How did Bad Bunny pour it, eh, friends?

Understanding Bad Bunny’s musical context is no small challenge.

First, because, like the natives who received the first Spanish conquistadors, it will be easy to be noticed by waving a quincell of colors in front of your eyes.

And secondly, because I will convert you without knowing it, armed with the same process of cultural destruction you think you’re avoiding by defending Bad Bunny.

Bad Bunny is a quintessential European product that could not exist in the United States, but would have problems in Latin America over 500 years in the ocean.

Bad Bunny is, ya desde su nombre, a caricature of the Latin “homologable”.

Because Bad Bunny’s music is urban, not popular, which is not the same thing, and includes reggae, dancehall, and rap, not salsa, vallenato, rancheras, or any other 100% Latin genre.

Mucho menos del popular Hispanic American folklore.

No problem so to speak. Musical hybrids exist and music evolves as a result of contemporary influences. But the problem is that Bad Bunny is being marketed as a spokesperson for the expressions of Latin culture in the face of the Anglo-Saxon cultural monoculture.

And this is a role that others will look at.

Reggaetón and Latin trap, the foundations of Bad Bunny’s music, are an evolution of the rhythms and structures of reggae and Jamaican dancehall, American hip hop and Dominican dembow.

These are the sources of how Bad Bunny was born.

As Bad Bunny expands globally, thanks in large part to the paper key Rafael Jiménez Dan (former Chavista Deputy Minister) In the creation of the Rimas Entertainment sector, reggaetón was deeply shaped by the logic of European hip hop.

And yes, the Bad Bunny aesthetic, identical to that of any other American hip-hop or trap artist and indistinguishable from his Drake, Future or Travis Scottso much so that you’ve seen Zara.

In Bad Bunny, the label “Latin music” ultimately functions more as a commercial category intended for the Grammy Awards than as an accurate description of her musical influences, which is primarily black music in common.

And it is not by chance that reggaetón was dominated in its beginnings by Afro-Latin figures (Tego Calderón, Ivy Queen, El General) to be in the hands of white artists today as J Balvin, MalumaBad Bunny or your own Rosalia.

It is this process of blanching and “moderating” reggaeton artists to make them more palatable to the eyes of the progressive Ivy League elites that Bad Bunny throws the parrot out of.

Bad Bunny is a puertorriqueno multi-millionaire who brings the Latin streak of his music along with the typical hypersexualization of black American hip hop that makes white people feel a little “sexy” and “perverted” but in a controlled environment, and enriches it all with the globalist bait that is necessary for the English western public.

In the article Erasing Blackness in Reggaeton (“the current of darkness in reggaetón”) is explained by the transformation of Bad Bunny into a spokesperson for the genre as part of this process: the industry prefers to sell globally, to a white tribune or “white acceptable” that can digest originally black and barrio music.

And you just have to listen to such a song I like it to understand Bad Bunny takes a vintage sample (I like it this way) and add them at a pace adjusted to taste mainstream teenager.

Presence cardi b and thanks to the Atlantic/Warner machinery, this theme works less as a product of the Caribbean scene and more as a “global urban pop single” where the “Latin” is decorated stone-card, animated expression cases in a 100% state-of-the-art format.

The only way to turn a product into a short story according to the taste of the current ideological fashion is to convince the world public that this plastic, capitalist product, once designed by algorithm, presupposes a cultural revolution that will alleviate the era of fascism.

Definitely nothing we haven’t seen before.

Because all genres of music are born among men, they become popular among snobs and acabans, adopted by the large indistinguishable masses when the industry sells them in papilla format.

But it’s important to clearly distinguish between these three phases so they don’t sell you motorcycles. Y Bad Bunny is the third stage, not the first.

Ayer said in EL ESPAÑOL that the Bad Bunny show in the middle of the Super Bowl felt like an involuntary result of ultra-dereche. I say this mean bro, mean seriously, because ultraderecha the real Bad Bunny cares about higa. However, to aim to eradicate Latino popular culture, Bad Bunny would be one of its main acts. To destroy something, can you dilute it, render it harmless, and sell it as a “product”?

Here’s how to get into the political conversation, which this video explains very clearly:

Paradoxically, he has more to offer Donald Trump to preserve true Latin culture by criticizing Bad Bunny, that anyone who defines them.

But yes, if the goal is to achieve a unique musical hybrid that has all the same qualities, creativity, talent and personality, at the right point of the minimum common denominator of the taste of the global indifferent masses, in the middle of all previously existing musical genres, especially Bad Bunny es la leche.

Long life for full mind and mass products.