Within the discography of famous singer Bad Bunny, his lyrics and visual media reflect the struggles and resilience of the Puerto Rican community. After years in the music industry, his presence reaches beyond the scope of an artist as he has slowly become an influential figure within Puerto Rico’s social and political environment. But there is a long history of underground rap music in Puerto Rico, setting the standard for what we hear today. Many artists during the 1990s were already publicly scrutinizing the economic and social situation of the island. So, how has reggaeton in Puerto Rico served as a platform for challenging social inequality and resisting the stigmatization imposed by the government on marginalized communities?
El “sonsonete embrutecedor y agresivo” (Underground Rap Music from 1990-1995)
During the 1990s, Governor Pedro Rosello administered a strict governmental initiative with the intention to further decrease the criminality rate in Puerto Rico. The project was promoted as a reimagining of public safety, but through their efforts it became an act of division and shaming of lower-income communities in Puerto Rico. Furthermore, the Rosello administration also pushed for privatization efforts of public housing in order to combat the wave of criminality in the area. In “Puerto Rico’s War on Its Poor” (2022), Dr. Marisol Lebron explores the underlying effects of this political campaign. In the article, Lebron explores the relationship between the exploitation of lower-income communities and the privatization of public housing as a means of controlling this population.
“The privatization process was fundamentally undemocratic, and many low-income and black Puerto Ricans rightly felt that Mano Dura’s aim of increased safety was simply a front for their dispossession” (Lebron, 2022)
The project included employing police force and the National Guard within public housing which in turn exacerbated the violence and drug activity. Its implementation disproportionately affected Black and lower-income communities who then became vulnerable to the economic and legal changes in the island. As these communities became exposed to economic instability, the youth began to find alternative forms of financial support. Marginalized youths started to express themselves through underground rap music with lyrics that would highlight the systemic failures of their government. The genre continued to challenge the structural inequalities and police brutality, as they reflect on their lived experiences and began to serve as a source of community and economic advancement, in an environment where art and expression became a safe haven for venting frustrations.
Puerto Rico Reeling Under Scourge Of Drugs and Rising Gang Violence
The New York Times article from July 23, 1995 which details the drug trafficking and National Guard raiding in housing projects in Puerto Rico. Credit: The New York Times (1995)
As the genre became more popular, a larger debate began on how underground music could possibly be fueling drugs and gang violence. During February of 1993, Governor Pedro Rosello announced his call to arms in order to permanently control and diminish drug circulation in the island but implicitly it was a matter of reengineering Puerto Rico’s Public Housing Authority (Lebron, 2022). More challenges arose, as these rappers were at risk of censorship out of the government’s fear that the music would morally destroy the sociopolitical structure of the island. Many communities became impacted by these efforts and underground became a scapegoat for rising violence and crime.
During the emergence of the genre, rappers like Vico C were at the forefront of this conversation. In “Policing Life and Death: Race,Violence, and Resistance in Puerto Rico”, Lebron touches upon how the greatest underground rappers would use the genre in order to highlight the violence and poverty experienced within the sectors of public housing. Lebron provided a broader analysis of his song “ La Recta Final” (1995) which included stories of violence and political corruption which in turn affected his own communities. In his lyrics, he states:
La clase alta también tiene culpa de los actos
¿Por qué?, ¿por la corrupción?, exacto
Matan la gente, sin pena, esa es su misión
Así es que viven ganando dinero a montón
No le interrogues, fiscal, no busques pistas
Ponte a pensar, hay que ser realista
El rico invierte dinero de inmediato
Después, el pobre se da el arrebato
Credit: Prime Records on Youtube (2018)
Vico C further delves into the intersectionality between criminality and the existing divide in socioeconomic status. His lyrics further discuss the disconnect between both groups and exposes the fragility of their situation as they continue to be left vulnerable by those who apparently are\ safeguarding the quality of life for the inhabitants of the island. In the song, Vico highlights the hypocrisy of the matter, where the wealthy have labeled marginalized youths as criminals while they continue to exploit them and accumulate greater financial gain through this divide. In later years, underground continues to resonate with more marginalized groups and begin to extend itself to other artists.
Empezando desde cero: iconos del reggaeton (Undeground Rap Music from 1995-1997)
In 1995, underground music started becoming mainstream and popularized by the general public albeit still the object of discussion when it came to political and moral discourse. Now underground music (now formally denominated as reggaeton) became popular with the integration of underground recordings into the formal market system. Wiso G’s Sin Parar became the very first reggaeton recording to be produced by a major record label and commercialized formally (Rivera, 2009). Its rising traction started to create concern about the possible negative effects that might be fueled through its lyrics. In February of 1995, six record stores in San Juan were raided by police as part of Puerto Rico’s Drug and Vice Control Bureau goal of eliminating potential threats to their livelihood. Further investigation proved that the search was unconstitutional and all charges were dismissed from the stores and their employees. But this simply meant that these government institutions would start taking matters into their own hands. Similarly to “Mano Dura”, police forces began surveilling sectors which they believed could potentially distribute and produce music. This led to poor and Black folk in Puerto Rico to be profiled and highly discriminated against because of their possible alignment with the genre. As part of their efforts, police began circling schools as a form to contain the spread of underground music as they became centers of exchange for cassette tapes. As more informal practices for surveillance were being employed, reggaeton continued to be restricted by censorship laws that disproportionately affect lower income families. Both TV and radio media channels would reprimand those who produced and participated in its popularization as the island now ran through a “moral panic” that threatened the social standards imposed by the elite. Professor of Theatre Arts at the University of Puerto Rico, Jose Luis Ramos Escobar opposed all disagreeing views about the genre as he argued that censorship ran the risk of further oppressing those who reject the social norms of the archipelago.
