns și-n China, nu credeam c-ajung aici
Româncele ia cu totu’, cã ãștia sunt cei mai mici
Intrã câte șase-șapte, zici cã-s boabe de orez
Dragoste pe interes sus pe Zidu’ Chinezesc
[Refren]
Mã numesc Ționpyng, Ționdes, țigan mafiot chinez
Am gagica cea mai tare, ochii mici și curu’ mare
Ționpyng, Ționdes, țigan mafiot chinez
Am gagica cea mai tare, ochii mici și curu’ mare
Ționpyng, Ționdes, țigan mafiot chinez
Ționpyng, Ționdes, țigan mafiot chinez
Am gagica cea mai tare, ochii mici și curu’ mare
“China” by Dani Mocanu
🎵 Song Details
- Title: China
- Artist: Dani Mocanu
- Genre: Manele / Balkan pop-folk
- Language: Romanian (with invented “Chinese” names)
- Release Year: 2024
- Length: ~3:20
📝 Lyrics Breakdown & Meaning
[Strofa 1]
“Am corupt femeile / Și-mi asum toată vina”
“I’ve corrupted the women, and I take all the blame.”
- Interpretation: The singer boasts of seducing or “corrupting” women, accepting responsibility in a tongue‑in‑cheek manner.
“Și le-am mărit procentele / Pentru export în China”
“I raised their percentages [value] for export to China.”
- Interpretation: He treats women like commodities, inflating their “value” for sale abroad—here, China.
“Le pun două nume false / Yaonbuchy și Cekuray”
“I give them two false names: Yaonbuchy and Cekuray.”
- Interpretation: Mock “Chinese” names, underscoring the theme of trafficking and dehumanization.
“Găgici cu centura neagră / La kung-fu și la parai”
“Girls with a black belt in kung-fu and in money [‘parai’].”
- Interpretation: A hyperbolic image mixing martial arts prowess with wealth—further objectifying.
[Pre-refren]
“Hai că am ajuns și-n China, nu credeam c-ajung aici”
“Look, I’ve even made it to China—I never thought I’d get here.”
“Româncele ia cu totu’, că ăștia sunt cei mai mici”
“Romanian girls take everything, because these [Chinese men] are the smallest.”
“Intră câte șase-șapte, zici că-s boabe de orez”
“They come in six or seven, like grains of rice.”
“Dragoste pe interes sus pe Zidul Chinezesc”
“Love for profit, up on the Great Wall of China.”
- Interpretation: Brags of reaching China to exploit perceived “weakness” of local men and traffic multiple women at once.
[Refren / Chorus]
“Mă numesc Ționpyng, Ționdes, țigan mafiot chinez”
“My name is Tzionpyng, Tziondes, Gypsy-Chinese mafia boss.”
“Am gagica cea mai tare, ochii mici și curu’ mare”
“I’ve got the hottest chick, small eyes and a big ass.”
- Interpretation:
- Invented hybrid identity (“Gypsy-Chinese mafia boss”) mocks both Roma and Chinese stereotypes.
- The woman is reduced to physical traits (“small eyes,” “big butt”), reinforcing objectification and racial caricature.
[Strofa 2]
“Am un cuplu la Beijing / Cu ei vreau să facem swing”
“I’ve got a pair in Beijing—want to do a swing [deal] with them.”
“Vreau neapărat să-i ard / Să ne dea PIN-ul la card”
“I absolutely want to burn them [rob them], so they give us the card PIN.”
“Fac mascații harakiri / Că n-au cum să mă găsească”
“I’ll make the riot police commit harakiri—they can’t find me.”
- Interpretation:
- Plans robbery, including violent imagery (forcing police suicide).
- Continues the trafficking/mafia fantasy with explicit criminal intent.
🎯 Themes & Critical Perspective
- Human Trafficking Caricature:
- The lyrics depict women as exportable goods, reinforcing a dangerous, dehumanizing narrative.
- Racial & Cultural Stereotypes:
- Uses mock “Chinese” names, “small eyes,” and “rice” metaphors—perpetuating offensive stereotypes.
- “Gypsy-Chinese mafia” merges two marginalized groups into a caricature.
- Glorification of Crime & Violence:
- Open calls for robbery, harming police, and mafia power fantasies.
- Objectification of Women:
- Women are described by physical traits and economic “value,” stripping agency and humanity.
❓ Frequently Asked Questions
Q1: Is “China” meant to be satirical or literal?
The song’s hyperbole and absurd scenarios suggest a satirical intent, but the harmful stereotypes and crime glorification overshadow any comedic angle.
Q2: Are the “Chinese” references respectful?
No. The lyrics rely on demeaning stereotypes (small eyes, rice metaphors), mocking Chinese culture.
Q3: What genre is this?
It’s manele, a Balkan pop-folk style known for flamboyant themes of wealth, love, and crime—but here taken to an extreme.
Q4: How has the public reacted?
Many listeners find the song offensive for its racist, misogynistic, and criminal content; it has sparked controversy and calls for removal.
✅ Conclusion
“China” by Dani Mocanu is a controversial manele track that blends crime-fantasy, racial caricature, and objectification into a high‑energy anthem. While manele often celebrates ostentatious wealth and bravado, this song crosses into offensive territory by dehumanizing women and reinforcing harmful stereotypes about Chinese and Roma communities. Its glorification of trafficking and violence further undermines any artistic merit.
Listeners and critics largely condemn “China” for its insensitivity and harmful portrayals. It serves as a reminder that satire can quickly become offensive when it relies on racial mockery and exploitation of vulnerable groups.
When engaging with music, it’s important to critically evaluate content—celebrating artistry does not require ignoring ethical boundaries or the impact of stereotypes on real communities.
