In this essay, I analyze something that many artists do not often do—use their music as a political tool to raise awareness about the struggles of their homeland or society. This is exactly what Bad Bunny does. Bad Bunny uses his music to speak out about the struggles happening in Puerto Rico, especially as the island continues to experience colonialism under the United States. While some people might only hear the catchy beats and rhythm of his songs, I argue that tracks like “El Apagón,” “Una Velita,” and “Lo Que Le Pasó a Hawaii” go far beyond entertainment. These songs highlight real social issues such as corruption, natural disasters, cultural loss, and harmful colonial policies that affect Puerto Rico today. By analyzing these lyrics and connecting them to scholarly articles, I show how Bad Bunny is not just a successful artist but also a political voice for the Puerto Rican community. His music brings global attention to the island’s struggles and inspires listeners—especially Latinos—to stay informed, spread awareness, and speak out. As an Ecuadorian, I deeply relate to the cultural pride and political resilience shown in his music, and I know many other Latinos do as well.
Listening Beyond the Rhythm: Bad Bunny’s Political Voice for Puerto Rico
Music is involved in our daily lives; you can listen to music basically anywhere — at
work, during commutes, or simply, like in New York City, passing cars that are blasting
high-volume music through their speakers. Yet there is a clear difference between hearing music
and listening to music. Hearing can simply be you capturing the rhythms and the beats, while
listening involves more — capturing the essence of the song, meaning the lyrics. With listening,
you’re able to analyze lyrics, think about their meanings, and consider if they have a deeper
message.
Capturing this difference is really important for what I’m going to be talking about today:
Bad Bunny’s work, who is one of the most influential artists of today’s decade. While we know
him for his catchy beats and, of course, his global success, let’s not forget that his music goes
beyond entertainment and beats. Bad Bunny frequently incorporates political messages into his
lyrics. He addresses issues such as colonialism, cultural identity, corruption, and natural
disasters.
This paper explores the impact of Bad Bunny’s music and how it is used as a form of political
resilience, particularly focusing on how his lyrics bring attention to the lived experiences of
Puerto Ricans in this decade — and even past decades — under United States colonialism.
Through this analysis that I will be making, I invite you to think about these questions while
reading this paper: What is Bad Bunny really telling listeners, and why does it matter?
Bad Bunny breaking records with mostly his album Un Verano Sin Ti (English meaning A
Summer Without You) has broken records and was one of the most streamed albums during the
year 2023. Despite this, his album had some hidden gems, and one of the songs that stuck out
was El Apagón (in English meaning The Blackout). It had a very powerful impact—not only the
fact that it had an upbeat, which was very danceable, gives party vibes, but there’s more to it.
The Blackout meant that there was constant power shortages that affected Puerto Rico for
several years due to Hurricane Maria. In this article, “‘Esta es mi tierra/Esta soy yo’: Teaching
US colonialism and Puerto Rican resistance through Bad Bunny” by Vanessa Díaz and Petra R.
Rivera-Rideau, states that but when he uses his music to raise an awareness about the lived
experiences in Puerto Rico under colonialism.
The song specifically had a big impact due to its lyrics stating: yo no quiero ir de aquí
que se vayan ellos esta es mi playa este mi sol esta es mi tierra esta soy yo, stating the real
problem in Puerto Rico about colonialism—that foreigners are coming in, trying to take Puerto
Ricans’ land away from them, making them try to leave their homes and their own land, and
where they were raised at and have so much experiences and memories. Now they feel like it’s
being taken away from them.
Just the slight political statement that Bad Bunny does just by writing these types of
lyrics, stating real issues in Puerto Rico to the whole world—this impact. So what is this
specifically? Well, El Apagón has a music video that is 22 minutes, called Aquí Vive Gente, and
according to “‘Esta es mi tierra/Esta soy yo’”, the video educates people on the effects of
policies like the Act 22, in where wealthy foreigners can move to Puerto Rico tax-free, which
can, over time, push Puerto Ricans out of there home over the process.
So, what is the background of this? Well, this brings us to the topic of colonialism. If you
don’t know what colonialism is, it’s basically when foreigners take over another
country—seizing their homes, land, natural resources, and more. This is what’s happening in
Puerto Rico, which is why Bad Bunny is trying to raise awareness and spread a political message
about the issue.
But along with colonialism, there’s also corruption, something we’ve seen in many other
countries as well. To get more informed on this topic, I chose an article that explores how
colonialism blames Puerto Rico for its own corruption. The article, written by Cristalís Capielo
Rosario, Hector Y. Adames, and Nancy J. Muro-Rodríguez, was published in the Centro Journal
(Summer 2022). It talks about how colonial powers justify their control by labeling Puerto Rico
as inherently corrupt. The authors argue that this label justifies increased oversight and control
by the U.S., portraying Puerto Ricans as incapable of self-governance and positioning the U.S. as
a necessary overseer.