“To censor is to refuse to debate, confront, educate. The greatest risk of
censorship is that there will always be a reason to censor: today it is
underground music, yesterday it was the pro-independence struggle, to-
morrow it will be whatever doesn’t please the authorities or those that
proclaim themselves the keepers of the dominant values of a society.
Censorship is the impotence of those in power: since they can’t convince,
they repress.” (Rivera, 2009)
As more tension arose, anti-pornography campaigns such as “Morality in Media” whose goal was to closely monitor the presence of reggaeton in media and support law enforcement in the ban of this material. Even though censorship and restrictions seemed to keep increasing, lower income neighborhoods still seemed to find alternative methods that would still allow them to produce and sell their songs to the general public. In 1997, Tego Calderon made his official debut through his song “ Me toca a mi/ Boricua Bad Boy” in which he proclaims his act of defiance against the corrupt system and highlights the rampant discrimination faced by poor and Black communities in Puerto Rico. By asserting his identity, Calderon seeks pride in his roots and critiques the double standards of Puerto Rican society and how they continue to criminalize marginalized communities.
Si yo ando en buen carro soy un Drug Dealer
Si me ven entrando a un banco, es que voy a asaltar
(¿Por qué sera?)
Si entro a la joyería y pido una prenda
Me atienden asumiendo no la puedo pagar
Tengo pantalones cortos, no sé de ropa
Si ando filoteao’ quiero aparentar
Quiero ejercitarme y saco mi White-Cat
Que Tego esta pelao, no tiene pa’ mas na’
Si lo hace un riquitillo, apropiación ilegal
Pero si lo hago yo, me acusan de robar
Si la policia me para me van a voltear
Es una conspiración que no se puede florear
Album Cover for The Cruce Underground Vol. 2 (Track 19) where Calderon released the song “Boricua Bad Boy” Credit: Genius (1995)
Nosotras no nos quedamos atrás: campeonas de lucha social (1997-1999)
As reggaeton continued to pave its way to fame, many female rappers also entered the scene as anti-colonial and anti-machismo activists. Reggaeton legend, Ivy Queen (Martha Ivelisse Pesante)began to reach popularity as she joined one of the first reggaeton music groups “The Noise” at 18 years old. Dissatisfied with the emphasis on hypermasculinity and general violence topics, she decided to create music as a solo artist. In 1997, Ivy Queen released her first album “En Mi Imperio” in which she emphasizes female empowerment while also showcasing the struggles she faced as a ‘reguetonera’ and a woman. In her song “Como mujer”, she criticizes the overtly sexual and violent themes in the genre as she wants to raise more awareness in her songs.
Como mujer yo me decidí a cantarle al mundo que me quiere oír
Y a todo aquel que hable de la queen
Con mensaje sencillo le quiero decir
Soy blanco de la policía y de la injusticia
De reconfinada sin tener malicia
Te saquen de la escuela sin haber terminado
Para criar a tus propios hermanos
Credit: Ivy Queen on Youtube (2019)
Not only does she criticize the persecution of reggaeton under police force but also introduces the harsh gender and social expectations of women and the sacrifices having to be made because of financial hardship. Her songs continue to fully encapsulate the female experience in Puerto Rico both in the industry and in society and continues to fuel more self-empowerment and pride in her Puerto Rican identity.
El Pueblo Se Respeta (Undeground Rap Music from 2000- 2024)
After reggaeton had started already reaching out to the entire island, rappers continued using their music as an act of resistance and anticolonialism. An example of this took place in 2002, when former Secretary of Education, Victor Fajardo, was detained for stealing federal funds and former spokesperson for the House of Representatives of Puerto Rico Edison Misla Aldarondo was also found guilty for extortion, money laundering and the attempted sexual assault of a minor. Rapper Eddie Dee decided to take action into his own hands and further expose and criticize corrupt politicians and deems them as the real criminals.
Censurarme por ser rapero
Es como censurar a un pueblo entero
A mí no me importa si te gusto o si te disgusto
Pues mi diploma de 4to año está firmao por un corrupto (…)
La mayoría de nosotros somos más gente que ellos
Díganme, a qué rapero de esta isla
Lo han acusao de las puercás que han acusao a Misla
Credit: Macarana Music on Youtube (2012)
Subsequently, ‘reguetoneros’ such as Calle 13 (currently known as Residente/ Rene Perez) introduced a new stage to this genre where more musical styles, beats and rhythms were starting to be included. His methods of storytelling and conviction brought more people into the genre. Perez created music that centralizes racial and economic disparity in the island and created a new language that disturbed the status quo (Nacion Regueton, 2009). One of his best known songs during the era was “Tributo a Policia” (2007).
