Bad Bunny initiates a dynamic conversation around the issues affecting Puerto Rico
By SABRINA FIGUEROA — sfigueroaavila@ucdavis.edu
On Jan. 5, Bad Bunny released his sixth studio album, “DeBÍ TiRAR MáS FOToS.” While he sings about love and heartbreak in some songs, the album is ultimately a love letter to Puerto Rico: the land, the people and the culture. Because this is the objective of the album: There are some subtle — and some not-so-subtle — social and political commentaries made about the state of the island, considering its current occupation by the United States.
Bad Bunny fills the album with traditional Puerto Rican genres like plena, salsa, bomba and reggaeton, allowing for every generation of the island to be seen and connected with. Sara Delgado from Teen Vogue said it best in her article.
“‘DeBÍ TiRAR MáS FOToS’ is more than just an idyllic postcard,” the article reads. “It is also an act of activism and cultural reclamation.”
“DeBÍ TiRAR MáS FOToS” shows that music, media, history and the celebration of culture is an act of resistance. They are used to educate individuals about occupation, gentrification, mass tourism and the ostracization of local people. While all of these themes are present throughout the album, what stands out most was the short film that Bad Bunny released along with the project.
Titled the same as the album, the short film depicts an older, well-traveled Puerto Rican man who wishes he had taken more photos of Puerto Rico before it was occupied by the U.S. He goes to a cafe or restaurant and, while he is walking, Americans give him weird looks — as if he is the one who doesn’t belong there. The man wants to buy two food items, costing him $30, which he can’t pay for because the café doesn’t take cash. Eventually, a young man pays for the food, reassuring the man that Puerto Ricans are still there and always will be.
As much as it is a story of how we should try to capture and cherish good times, it’s also a story of how struggles are generational and how memory serves an important role in fighting those struggles. Memories and the act of remembering — whether it’s about the past, the people, food, culture or specific moments in time — haunts oppressors.
This album is especially timely in the context of the current U.S. political climate, given that Latinos are being painted as outcasts. During the height of the 2024 U.S. presidential election, Tony Hinchcliffe — who, ironically, is an uncomedic comedian — attempted to make a joke that Puerto Rico was a “floating piece of garbage.” At the same time, Donald Trump falsely claimed that immigrants from Haiti were eating dogs and cats. And, as you are reading this, ICE raids and mass deportations are occurring in many parts of the U.S., especially in sanctuary states.
Though the album’s main focus is Puerto Rico — deservingly so — the commentary transcends borders and language, hitting home for many other Latin American and Caribbean people. Though these countries all have unique cultures, Latin American and Caribbean countries have been victims of gentrification for a long time, so it’s easy to see why so many people have connected with Puerto Rico’s situation.
Fans of the album have shared their appreciation on social media through a popular TikTok trend, in which they post photos of their lost loved ones, their home countries or even childhood pets to the song “DtMF” — even non-Spanish speakers and non-Latinos have shown admiration for specific lyrics and songs. This album wholeheartedly reminds Latinos to stand their ground and make themselves unforgettable — we are still here and we always will be.
Written by: Sabrina Figueroa — sfigueroaavila@ucdavis.edu
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