I find this incredibly relatable to many Latin American countries, especially Ecuador. As
an Ecuadorian, I’ve definitely seen the media and people from other countries try to make
Ecuador seem incapable of self-government, just to make it easier for foreign powers to step in,
invest, and profit. This often leads to more corruption—just like in Puerto Rico.
Later in the article, the authors mention how corruption can also emerge from within, as
local government officials in Puerto Rico sometimes cooperate with U.S. interests to maintain
their power and access resources. Although Puerto Rico is a U.S. territory, it’s not a state. This
complicated status gives the U.S. space to step in and exert control in ways that echo
colonialism. As mentioned before, this creates disturbing levels of corruption between U.S. and
Puerto Rican officials. It’s clear that some of these people don’t really care about the long-term
consequences or the impact their actions have on Puerto Ricans.
The people of Puerto Rico have spent their lives building their homes, raising their
families, and creating strong communities. But now, many are being forced out by outsiders from
the U.S. mainland who come in, buy up land, and take advantage of tax breaks. Meanwhile,
Puerto Ricans are left struggling.And if that wasn’t enough, they’ve also had to deal with devastating natural disasters likeHurricane Maria. In the article “Investigating the Impact of Hurricane Maria on an Ongoing Birth Cohort in Puerto Rico” by Deborah J. Watkins and others, the authors explain how Maria
made an already bad situation even worse. After the hurricane, millions of Puerto Ricans were
left without power, clean water, or even a safe place to live. Some lost their homes completely
and had no choice but to leave everything behind.
The article also talks about how public health suffered, especially for vulnerable groups
like pregnant women and young kids. Even before Maria, Puerto Rico’s healthcare system was
weaker than the U.S. mainland’s — but after the hurricane, it collapsed even more. Mental health
issues skyrocketed, and getting medical care became even harder. There’s a study mentioned in
the article that tracks the long-term effects of the hurricane, helping us understand just how
deeply Maria changed life in Puerto Rico.
But how does this connect to Bad Bunny? Well, as I mentioned, Bad Bunny makes
political statements in his songs. One of them is “El Apagón”, meaning “The Blackout,” where
he directly states that Puerto Rico is “unplugged.” He points out issues like the failing
infrastructure and the ongoing struggle of not having consistent electricity. In the lyrics, he
emphasizes this by saying, “Maldita sea, otro apagón,” meaning “damn it, another blackout,”
making it clear that Puerto Rico is still facing this problem. He sings about his homeland, stating
that it’s the land he comes from and describing the impact of these blackouts on the lives of
Puerto Ricans.
Bad Bunny also tackles the issue of colonialism in his lyrics. For example, he says,
“Ahora todos quieren ser latinos, no, pero les falta sazón, batería y reggaetón,” which suggests
that colonialism has reached a point where foreigners are not only taking over the land but also
adopting Latin culture — a culture that isn’t originally theirs. He makes a point that these people
are not just taking resources and territory, but they’re also appropriating a culture that they don’t
understand or respect.
This is something we see not only in Puerto Rico but in the U.S. and around the world,
where cultures are being taken and adapted in ways that aren’t appropriate. While it’s okay for
cultures to be appreciated and adopted correctly, I believe as a Latina and Ecuadorian, seeing my
culture being interpreted and taken by outsiders without respect would anger me, and I
completely understand where Bad Bunny is coming from.
He continues addressing colonialism and how foreigners are taking Puerto Rican
resources that are crucial to the island’s people. He sings, “Yo no me quiero ir de aquí, no me
quiero ir aquí, que se vayan ellos. Lo que me pertenece a mí, se lo quedan ellos, que se vayan
ellos. Esta es mi playa, este es mi sol, esta es mi tierra, esta soy yo,” which means that beyond
just culture, they’re taking Puerto Rico’s territory — the beaches, the land. But these lyrics serve
as a metaphor because, as I analyze in the articles, colonialism goes far beyond taking people’s
homes. This has been happening for decades in Puerto Rico, and probably in other places around
the world. But Bad Bunny has been brave enough to emphasize this to the world. Even I didn’t
know this was happening until I heard Bad Bunny’s song.
Bad Bunny’s music educates us, urging us to raise awareness, protest, and speak up about the
situation.
Another song that emphasizes this is from his recent album Debí tirar más fotos. This
album gives us reggaeton bangers but also becomes more personal, speaking on the real issues
Puerto Ricans face, especially the topic of colonialism. One of his well-known tracks, “Lo Que
Le Pasó a Hawaii,” addresses how Puerto Rico is being overtaken by foreigners. He talks about
how colonialism pushes out Puerto Ricans for personal gain, and in the song, he warns against
Puerto Rico becoming like Hawaii — a metaphor for a place whose culture and resources were
taken by outsiders.
