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https://nytimes.com/2026/02/09/arts/music/bad-bunny-super-bowl-halftime-show-review.html

Bad Bunny's Super Bowl halftime show was a deeply personal and historically specific presentation, showcasing Puerto Rican culture and addressing sociopolitical issues. The performance included musical astuteness, familial exuberance, and sociopolitical statements, with guest appearances and symbolic gestures. The show was a celebration of Latin American unity and independence.

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AI Headline
A History Lesson Within a Halftime Show
Simplified Title
Bad Bunny Delivers Intimate Halftime Show Performance at Super Bowl LX
AI Excerpt
Bad Bunny's Super Bowl halftime show was a deeply personal and historically specific presentation, showcasing Puerto Rican culture and addressing sociopolitical issues. The performance included musical astuteness, familial exuberance, and sociopolitical statements, with guest appearances and symbolic gestures. The show was a celebration of Latin American unity and independence.
Subject Tags
Music Bad Bunny Super Bowl Halftime Show Puerto Rico Culture Politics Latin Music
Context Type
Review
AI Confidence Score
1.000
Context Details
{
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    "perspective": "neutral",
    "audience": "general",
    "credibility_indicators": [
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Overall Status
Completed
Submitted By
Donato V. Pompo
Submission Date
February 10, 2026 at 5:03 PM
Metadata
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    "original_url": "https:\/\/www.nytimes.com\/2026\/02\/09\/arts\/music\/bad-bunny-super-bowl-halftime-show-review.html?campaign_id=9&emc=edit_nn_20260210&instance_id=170857&nl=the-morning&regi_id=122976029&segment_id=215048&user_id=b25c5730c89e0c73f75709d8f1254337",
    "parsed_content": "There is perhaps no stage more visible than the Super Bowl halftime show, viewed each year by upward of 100 million people. And there are few, if any, performers in pop more popular and embraced than Bad Bunny, the 31-year-old Puerto Rican superstar who has been one of music\u2019s dominant global innovators for a decade.It would seem like an ideal match \u2014 an epic platform for an epic performer, an alignment of grand-scale ambition and execution.And yet Bad Bunny did something quite novel with his Super Bowl LX performance in Santa Clara, Calif., on Sunday night, turning it into an extended presentation on how to make a global opportunity intimate, personal and historically specific. Like his sixth solo album, \u201cDeb\u00ed Tirar M\u00e1s Fotos,\u201d which a week ago made history as the first Spanish-language album to win the Grammys\u2019 top honor, and his 31-show residency in San Juan, Puerto Rico, last summer, he assiduously brought people to him, on his terms.Here, it started in the sugar cane fields \u2014 once Puerto Rico\u2019s cash crop, and a source of rampant labor exploitation. Bad Bunny began his show with the frisky \u201cTit\u00ed Me Pregunt\u00f3\u201d from 2022, walking amid laborers in pavas chopping at stalks and tall plants forming something of a labyrinth. He strode past vendors of coco frio, tacos and piraguas; a pair of boxers sparring; a table of older gentlemen playing dominoes; women at a nail salon.ImageBad Bunny showcased aspects of life in Puerto Rico.Credit...Loren Elliott for The New York TimesThis was Bad Bunny\u2019s private Puerto Rico, a place of cultural joy and political complication. The first two minutes of his 13-minute show took place largely within that maze, an almost-protected space that projected safety and ease, just before he emerged on the roof of La Casita, the replica of a traditional Puerto Rican home that served as the centerpiece of his set here (and also his residency performances), and began serenading the world.Almost every minute that followed \u2014 performed almost entirely in Spanish, a Super Bowl first \u2014 featured a combination of musical astuteness, familial exuberance and sociopolitical statement. This combination was most vivid leading up to and during \u201cEl Apag\u00f3n\u201d (\u201cThe Blackout\u201d), a 2022 song that has become something of a resistance anthem in part because its video includes a minidocumentary about inequities in Puerto Rico. The Super Bowl rendition began with workers falling from utility poles in a flash of sparks, a nod to the blackouts that crippled the U.S. territory for several months following Hurricane Maria in 2017.ImageIn one segment, Bad Bunny performed \u201cEl Apag\u00f3n\u201d atop a replica utility pole.Credit...Doug Mills\/The New York TimesJust before that, the Puerto Rican pop star Ricky Martin sang \u2014 huskily, perhaps pushing beyond his vocal limits \u2014 part of \u201cLo Que Le Pas\u00f3 a Hawaii,\u201d a 2025 song warning about modern-day colonialism. Martin was a star of an earlier Latin pop wave, and Bad Bunny\u2019s inclusion of him was a sharp nod to how Puerto Rico has long been interwoven into American music.Bad Bunny underscored that further by playing quick snippets of early to mid-2000s breakthrough reggaeton songs from Don Omar, Tego Calder\u00f3n, H\u00e9ctor El Father and Daddy Yankee, whose 2004 hit \u201cGasolina\u201d was a foundational track of the genre\u2019s global explosion. (Sadly, none of those stars were present.) He also showcased To\u00f1ita, the matriarch of a long-running Puerto Rican social club in Williamsburg, Brooklyn, which Bad Bunny appeared at last year and shouted out on his \u201cDeb\u00ed Tirar M\u00e1s Fotos\u201d track \u201cNuevaYol.