Credit: bureje on Youtube (2008)
Most of these artists still continue to make a large socio political impact in the island and have expanded towards global audiences. Reggaeton continued to reach worldwide markets outside of the United States such as Europe, Mexico, Dominican Republic, Japan, and Panama (Nacion Regueton, 2009). It has also influenced our current artist especially global figure Benito Martinez (Bad Bunny). Throughout his career, he has critiqued the colonial structures that continue to impact marginalized communities in Puerto Rico. Similarly as his predecessors, he has bridged the gap between art and resistance creating a dialogue between identity and justice. Benito has been able to not only amass a larger audience but has continued to prioritize his language and Caribbean identity and rejects industry standards as a form of anticolonial resistance.
Ricky Renuncia: Advertencia a los corruptos (2019)
In 2019, private messages from a Telegram group chat between the former governor Ricardo Rosello and his cabinet members were leaked. The conversation contained many homophobic and misogynistic messages while also recounting the events of Hurricane Maria where they admitted to corruption and showed indifference towards those who were gravely affected by the natural disaster. Amidst frustrations, Puerto Ricans decided to take matters into their own hands and demand democracy/ justice. Demonstrations started taking place daily where even global artists such as Bad Bunny, Residente, Ricky Martin, among others started joining in on the fight. Social media and music helped mobilize support and raised awareness about the current state of the archipelago. Bad Bunny, in collaboration with Residente (formerly known as Calle 13) and Ile composed the song “Afilando los Cuchillos” which emphasized the colonial structures that were affecting all Puerto Ricans and exposed the systemic injustices that the island struggled with because of Rosello’s Administration. The song means to unify the people as a force against corruption and that as people from the island, they have the right and power to seek justice and keep peace.
Credit: Residente on Youtube (2019)
QUIEN VOTA PNP NO AMA A PUERTO RICO: Una lucha que nunca se acaba (2024)
As election period began approaching, Benito continued to be in the frontlines of the battle between the islanders and their government. Former commissioner resident Jennifer Gonzalez from the New Progressive Party (Partido Nuevo Progresista-PNP) became a focal point of political conversation, as frustrations ensued of whether Puerto Ricans should continue to participate in the bipartisanship that has plagued the sociopolitical situation of the island. The aforementioned political party and the Popular Democratic Party of Puerto Rico (Partido Popular Democrático-PPD) had been exposed for corruption which led multiple residents to lose access to many resources (healthcare, employment, housing, etc). During the political campaigns, Martinez displayed multiple billboards across the island with messages critiquing the lack of efforts and corruption from both political parties. As tensions increased between this cultural figure an the political candidates, Bad Bunny decided to publicly announce his support of “Country Alliance” (Alianza de Pais) which combined two anti-colonialist progressive political parties of Puerto Rico: Independent Party of Puerto Rico (Partido Independentista de Puerto Rico-PIP) and Movimiento Victoria Ciudadana. During September of 2024, Bad Bunny also released a song called: “Una Velita” which mourned the victims of the natural disasters that have affected Puerto Rico and also shamed those responsible for their lives who instead of helping decided to take advantage of the resources.
Credit: Bad Bunny on Youtube (2024)
Conclusion: Siguiendo Los Pasos
Within the spectrum of reggaetón, artists like Bad Bunny have transformed this genre into a platform for addressing deeper societal issues. No longer solely an avenue for entertainment, reggaetón serves as an expression of collective anger and unwavering courage in the face of systemic oppression. Bad Bunny’s global success has propelled Puerto Rico’s stories and struggles into the international spotlight, creating opportunities for audiences worldwide to engage with the cultural and social tensions that define life on the island. Bad Bunny also continues to reference and include many ‘reguetoneros’ from our very own hall of fame such as: Ivy Queen, Vico C, Tego Calderon among other artists who have paved the way for the success of his career through their own stories and art forms.
This analysis underscores how Bad Bunny’s music not only reflects the rhythms that animate Puerto Rico but also unifies its people in challenging neo colonial governance. The phrase “music that moves the island” transcends the literal—it represents a movement, both cultural and political, that calls for resistance and solidarity.
The implications of this analysis extend far beyond the music itself. Reggaetón has become a tool for mobilization, a space where art and activism intersect, urging listeners to confront issues of colonialism, inequality, and resilience. As we engage with this music, we must ask ourselves: How can global audiences move beyond passive consumption to become allies in the fight against neo colonial exploitation? And, what lessons can other marginalized communities draw from Puerto Rico’s ongoing struggle for self-determination?
Ultimately, reggaetón is a call to action. It challenges us to listen closely—not only to its rhythms but to the voices it amplifies. In doing so, we honor the music’s power to inspire change and move us toward a more just and equitable future.
References & Citations
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