Hawaii, now a U.S. state, became so after its culture and land were appropriated by the
U.S. — and Bad Bunny doesn’t want Puerto Rico to face the same fate. This song is important
because it also emphasizes the deep traditions and culture of Puerto Rico, encouraging listeners
worldwide to appreciate its culture even more. As an Ecuadorian, I may not be Puerto Rican, but
I can understand the struggles Puerto Ricans face, and Bad Bunny’s music makes me feel
connected to the situation. It brings me closer to understanding what’s happening in Puerto Rico,
which is also relevant to my own country.
Lastly, I’ll mention “Una Velita.” This song was released before his latest album and
celebrates the anniversary of Hurricane Maria. But it goes deeper than just talking about the
hurricane; it reflects on its effects and how it impacted Puerto Ricans individually. Bad Bunny
gives us a sense of what it was like during the hurricane — particularly the elderly, some of
whom were left alone and needed help. He creates a vivid picture of the storm, the rain pouring
down in the streets of Puerto Rico. While this song isn’t meant to be a dance hit, it serves as an
educational piece, meant to remind us of the struggle Puerto Ricans faced.
Despite these challenges, Bad Bunny shows that Puerto Ricans have confronted these
hardships and come out stronger. He isn’t afraid to embrace his Puerto Rican identity, often
emphasizing his roots and celebrating his culture in his music. His songs help us understand the
Puerto Rican point of view.
So, how is this all impactful, and why haven’t we seen this before?
In the article ‘Esta es mi tierra/Esta soy yo’: Teaching US colonialism and Puerto Rican
resistance through Bad Bunny by Vanessa Díaz and Petra R. Rivera-Rideau, it’s discussed how
Bad Bunny’s influence has led to his lyrics being studied around the world. The article mentions
how students from various countries are analyzing his lyrics, which aren’t just poetry, but
political statements that highlight Puerto Rico’s issues.
Now, entire college courses are dedicated to Bad Bunny’s career. I believe this is a huge
win because his music not only educates people about Puerto Rican culture and issues but also
raises awareness about the struggles in Puerto Rico. This knowledge is spreading, helping future
generations understand the political and social context of Puerto Rico’s fight for independence.
Listeners, even those who don’t understand Spanish, are taking the time to analyze the
lyrics and learn about Puerto Rico’s situation. They may be moved to take action, reach out to
influential figures, and work toward finding solutions for Puerto Rico’s problems. As a listener,
I’ve also been more educated about Puerto Rico’s issues, and I’ve made an effort to share that
knowledge with others.
Bad Bunny’s influence could also help politically. With his massive global following, a
figure like him speaking out on these issues may push public officials to take action and serve
Puerto Ricans rather than allowing outsiders to take over the island. Bad Bunny has already been
involved in encouraging voting, protesting, and helping Puerto Rico in its time of need.
Bad Bunny is more than just a musical artist. His music is a powerful tool for raising
awareness about Puerto Rican issues, and through his global influence, he’s able to speak on
behalf of his people, urging change. His songs are political statements, but they’re also art that
speaks volumes about the current struggles in Puerto Rico.
Bad Bunny’s music is not just for entertainment or for it to be danceable; it’s a form of
political resilience, a political statement, and even cultural pride toward his homeland, Puerto
Rico. Through many of his biggest hits like El Apagón, Una Velita, and Lo Que Le Pasó a
Hawaii, he brings global attention to the real struggles that Puerto Ricans face today — from
colonialism and corruption to, due to colonialism, cultural loss and natural disasters. His work
can inspire listeners to not only dance and sing to his lyrics but also think, question, and take
action on these issues happening in Puerto Rico. As an Ecuadorian, Hispanic, and Latina myself,
I see how important it is for artists like Bad Bunny to use their platforms to educate people and
empower their communities. Their voices are really strong, and if used right, they can make real
change — and Bad Bunny has made changes, as many Puerto Rican people would tell you. Bad
Bunny’s music reminds us that behind every reggaetón catchy beat, there is always a powerful
message — and sometimes, it’s good to listen to lyrics closely.
Bibliography
Díaz, Vanessa, and Petra Rivera-Rideau. ““Esta es mi tierra/Esta soy yo”: Teaching US
Colonialism and Puerto Rican Resistance through Bad Bunny.” Latino Studies, vol. 22,
no. 1, 2024, pp. 117–125. Springer, https://doi.org/10.1057/s41276-024-00489-9.
Accessed 29 Apr. 2025.
Spagat, Michael, and Stijn van Weezel. “Excess Deaths and Hurricane María.” Politics and
Society, vol. 48, no. 4, 2020, pp. 519–544. JSTOR,
https://www.jstor.org/stable/45379117. Accessed 29 Apr. 2025. (Excess deaths and
Hurricane María)
Rosario, Cristalis Capielo, et al. “Exploring How Colonialism Blames Puerto Rico for Its
Corruption.” Centro Journal, vol. 34, no. 2, 2022, pp. 75–94.
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