A year after the release of ‘Un Verano Sin Ti,’ sanbenito the idol is much more easy to digest than Bad Bunny the prophet.
last summer. Her outfit, inspired by said vibe, was giving “carefree” and “bad b*tch.” The tour spontaneously inspired a-uniform of sorts: sunset-colored two piece sets, butterfly hair clips, and intricate eye makeup fit for the halls of-themed nights sprang up at bars and clubs throughout Manhattan and Brooklyn.
Fast forward to May 2023 — a year after the album’s release — and my Instagram feed continues to barrage me with advertisements for t-shirts featuring variations of the crying one-eyed heart logo that’s come to be associated with, stills from his music videos, and the infamous “SINGING IN NON-ENGLISH” screenshot from his Grammy Awards performance.
Bad Bunny certainly has become a master of the spectacle. Whether for his impromptu concert on top of a truck riding around Washington Heights, kissing one of his male backup dancers at the VMAs, tossing a fan’s phone, or horseback riding with Kendall Jenner, the public can’t seem to stop noticing him.has devolved into a “proxy,” a substitute that distracts from experiencing the real stuff of his artistic genius. Bad Bunny the idol is much more easy to digest than Bad Bunny the prophet.
Perhaps the best person to provide us the tools to make sense of the Bad Bunny spectacle is the queer Italian Marxist artist Pier Paolo Pasolini. His greatest concern about Italy’s turn toward consumer capitalism in the post-Mussolini era was not only economic, but was largely cultural and spiritual in nature. Hea “cultural genocide” in which people felt “the degrading anxious yearning of being equal to everyone else with respect to consumption, to being happy, to being free.
One could easily argue that the spectacle of Bad Bunny has sucked out the “sacredness,” the deeper meaning of his artistry. Bad Bunny has become a totem of our dark, taboo-breaking impulses which we find ourselves too timid — or deem ourselves too respectable — to bring out into the light. His music and public persona are marked by a brazen disregard for convention and an affinity for the abnormal, even the absurd, forcing us to question the ideals we take for granted to be true.
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