(Analysis) The Ocasio Doctrine: Bad Bunny’s Inclusive Vision

Benito Antonio Martínez Ocasio, professionally known as Bad Bunny, was born in Bayamón, Puerto Rico in 1994. Puerto Rico, like much of Latin America, has a long history of foreign interference and imperialism. Claimed by Christopher Columbus in 1493 and subsequently colonized by Juan Ponce de León, the island endured Spanish rule for four centuries. In 1898, it was acquired by the U.S. following the Spanish-American War and has remained a territory of the U.S. ever since. Today, it hosts a vibrant culture of European, African, and indigenous elements. Bad Bunny, in stark contrast to the U.S. President Donald Trump, has made clear his intention to celebrate his native culture and, during February’s Super Bowl halftime show, he followed through on this promise. 

In the wake of the Maduro capture in January and anxieties surrounding Trump’s imperial ambitions for Greenland and the Americas, Bad Bunny offered an alternative, inclusive vision for what a truly pan-American partnership might look like. Stampeding across Levi’s Stadium in an all-white tracksuit, Bad Bunny brandished all the flags of the Americas behind him, listing off every country in his signature baritone intonation. Whereas Trump wants a return to the time of banana republics who operated in U.S. interests, Bad Bunny sees an opportunity to unite the Americas against foreign interference. Whereas Trump preaches hate, Bad Bunny preaches love. Call it the “Donroe doctrine” versus the  “Ocasio doctrine.” 

The reactions to Bad Bunny’s performance were, unsurprisingly, polarized. Right-wing media criticized his refusal to sing in English for U.S. audiences, while left-wing media praised him for his symbolic rejoinder to Trump and conviction that all American nations deserve sovereignty and respect. Days after criticizing Trump’s ICE raids at the Grammys, Bad Bunny put on a spectacle so spectacular that surely the president couldn’t ignore it. For tens of millions of Hispanic Americans, Bad Bunny’s performance was a testament to their culture’s indissolubility.

Immigrants, legal and illegal, are an indispensable part of American society. Many legal immigrants are overrepresented among entrepreneurs, contribute disproportionately to scientific breakthroughs, found many major corporations and startup ventures, and contribute significantly to tax revenue and consumer demand. Meanwhile, many illegal immigrants are a vital part of the manual labor infrastructure in the U.S. and perform jobs at wages that other Americans would never do them for. In both cases, immigrants remain, again, indispensable, and it is none other than Bad Bunny who has demonstrated their singular value on the world stage. What should have been a nationwide celebration of immigrant contributions, however, descended into controversy as right-wing commentators flocked to X and other platforms to criticize Bad Bunny. Among those who spoke out were President Trump himself and House Speaker Mike Johnson who called the Bad Bunny selection a terrible decision. Moreover, a petition for country singer George Strait to headline the Super Bowl halftime show garnered 120,000 signatures and read: “The Super Bowl halftime show should unite our country, honor American culture, and remain family-friendly, not be turned into a political stunt.”

But, then again, Super Bowl halftime shows have always been controversial. In 2012, M.I.A. showed the camera the middle finger. In 2016, Beyoncé raised a fist to celebrate blackness. In 2020, Jennifer Lopez and Shakira sang with children in cages. And, in 2022, Eminem took a knee in solidarity with Colin Kaepernick. Each of these cases was controversial for its own reasons and, in some cases, subtly political. However, what differentiates Bad Bunny is his willingness to go beyond mere theatrics and make a genuinely overt geopolitical statement about the unity of the American nations. Again, call it the Ocasio doctrine.

While the halftime show was going on, an alternative, counter-concert organized by the conservative activist group Turning Point USA also took place. Headlined by the country-rap star Kid Rock, the set also included country singer Brantley Gilbert and balladeer Lee Brice. Considering that Kid Rock once rapped, “Young ladies, young ladies / I like ’em underage, see / Some say that’s statutory / But I say it’s mandatory,” it is surprising to see this alternative show billed as a “family-friendly” option to the ostensible provocations of Bad Bunny. 

What permeated Bad Bunny’s performance was a palpable sense of joy emanating from the tracksuit-clad popstar. Set against sugarcane fields and Old San Juan, Bad Bunny opened the set with his hit “Tití Me Preguntó” about refusing to settle down against his family’s wishes. Moving forward, he covered songs from his entire catalogue, including albums such as DeBÍ TiRAR MáS FOToS (2025), Nadie Sabe Lo Que Va a Pasar Mañana (2023), and Un Verano Sin Ti (2022). Blending elements of Latin trap and reggaeton as well as pop, rock, bachata, and soul, Bad Bunny’s set was a celebration of the diversity of musical genres as well as the diverse legions of fans who support him. 

But how could the Ocasio doctrine shape criticism of Trump’s imperial posture towards Latin America moving forward? After all, Trump’s meddling in Venezuela and persecution of Latino citizens has shown no sign of slowing down. Perhaps a subtler change, then, may emerge from all of this; a change grounded in Bad Bunny’s message displayed on the Jumbotron that “the only thing more powerful than hate is love.” As I wrote in an article recently, the United States has a long history of intervention in Latin America, the Middle East, and beyond. But, at our best moments, as seen by the civil resistance in Minneapolis, we still seem capable of loving our neighbors. Bad Bunny’s inclusive vision, then, is not so much geopolitical as it is distinctly American: a plea to support our communities against government tyranny.  

Please Read The Following For More Information:

Chow, Andrew. “Bad Bunny’s Super Bowl Halftime Show Was an Exuberant Act of Resistance.” TIME Magazine. 9 February, 2026.

Sanneh, Kelefa. “Bad Bunny’s All-American Super Bowl Halftime Show.” The New Yorker. 8, February, 2026.

“Bad Bunny Delivers Joyful Super Bowl Halftime Show.” The New York Times. 8, February, 2026.