\u201d\u201cDeb\u00ed Tirar M\u00e1s Fotos\u201d is a narratively and sonically ambitious album about restoring one\u2019s connection to home, and to heritage. Part of understanding history is honoring it, and part of understanding history is knowing when to call attention to its tragedies. Which is why early in his set, Bad Bunny performed an ecstatic \u201cYo Perreo Sola,\u201d an anti-misogyny statement from 2020 that\u2019s one of his most popular songs, and also one of his most provocative, taking the reggaeton community to task for its dismal treatment of women.His delivery of it here, on the roof of La Casita, was emphatic, and also the soundtrack to a party. At his residency, La Casita was a place for the well-known to watch the show while also being a part of it. Members of the porch crowd on Sunday included Cardi B, who has collaborated with Bad Bunny, and is partly of Dominican heritage; the Colombian superstar Karol G, another collaborator; the Hollywood star Pedro Pascal, who was born in Chile; the Mexican American actress Jessica Alba; the Venezuelan baseball star Ronald Acu\u00f1a Jr.; and the rising Puerto Rican star Young Miko, something of a Bad Bunny prot\u00e9g\u00e9. It was a quietly pointed array of cultural forces across media, a statement of Latin American unity and independence. (The influencer Alix Earle and the nightlife impresario David Grutman were there, too.)The night\u2019s only hiccup was Lady Gaga\u2019s fine but arbitrary performance of \u201cDie With a Smile,\u201d a song with no true connection, thematic or musical, to Bad Bunny\u2019s catalog, and the only one performed in English. It was something of a mystery, notwithstanding the added salsa rhythm section provided by the Puerto Rican outfit Los Sobrinos. (For what it\u2019s worth, Cardi B was literally right there \u2014 a version of \u201cI Like It,\u201d their genre-crossing pop smash with J Balvin, would have been welcome.) The blue of Gaga\u2019s dress was perhaps a nod to the Puerto Rican independence flag, which, later in the show, Bad Bunny hoisted over his shoulder while he delivered \u201cEl Apag\u00f3n.\u201dImageLady Gaga provided the soundtrack to the (real) onstage wedding, singing a solo version of her Bruno Mars duet, \u201cDie With a Smile,\u201d backed by Los Sobrinos.Credit...Loren Elliott for The New York TimesThere are many modes of political positioning: outright sloganeering, encoded messages, visual cues. Freedom and joy themselves can be acts of resistance. All of those were present during this performance, though there was no moment as direct as Bad Bunny\u2019s \u201cICE out\u201d call at the Grammys a week ago. Instead, he led dozens of dancers in ornate choreography, pointedly including same-sex pairings.There was a narrative through line which went from a proposal to a wedding (an actual one) to the appearance of a child watching Bad Bunny\u2019s Grammy acceptance speech, though that thread was slightly muddy. Online, people speculated the young boy was Liam Conejo Ramos, the child at the center of a recent contentious federal immigration action in Minnesota. He was, in fact, an actor, but the confusion underscored the urge to apply an unwieldy political literalism to Bad Bunny\u2019s performance.For some, the mere fact of Bad Bunny\u2019s selection for the halftime show could only be read as a political statement. It even inspired a counterprogramming event: the \u201cAll-American Halftime Show,\u201d presented by the right-wing organization Turning Point USA and headlined by the rabble-rouser Kid Rock, along with the country stars Brantley Gilbert, Lee Brice and Gabby Barrett. That lineup purported to place a tent over musical styles deemed sufficiently American, an act of exclusion masquerading as an embrace of unity.But Bad Bunny\u2019s tent was, and always has been, far bigger, far more musically generous and far more imaginative. Near the end of his performance, he shouted \u201cGod bless America,\u201d then ran through a list of the countries that make up South, Central and North America, from Chile all the way up to Canada. He held out a football that read \u201cTogether, We Are America,\u201d and then spiked it before his final song, \u201cDtMF.\u201d Dozens of people surrounded him, waving flags of the countries he\u2019d just named, virtually swaddling him as they ushered him off the field and back to protected, private space.Jon Caramanica is a pop music critic who hosts \u201cPopcast,\u201d The Times\u2019s music podcast.A version of this article appears in print on Feb. 10, 2026, Section C, Page 1 of the New York edition with the headline: A History Lesson Within a Halftime Show. Order Reprints | Today\u2019s Paper | SubscribeSee more on: Bad BunnyRead 1,074 commentsShare full articleRelated ContentAdvertisementSKIP ADVERTISEMENT",
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    <title>Bad Bunny Super Bowl Halftime Review: A History Lesson Full of Puerto Rican Pride - The New York Times</title>
    <meta data-rh="true" name="robots" content="noarchive, max-image-preview:large"><meta data-rh="true" name="description" content="The superstar showcased Puerto Rican pride during a 13-minute set that turned a global opportunity into an intimate, personal performance."><meta data-rh="true" property="twitter:url" content="https://www.nytimes.com/2026/02/09/arts/music/bad-bunny-super-bowl-halftime-show-review.html"><meta data-rh="true" property="twitter:title" content="Bad Bunny Super Bowl Halftime Review: A History Lesson Full of Puerto Rican Pride"><meta data-rh="true" property="twitter:description" content="The superstar show...
Parsed Content
There is perhaps no stage more visible than the Super Bowl halftime show, viewed each year by upward of 100 million people. And there are few, if any, performers in pop more popular and embraced than Bad Bunny, the 31-year-old Puerto Rican superstar who has been one of music’s dominant global innovators for a decade.It would seem like an ideal match — an epic platform for an epic performer, an alignment of grand-scale ambition and execution.And yet Bad Bunny did something quite novel with his Super Bowl LX performance in Santa Clara, Calif., on Sunday night, turning it into an extended presentation on how to make a global opportunity intimate, personal and historically specific. Like his sixth solo album, “Debí Tirar Más Fotos,” which a week ago made history as the first Spanish-language album to win the Grammys’ top honor, and his 31-show residency in San Juan, Puerto Rico, last summer, he assiduously brought people to him, on his terms.Here, it started in the sugar cane fields — once...

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