“I Found the Sound That Represents Me:” Bad Bunny On Heartbreak and Returning Home to Puerto Rico With Debí Tirar Más Fotos

During last summer, world-renowned artist Bad Bunny was cruising through San Juan, Puerto Rico, with tears streaming down his face and feeling a deep sense of melancholy. The sight of the city’s beaches bustling with joyful tourists only intensified his feelings of discontentment. His thoughts turned to the disparity between Puerto Rico’s idyllic image and its challenging truths, reflecting on how this mirrors his own personal struggles.

In simpler terms, he stated to TIME that tourists come to appreciate the stunning locations here, yet they depart without experiencing the daily struggles Puerto Ricans face. Comparing this to a romantic situation, there are individuals who visit and notice only the best aspects of you, but fail to see your flaws, past traumas, anxieties, pains, or old wounds. It’s as if they were just tourists in your life.

2024 saw Bad Bunny, known as Benito Antonio Martínez Ocasio, spending approximately half of the year overseas. He showcased his best aspects by:

1. Concluding a successful arena tour that generated over $200 million.
2. Co-chairing the Met Gala alongside Jennifer Lopez and Zendaya.
3. Performing at Vogue World 2024 in Paris, where he privately toured the Louvre with his intermittent lover Kendall Jenner.
4. Collaborating with Adam Sandler on the filming of “Happy Gilmore 2.”

He was ranked as the third most-streamed artist on Spotify, marking his sixth consecutive year in the top five.

Despite his worldwide travels and achievements, Bad Bunny found himself yearning for home even more. His fame brought not only praise but also criticism that intensified his homesickness: fans who believed he left Puerto Rico for Hollywood, critics feeling his 2023 album, “Nadie Sabe Lo Que Va a Pasar Mañana,” lacked the charm and innovation of his earlier work. In this album, Martínez seemed acutely conscious of his precarious position at the top: “I am the biggest star in the world,” he rapped on “Nadie Sabe.” “There are many people who want me to fall.

Instead of trying to reclaim the top spot on Spotify by rapping in English or collaborating with famous artists for his next project, Bad Bunny opted for a different approach. His latest solo studio album, Debí Tirar Más Fotos, which was released on January 5th, is his most authentic, musically daring, and emotionally exposed work yet: an exploration of his identity and self-perception. This album offers a glimpse into his quest for solace amid heartbreak, fame, and politics, while immersing himself deeply in Puerto Rico’s rich musical legacy.

This album isn’t intended for casual listeners; instead, you’ll need to delve beyond the sunny beaches and explore the mountains, a place he refers to as one of resistance. He describes this music as uniquely Puerto Rican and distinct from other artists’ work. “I’ve discovered where my roots lie,” he says, “the sound that truly embodies me.

“I Found the Sound That Represents Me:” Bad Bunny On Heartbreak and Returning Home to Puerto Rico With Debí Tirar Más Fotos

Turning to Traditional Puerto Rican Music

For quite some time, Bad Bunny’s popular tracks centered around themes of sex, self-esteem, and heartache have been built on reggaeton rhythms perfect for dancing in the club.
However, not long after completing his 2023 album, Nadie Sabe Lo Que Va a Pasar Mañana, which is trap-oriented, Martínez approached his longtime producer MAG with an innovative concept. “He envisioned creating an album that transports you through the genres that define Puerto Rican music,” explains MAG, who hails from New York and produced most of Bad Bunny’s Un Verano Sin Ti, currently the highest-streamed Spotify album in history.

In a hotel conference room, adorned with a substantial silver cross necklace, a long black trench coat, and Louis Vuitton shades, Bad Bunny kicks off one of his initial tracks for the album. The song, titled “NuevaYol,” which spells uniquely to honor his community’s dialect, is constructed around a sample from El Gran Combo de Puerto Rico’s salsa hit, “Un Verano en Nueva York.” Salsa, with its origins in Cuba and further developed by Boricuas in New York during the mid-20th century, stands as a testament to the richness of the Puerto Rican diaspora. However, not many artists have endeavored to combine salsa’s energetic congas and intricate brass melodies with the tougher, more polished rhythms from Dominican dembow music.

As a movie critic, I found the track to be an ingenious fusion of various musical genres, showcasing an admirable level of cross-generational detail that established its unique tone for the rest of the album. The song, aptly titled “NuevaYol,” pays homage to the vibrant Puerto Rican community in New York City, with subtle references to salsa legend Willie Colón and Maria Antonia Cay, affectionately known as “Toñita.” Toñita is the esteemed proprietor of the last surviving Latino social club in Williamsburg, Brooklyn – a neighborhood that was once predominantly Puerto Rican but is now rapidly undergoing gentrification.

Martinez’s album idea became more defined during the San Se music festival in January 2024, also known as the Fiestas de la Calle San Sebastián. This annual event marks the conclusion of Puerto Rico’s holiday season that spans from November to mid-January. Eager for the traditional music he grew up with, Martinez began composing the plena-inspired “Café con Ron” while seated on a balcony overlooking the festival below. Plena, originating around a century ago during Puerto Rico’s transition from Spanish to U.S. rule, is a genre that blends the musical legacies of freed African slaves, native Taino people, and Europeans.

