Beyond English: How Bad Bunny Redefines Bilingual Representation in Media

Why Hearing Two Languages and Diverse Accents Matters in Today’s Media

Photo by Waranya Mooldee

Have you ever noticed that non-native speakers are rarely featured on TV? Similarly, it's uncommon to hear people switch between two languages within the same conversation on screen. This lack of representation can lead many to mistakenly believe that using multiple languages—or speaking in a non-native tongue—is somehow incorrect. Let me share a story to illustrate how pervasive this misconception is. Yet, Bad Bunny is helping to change it.

One of my colleagues approached me for advice on teaching a research methods course in Spanish—not a Spanish language course, but one unrelated to language studies. She was concerned that her students, primarily New Yorkers of Hispanic descent —linguists call them heritage speakers— might use Spanglish during the course. Many academics view mixing languages as problematic. I shared my approach to this “issue” from teaching interpreting, where using one language exclusively is essential. Interpreters are needed precisely because they facilitate communication between people who don't share a common language. Constantly switching languages would hinder this goal.

However, I recognize that many of my students grew up in environments where switching between English and Spanish is natural. If I were to ban it in my class, they might withdraw and avoid using Spanish altogether, which is often their non-dominant language. Instead, I address it head-on. We discuss what code-switching is, its benefits in communicating with certain communities, and how it can sometimes impede understanding. When students switch to English because they can’t find a Spanish word, I provide the correct Spanish term and encourage them to continue. This approach not only respects their linguistic backgrounds but also prepares them to be effective interpreters, much like how artists like Bad Bunny navigate bilingual expression in mainstream media.

Bad Bunny has unapologetically embraced singing in Spanish, refusing to cater to global expectations for artists to perform in English. While he remains open to singing in English in the future, his recent New York Times podcast interview exemplifies this cultural defiance. It showcases how bilingual and bicultural communication is becoming more visible in mainstream media—a shift I applaud, both for Bad Bunny’s courage and the New York Times’ willingness to spotlight such narratives.

During the interview, Bad Bunny fluidly code-switches between English and Spanish. Although it’s unclear how much Spanish the interviewers understand, they adeptly keep up with the conversation, indicating a basic proficiency in both languages. This mirrors how millions of bilingual individuals communicate daily. The natural blend of languages, often referred to as Spanglish, feels authentic to those navigating between cultural worlds. However, such linguistic fluidity is rarely showcased in intellectual spaces like The New York Times, making Bad Bunny’s interview a significant step towards normalization.

Often, discussions around language use focus on whether the audience will understand the content, hinging on proficiency levels. In this interview, the New York Times interviewers expressed concern about whether non-Spanish speakers would enjoy his music as much. However, Benito doesn't prioritize universal understanding. He rightly points out that even native Spanish speakers can find his lyrics challenging due to his heavy use of Puerto Rican slang. By refusing to water down his language, Bad Bunny uses his platform to highlight his roots and authenticity, challenging the notion that accessibility must come at the expense of cultural integrity.

I would like to see more examples like Bad Bunny’s interview that normalize bilingual communication in spaces traditionally dominated by English. Such representations highlight a shift in media, acknowledging linguistic diversity instead of simplifying it for broader consumption. For bilingual and bicultural audiences, witnessing this authenticity is affirming, as it reflects their lived experiences. Moreover, it challenges the stigma around mixing languages, fostering a more inclusive and understanding society.

What if more mainstream platforms embraced linguistic complexity instead of prioritizing mere accessibility? Bad Bunny’s approach invites audiences to step outside their comfort zones, fostering curiosity and understanding across cultural boundaries. It’s perfectly fine if you don’t understand every single word; you can always ask and learn new expressions or terms, whether you are a native or non-native speaker. Embracing this complexity not only enriches the audience’s experience but also celebrates cultural and linguistic diversity.

Ultimately, Bad Bunny’s music and interviews transcend entertainment; they serve as powerful statements about identity and representation. His refusal to conform to linguistic or cultural expectations provides a blueprint for how art can thrive without sacrificing authenticity. There is growing room for such authenticity even in the most traditional spaces. This shift benefits artists and bilingual audiences and paves the way for a more inclusive and diverse media landscape.