In his latest single, Lo Que Le Pasó a Hawai’i, Bad Bunny doesn’t just offer another reggaetón hit for fans to vibe to—he pens an anthem of defiance and awareness. Through the pulsating beats and biting lyrics, the Puerto Rican artist highlights the growing plague of gentrification on his beloved island and throughout Latin America, framing it as a battle between the preservation of cultural heritage and the encroachment of foreign wealth.
Puerto Rico, with its stunning beaches and vibrant culture, has long been a tourist magnet. But recently, it’s become a haven for wealthy outsiders looking to exploit tax loopholes, buying up land and homes and pricing locals out of their own neighborhoods. Law 22, a Puerto Rican statute offering generous tax breaks to investors, has drawn affluent transplants who convert communities into playgrounds for the rich. Bad Bunny’s song captures the pain of watching his homeland become unrecognizable—a place where the identity of Puerto Rico is being sold off piece by piece.
This story isn’t unique to Puerto Rico. Across Latin America, gentrification has arrived under the guise of “economic development.” Cities like Mexico City, Medellín and San José have seen an influx of expatriates, digital nomads and investors seeking cheap property. While this may boost local economies in the short term, it creates a tidal wave of displacement for low-income residents, erases local traditions and fosters resentment among native communities.
Bad Bunny’s lyrics in Lo Que Le Pasó a Hawai’i are a rallying cry against this cycle of exploitation. By referencing Hawai’i, he draws a parallel between the commodification of Puerto Rican land and the history of Hawaiian colonization and displacement. Hawai’i, once a sovereign kingdom, was annexed by the United States and transformed into a tourism-dependent state, stripping Native Hawaiians of their land, language and cultural autonomy. Bad Bunny warns that Puerto Rico is heading down the same path.
The music video, which juxtaposes images of idyllic beaches with scenes of eviction notices and protest signs, amplifies the message. It’s a stark reminder that the charm of these lands is not just in their physical beauty, but in the people who call them home. Bad Bunny’s choice to use his platform for advocacy—while at the height of his career—makes the message resonate even louder.
The gentrification of Puerto Rico isn’t just a story about foreign investors; it’s a reflection of systemic inequality in Latin America as a whole. For centuries, these regions have been seen as commodities for outside consumption, from the days of colonization to modern-day tourism and real estate. What Bad Bunny brings to light is that these cycles persist, albeit under different names and policies.
For students at the University of New Haven and beyond, Lo Que Le Pasó a Hawai’i is a call to examine privilege and power. It challenges us to rethink the way we travel, invest and engage with cultures not our own. Are we contributing to the preservation of these communities, or are we accelerating their erasure? As global citizens, these are questions we must ask ourselves.
Bad Bunny’s critique is a reminder that culture is not a commodity to be sold but a living, breathing force that connects people to their history and identity. Puerto Rico and Latin America are more than just Instagram-worthy destinations; they are home to communities that deserve to thrive—not just survive.
So, as Lo Que Le Pasó a Hawai’i climbs the charts and plays at parties, it’s worth taking a moment to listen beyond the beat. Bad Bunny has handed us more than a song; he’s handed us a mirror. What we see in it is up to us.