Towards the end of the year, Martinez invited a group of promising musicians, many from the San Juan Music Free School, including some who were teenagers, into the recording studio. They collaboratively produced several tracks: “Baile Inolvidable”, a sizzling salsa piece featuring sobbing trombones and a piano solo; “Turista”, a poignant bolero that delves into the emptiness of tourism; “Bokete”, infused with a hint of bachata; and “Pitorro de Coco”, influenced by traditional jíbaro music from the Puerto Rican countryside, one of the two songs released prior to the album. Martinez mentioned that his mother shed tears when she first heard the song, writing back, “From trap to jíbaro music, my heart is content. I never thought it possible.

Martinez appears equally enthusiastic as his mother while playing the album for TIME in New York. He heartily sings the words of his collaborators, such as the up-and-coming urban artist RaiNao, and mimics playing the trombone and bongos with great gusto.

Bad Bunny isn’t the sole young artist drawing inspiration from past music. Fellow Puerto Rican artist Rauw Alejandro remade Frankie Ruiz’s classic “Tú Con Él” on his November album. Additionally, Martínez participated in boosting the popularity of Regional Mexican music by collaborating on Grupo Frontero’s hit “unx100to.” This genre has been revitalized by artist Peso Pluma, particularly through his corridos.

In contrast to his previous records, Debí Tirar incorporates more live instrumentation. Most of the musicians involved in this project are from a new wave of Puerto Rican artists, including producer Big Jay and band Chuwi. Martínez aimed to capture their vitality while also inspiring younger generations to carry on the music of their ancestors. As he explains, “Collaborating in that way and providing opportunities for newcomers instead of seeking out industry veterans was a crucial part of my purpose.

“I Found the Sound That Represents Me:” Bad Bunny On Heartbreak and Returning Home to Puerto Rico With Debí Tirar Más Fotos

Fighting For His Homeland

Bad Bunny has consistently taken a stand in political matters, particularly as he prepares to launch his new album. In 2019, he participated in protests that ultimately resulted in Governor Ricardo Rosselló stepping down. He is also an advocate for LGBTQ rights, and songs like “Andrea” shed light on the issue of gender-based violence. In 2022, he produced a 23-minute documentary addressing Puerto Rico’s ongoing power outages, which have persisted even after the privatization of the island’s power grid. The music video for his song “El Apagón” further explores the slower, more insidious threat of gentrification.

In October, Bad Bunny entered the discussion surrounding the U.S. election following a comedian named Tony Hinchcliffe’s appearance at a Trump rally in New York at Madison Square Garden. There, he made the remark: “There’s currently an island of trash floating in the ocean somewhere, and I believe it’s called Puerto Rico.” Hinchcliffe later claimed his comment was just a joke, but the response from the Hispanic community was immediate and strong.

Martinez swiftly shared a video on Instagram Stories, featuring Kamala Harris expressing her backing for Puerto Rico. According to Martinez, he was in New York during the rally with some spirited companions (colloquially known as “cabrones”), who were all fired up. He joked about figuring out a way to get there on a bus and setting it alight (“lighting it up”).

Martinez acknowledges, to some extent, Hinchcliffe’s justification. “I personally appreciate dark humor to an extent,” he explains. “However, the point is that it wasn’t typical stand-up comedy or a comedy event; it was a political gathering.

He goes on to explain about Hinchcliffe, saying that most individuals are unaware of who he is. They might mistakenly believe him to be a politician speaking at a political event. This confusion can stir up people who share similar views, causing them to say things like “Yes, Puerto Rico…”. In this moment, it provides a platform for those with racist leanings to feel empowered and make a joke.

Although the album doesn’t explicitly express political views throughout, Martínez subtly references Puerto Rico’s complex relationship with the American empire in the song “Lo Que Pasó a Hawaii.” The lyrics for this song came to him in a dream, including the line “No quiero que pase contigo lo que pasó a Hawaii” (“I don’t want what happened in Hawaii to happen to you”). Historically, both Puerto Rico and Hawaii were taken by the United States in 1898 and declared U.S. territories. Hawaii later became the 50th state in 1959 and has since become heavily Americanized, while Puerto Rico continues as an unincorporated territory, preserving its unique language and culture. Recently, Martínez has publicly criticized the ruling New Progressive Party (PNP), which advocates for statehood.

Due to attractive tax benefits, a significant number of affluent individuals from other countries have moved to Puerto Rico, which has caused problems for locals in terms of housing availability and beach access. Martínez argues that many of these newcomers seem uninterested in the island beyond what it offers them personally. “They are largely ignorant about Puerto Rico’s politics and history,” he says, “and they don’t seem to care about learning. However, they do understand that they can use the island as a means to legally avoid paying taxes – something that surprised me.

In my perspective, when referring to my song “Lo Que Pasó a Hawaii,” I’ve hinted at its political undertones, but I prefer for the message to resonate without explicit explanation. You see, when I wish to convey a more politically-charged sentiment, I often find solace in melodies as they serve as the most powerful medium for me. Every Puerto Rican listener can interpret it according to their understanding, delve deeper into its meaning by doing their own research, and ultimately form their own opinion about it.

