Sheilla R. Madera is professor at Florida International University.Nelson Varas-Díaz is professor at Florida International University. Daniel Nevárez Araújo is assistant professor at the University of Puerto Rico.

• List of Tables and FiguresChapter 1: “Bad Bunny está ‘ien cabrón”: Reflections in ChiaroscuroChapter 2: The Profane, the Lewd, and the Misogynistic in Puerto Rican Singing: A Historical and Interpretative Primer to Bad Bunny Song’s Lyrics (1900-2022)Chapter 3: (Nada es) ‘Como antes:’ Bad Bunny’s Historical Memory and the Limits of Nostalgia.Chapter 4: Cuir Dialogic Intimacies: Mapping Lo Cuir in Bad Bunny’s Performance Repertoire Chapter 5: Bad Bunny on the Global Stage: The Network Society, Streaming, and the Latin Music IndustryChapter 6: Bad Bunny’s “nueva religión” as a Postmodern Reimagining of the Religious/Secular ParadigmChapter 7: “Andrea”: Intersectional Struggles of the Puerto Rican Women RevealedChapter 8: Bad Bunny and the Queer Trans-formation of ReggaetonChapter 9: Bad Bunny Above Ground: The Aesthetics of Nostalgia and (Black) Aural Citation Chapter 10: Las “Ganas adentro del Explosion”: The New Millennium of Bad Bunny's YHLQMDLG Music Videos Chapter 11: “Esto e’ un ratito, mami, no te acostumbre’”: Bad Bunny and the Reproduction of Zygmunt Bauman’s Liquid LoveChapter 12: More than Spanish to English Code-switching: An Analysis of Bad Bunny’s Translanguaging Practices throughout his DiscographyChapter 13: “¿Estamos bien?”: The Affective and Cultural Consequences of Engagement with Bad Bunny Chapter 14. "Lo $iento Bad Bunny pero no estamos bien": Bad Bunny's Presence in Chile's 2019 Social UpheavalAbout the Contributors

Reading each chapter is to see Puerto Rico through one of the rhythms that has captivated and challenged more than one generation. You are invited to see its slang through the eyes of Boricuas, and from the perspective of a Latin America absorbed in the Bad Bunny effect. It’s a walk to be captivated by our identities that are manifested in his music. It is to find how Bad Bunny denounces and expresses what he sees and experiences in the archipelago, and how other people perceive him. It is history, community and academia, dancing to our realities, al ritmo del reguetón.

Sheilla R. Madera is professor at Florida International University.Nelson Varas-Díaz is professor at Florida International University. Daniel Nevárez Araújo is assistant professor at the University of Puerto Rico.

• List of Tables and FiguresChapter 1: “Bad Bunny está ‘ien cabrón”: Reflections in ChiaroscuroChapter 2: The Profane, the Lewd, and the Misogynistic in Puerto Rican Singing: A Historical and Interpretative Primer to Bad Bunny Song’s Lyrics (1900-2022)Chapter 3: (Nada es) ‘Como antes:’ Bad Bunny’s Historical Memory and the Limits of Nostalgia.Chapter 4: Cuir Dialogic Intimacies: Mapping Lo Cuir in Bad Bunny’s Performance Repertoire Chapter 5: Bad Bunny on the Global Stage: The Network Society, Streaming, and the Latin Music IndustryChapter 6: Bad Bunny’s “nueva religión” as a Postmodern Reimagining of the Religious/Secular ParadigmChapter 7: “Andrea”: Intersectional Struggles of the Puerto Rican Women RevealedChapter 8: Bad Bunny and the Queer Trans-formation of ReggaetonChapter 9: Bad Bunny Above Ground: The Aesthetics of Nostalgia and (Black) Aural Citation Chapter 10: Las “Ganas adentro del Explosion”: The New Millennium of Bad Bunny's YHLQMDLG Music Videos Chapter 11: “Esto e’ un ratito, mami, no te acostumbre’”: Bad Bunny and the Reproduction of Zygmunt Bauman’s Liquid LoveChapter 12: More than Spanish to English Code-switching: An Analysis of Bad Bunny’s Translanguaging Practices throughout his DiscographyChapter 13: “¿Estamos bien?”: The Affective and Cultural Consequences of Engagement with Bad Bunny Chapter 14. "Lo $iento Bad Bunny pero no estamos bien": Bad Bunny's Presence in Chile's 2019 Social UpheavalAbout the Contributors

Reading each chapter is to see Puerto Rico through one of the rhythms that has captivated and challenged more than one generation. You are invited to see its slang through the eyes of Boricuas, and from the perspective of a Latin America absorbed in the Bad Bunny effect. It’s a walk to be captivated by our identities that are manifested in his music. It is to find how Bad Bunny denounces and expresses what he sees and experiences in the archipelago, and how other people perceive him. It is history, community and academia, dancing to our realities, al ritmo del reguetón.

Sheilla R. Madera is professor at Florida International University.Nelson Varas-Díaz is professor at Florida International University. Daniel Nevárez Araújo is assistant professor at the University of Puerto Rico.

• List of Tables and FiguresChapter 1: “Bad Bunny está ‘ien cabrón”: Reflections in ChiaroscuroChapter 2: The Profane, the Lewd, and the Misogynistic in Puerto Rican Singing: A Historical and Interpretative Primer to Bad Bunny Song’s Lyrics (1900-2022)Chapter 3: (Nada es) ‘Como antes:’ Bad Bunny’s Historical Memory and the Limits of Nostalgia.Chapter 4: Cuir Dialogic Intimacies: Mapping Lo Cuir in Bad Bunny’s Performance Repertoire Chapter 5: Bad Bunny on the Global Stage: The Network Society, Streaming, and the Latin Music IndustryChapter 6: Bad Bunny’s “nueva religión” as a Postmodern Reimagining of the Religious/Secular ParadigmChapter 7: “Andrea”: Intersectional Struggles of the Puerto Rican Women RevealedChapter 8: Bad Bunny and the Queer Trans-formation of ReggaetonChapter 9: Bad Bunny Above Ground: The Aesthetics of Nostalgia and (Black) Aural Citation Chapter 10: Las “Ganas adentro del Explosion”: The New Millennium of Bad Bunny's YHLQMDLG Music Videos Chapter 11: “Esto e’ un ratito, mami, no te acostumbre’”: Bad Bunny and the Reproduction of Zygmunt Bauman’s Liquid LoveChapter 12: More than Spanish to English Code-switching: An Analysis of Bad Bunny’s Translanguaging Practices throughout his DiscographyChapter 13: “¿Estamos bien?”: The Affective and Cultural Consequences of Engagement with Bad Bunny Chapter 14. "Lo $iento Bad Bunny pero no estamos bien": Bad Bunny's Presence in Chile's 2019 Social UpheavalAbout the Contributors

Reading each chapter is to see Puerto Rico through one of the rhythms that has captivated and challenged more than one generation. You are invited to see its slang through the eyes of Boricuas, and from the perspective of a Latin America absorbed in the Bad Bunny effect. It’s a walk to be captivated by our identities that are manifested in his music. It is to find how Bad Bunny denounces and expresses what he sees and experiences in the archipelago, and how other people perceive him. It is history, community and academia, dancing to our realities, al ritmo del reguetón.