Bad Bunny’s ‘DeBÍ TiRAR MáS FOToS’ is Not Only His Most Puerto Rican, But His Most Political Album

Bad Bunny's 'DeBÍ TiRAR MáS FOToS' blends culture and politics in his most album celebrating his beloved Puerto Rico

Bad Bunny DTMF

Photo courtesy of Spotify

You’ve heard of Bad Bunny, and if you’re reading this, chances are you already have his newest album DeBÍ TiRAR MáS FOToS on repeat nonstop since its release on January 5th. With such a powerful release marked by breaking world records including becoming the first Latin artist to tally 100 Career Hot 100 Hits and having over half of the top 10 tracks on Spotify’s Daily Top Songs Global chart off this new album, it’s no wonder DeBÍ TiRAR MáS FOToS took the world by storm these past few weeks. As it stands, the latest release serves as the Puerto Rican reggaetonero’s most impactful album yet. El Conejo Malo has built a reputation for his albums centering around the Puerto Rican experience, history, or culture. In this latest, the story being told goes beyond that of anything he’s released before, delving into sociopolitical issues facing not only Puerto Ricans in Puerto Rico, but the entire diaspora.

What makes DeBÍ TiRAR MáS FOToS special compared to his other releases is exactly what triggers nostalgia for listeners: the blend of different genres through salsa, plena, and yes, reggaeton. But in addition to providing variety, this mix provides Boricuas with the air of an album that reminds us of Saturday mornings that, if you were like me, consisted of mami cleaning the house while papi did the yard or cleaned the cars. Unapologetically Puerto Rican, similar to the salsa by groups like El Gran Combo that mami would blast while mopping the floors with a mix of water and purple Fabuloso.

Most notably, how Bad Bunny – born Benito Antonio Martínez Ocasio – uses this mix of genres to produce tracks that not only make up his “most Puerto Rican album ever” but also his most political one yet. Those familiar with both Bad Bunny and Puerto Rican history are well aware that he has always been an outspoken critic of Puerto Rico’s relationship with the United States, making his stances clear early on. From his 2019 anti-Puerto Rican Governor Ricardo Rossello anthem, “Afilando Los Cuchillos” (feat. Independentista Boricua artist, Residente of Calle 13 and singer iLe) to most recently his appearance and endorsement at pro-independence gubernatorial candidate Juan Dalmau’s rally (with the song “Una Velita” explaining his thoughts on governmental leadership in Puerto Rico), Bad Bunny has not only been politically engaged but aligned with calls for Puerto Rican identity to remain both intact and authentic through effective political action.

The details of Bad Bunny’s efforts with DeBÍ TiRAR MáS FOToS are intense: visuals on every track’s YouTube explain a key moment in Puerto Rican history, with the aid of Professor Jorell Meléndez-Badillo of the University of Wisconsin-Madison, a Los Angeles Times article explained. Visuals for songs like “WELTiTA” explaining the first colonization of Puerto Rico by Spain in 1508, and “NUEVAYoL”, that explains how the Puerto Rican flag was originally created by political exiles in New York, in addition to paying homage to the extensive Puerto Rican population there. 

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Bad Bunny has not only delivered in terms of showing his commitment to honoring Puerto Rican history, he has shown that it is possible to do so in a modern way that resonates with Boricuas and beyond. With a massive amount of Puerto Ricans existing beyond the island than on it, this album was necessary to join a historically fractured diaspora that was often at odds with each other over different experiences due to growing up stateside vs. on the island, being taught Spanish at home vs. not speaking it at all, not knowing their history due to differences in education, and more. 

A short film produced with the releas shares the title of the album and expresses the very real experience of a modern Puerto Rico that’s slowly becoming less Puerto Rican with every passing year; prices on everyday goods have gone up, modernization harms the older population (as Puerto Rico’s population skews heavily older due to migration patterns with younger people leaving the island), and the fear of losing the island is a valid concern.

“LO QUE PASÓ EN HAWAI” stood out especially to me as a listener, where the song is centered around the colonization of Hawaii. This is a common comparison among Puerto Ricans when discussing the island’s political status, since Hawaii’s invasion from the United States occurred in 1898 (the same year they also invaded Puerto Rico) and the destruction/loss of culture endured by Hawaiian natives is a fear for Boricuas when considering both their past and future.

As political parties in Puerto Rico battle between pro-statehood, pro-commonwealth (Puerto Rico’s current status), and pro-independence movements, many remain divided on how to proceed. Much controversy remains when it comes to the Puerto Rican electoral process, with reports of voter registration delays preventing people from effectively registering due to long wait times and mandatory in-person processes. 

The release of the track comes at an especially interesting time in Puerto Rico’s political history, as gubernatorial elections just wrapped in November 2024, with pro-statehood candidate Jenniffer González-Colón winning over incumbent Pedro Pierluisi and for the first time in Puerto Rican history a major pro-independence contestor made its way to the mainstream: Juan Dalmau. With major Puerto Rican faces at the aforementioned rally for Dalmau, including Puerto Rican rappers Residente and Rauw Alejandro – the future of Puerto Rican politics is very much top of mind as one listens to this album.

With the newest news of a 21-date residency at El Coliseo de Puerto Rico, affectionately called “El Choli” by locals, Bad Bunny is making a call for people to come to him for a change. This is a huge turn from an artist historically known for long tours and elaborate concerts designed to bring his music to the stage around the world. With locking specific dates for Puerto Rican residents only, Bad Bunny is, as always, taking care of his people first. 

This album stands as my personal favorite in the entire Bad Bunny discography (and I’ve been a fan since “X100PRE”) due to the true emotions it stirs up in me as a Puerto Rican born on the island who has since left: it’s a beautiful work of art that has touched heart and souls throughout the diaspora.

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