Just before the album was launched, Martínez unveiled a short video that delves deeper into the topics of economic and cultural detachment. In this film, Jacobo Morales, a renowned Puerto Rican director, portrays an elderly man walking to a modernized bakery in Puerto Rico where both country and rock music fill the air. The bakery is staffed by an employee speaking English, serving vegan quesitos.

Although Martínez strongly identifies with his native island, some people argue that his rise to international prominence and connections with the Kardashians suggest he’s straying from his roots. However, it is his Puerto Rican heritage that truly sets him apart, especially in predominantly white environments such as Hollywood. The interview subtly touches on this theme, particularly when the discussion shifts from politics to music and back again. Through his music and influence, Martínez consistently demonstrates how personal experiences intertwine with politics: He illustrates how officials have impacted the island’s infrastructure, such as road maintenance, electricity access, and public spaces; foreign investors have sought to privatize beaches for luxury resorts, which significantly affects locals. Puerto Rico has one of the highest poverty rates in the U.S., and Congressional actions in 2016 led to austerity measures that reduced public services on the island.

Debí Tirar Mas Fotos concentrates on Puerto Rico with a dual purpose: to respond to recent events and to provide a secure environment. If his 2022 hit album Un Verano Sin Ti portrayed the brightest shores of Puerto Rico, then Debí Tirar is an intimate family gathering in the rural, or countryside, part of the island, according to him. “They’re gradually taking away my beaches: they keep coming and buying them,” he says. “Many people are fighting, speaking out, and defending the beaches, but it’s like we’re seeking refuge in the countryside while resisting in this way.

Healing and Nostalgia

Approximately two years ago, Bad Bunny unexpectedly became a frequent subject on American gossip websites after he was seen with the world’s highest-paid supermodel, Kendall Jenner. In the year 2024 during the summer, they were spotted in Paris wearing coordinating outfits. However, it is currently being speculated that they are no longer a couple.

Frequently found sandwiched between cheerful tunes and beats, the lyrics of “Debí Tirar” predominantly revolve around heartache: yearning for a message or call from a partner, accepting the demise of a relationship, and striving to move on from the possibilities that never came to fruition. The album’s title track, “DtMF,” echoes this sentiment as Martínez contemplates what he failed to do: kiss, hug, and capture images of a love that he now yearns for.

Martinez clarifies that the songs on the album “Debí Tirar” don’t always refer to specific individuals. He explains, “I have composed songs influenced by people whom others might not even recognize. The significance of a song can be multifaceted, such as the absence of someone who is no longer present, or love. However, it could symbolize many other things as well, which are no longer relevant.

In my perspective, pigeonholing Debí Tirar as an album solely about romantic love would be a narrow interpretation. Instead, Bad Bunny takes a journey deeper into his roots and offers raw authenticity by embracing the symbols of his heritage to evoke joy – a sentiment that he has yearned for amidst heartache and during his extended absences from Puerto Rico. “Sometimes you might feel a touch nostalgic, a bit sentimental… Yet at the same time, there’s enjoyment in other aspects: playing dominoes with grandparents or family gatherings,” Bad Bunny explains. “Since we are also in Puerto Rico, we are home, surrounded by loved ones – that’s reason enough to be happy and content.

The album release date, carefully selected by Martínez, coincides with La Víspera de Reyes, a Puerto Rican celebration during the Christmas season where people listen to traditional genres like jíbaro, plena, and bomba. He explains that this music can be blended with contemporary tunes and rhythms, evoking a sense of nostalgia for the melodies his grandfather cherished, which he hopes will now resonate year-round.

In contrast to Bad Bunny’s boastful attitude in “Nadie Sabe,” Martinez maintains a humble demeanor regarding his stardom when discussing the final track “La Mudanza” from the album, “Debí Tirar.” He acknowledges that people view him as a towering superstar who has achieved so much and gained recognition. However, he emphasizes that none of it would be possible without his parents meeting and giving him life. This closing track, which he describes as a reflection on his rise to global fame, also serves partly as a tribute to his family. He skillfully raps over a salsa rhythm, narrating the story of how his parents met and expressing gratitude towards his grandparents, nieces, nephews, and fellow Puerto Ricans. In the final song, he intentionally includes “Yo soy de P f-ckin’ R,” referencing his 2020 hit that became a symbol of Puerto Rican pride.

Martinez knows very well the tension between immigrants who desire success overseas but long for their homeland. Sitting in a hotel room, just 10 miles from where he delivered two legendary sold-out shows at Yankee Stadium and filmed part of his hit music video for “Tití Me Preguntó,” which became incredibly popular, he expresses a soft spot for New York. He reminisces about a moment when he was twelve, and his mother surprised him with a visit to the city. “I began to cry,” he remembers, “and she thought it was because I was so excited. But I didn’t want to go. I said, ‘I don’t want to leave. I will never leave Puerto Rico.’

2025-01-05 20:07