What lingered beneath all of it was the question of language. Spanish became the stand-in for everything else. For foreignness, even when it wasn’t foreign. For threat, even when it was familiar. People said they wouldn’t enjoy a Bad Bunny Super Bowl because they couldn’t understand it, as if understanding has ever been a prerequisite for feeling rhythm, for responding to movement, for letting spectacle do its work. As if instrumental music had never moved anyone. As if opera houses weren’t full of people who don’t speak Italian.
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As the days passed, the arguments regarding the Bad Bunny Super Bowl began to feel inevitable rather than explosive, following a long pattern of cultural adjustment. Somewhere in that repetition, a quieter understanding emerged that this wasn’t about convincing everyone to like the music. It was about acknowledging that the country has already changed and that the league is simply catching up to a reality where Latin music generates over $1 billion in annual revenue in the U.S. alone.
(The Weeknd XO Starboy Limited Edition Crocs Clogs)Maybe that’s true too. But even if the choice was strategic, strategy doesn’t exist in a vacuum. The fact that the Bad Bunny Super Bowl generated such a reaction says more than any intent ever could. The fact that it became a headline at all felt embarrassing to some of us. A reminder of how fragile the idea of neutrality really is. There were historical reminders too. The first Super Bowl halftime after 9/11 was U2. No one complained about an un-American band then. Foreigners have played before. Black and brown people have played before. And yet suddenly a Latino man from a US territory is framed as un-American. The inconsistency is so obvious it almost feels insulting.
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