At the Brookfield Zoo, near Chicago, sloshing inside bags of oxygen and water, thousands of tadpoles await their transformation into what the Chicago Tribune has already dubbed “celebrity amphibians.” A few months ago, the sapo concho was bound for extinction. The native Puerto Rican toad has long been endangered on the island thanks to habitat loss and invasive species. Yet fame, then fortune, found the concho: In January, Bad Bunny released his latest album, Debí Tirar Más Fotos, as well as a short film of the same name, both of which feature a cartoon concho. After the record’s chart-topping release, the Puerto Rican Crested Toad Conservancy received donations toward funding a new breeding center on the island; the Brookfield Zoo’s long-standing conservation efforts also got a media boost. And the concho found fans across the world—especially among people who see its plight as analogous to their own, and who have latched on to it as a symbol of resilience.
在芝加哥附近的布鲁克菲尔德动物园，在氧气和水的袋子里晃动，成千上万的t t t tar tark the the等他们转变为芝加哥论坛报（Chicago Tribune）已经被称为“名人两栖动物”。几个月前，Sapo Concho被束缚灭绝。由于栖息地的丧失和入侵性物种，波多黎各人蟾蜍长期以来一直在岛上受到威胁。然而，成名，当时的财富，找到了Concho：一月份，Bad Bunny发行了他的最新专辑DebíTirarMásFotos，以及同名的短片，这两部电影都以卡通剧作家的身份。在唱片排行榜上发行后，波多黎各山顶的蟾蜍保护协会收到了为岛上一个新的繁殖中心提供资金的捐款。布鲁克菲尔德动物园的长期保护工作也得到了媒体的提升。康乔（Concho）在世界各地都找到了粉丝，尤其是在那些认为其困境类似于自己的人并且已经将其视为弹性象征的人。
Along with its toad envoy, Bad Bunny’s sprawling DTMF project has, as a whole, become anthemic for those facing displacement worldwide. The track “Lo Que Le Pasó a Hawaii” (“What Happened to Hawaii”), for one, is a prophetic lamentation in which Bad Bunny urges Puerto Rico not to end up like Hawaii, referencing the cultural erosion and gentrification that has accompanied Hawaiian statehood; the song has been covered and close-read not just by Puerto Ricans but also by Native Hawaiians, Dominicans, Costa Ricans, and Ecuadorians, who note their land’s parallel struggles. “DTMF”—the album’s nostalgic title track, which features the chorus “I should’ve taken more pictures when I had you”—has been called the “unofficial anthem of the Palestinian people” and the “soundtrack for Gaza’s visual archive” by some journalists, having been used on social media to accompany videos of life in Gaza and Lebanon taken before the events of October 7. (“I hope my people never move away,” sings a discordant crew of voices on “DTMF,” sounding like an otherworldly band of ancestors.)
与其蟾蜍使节，Bad Bunny庞大的DTMF项目从整体上成为全球面临流离失所者的幻想。曲目“夏威夷的Lo Que lepasó”（“夏威夷发生了什么”）是一种预言性的哀叹，在这种哀叹中，坏兔子敦促波多黎各不像夏威夷那样结束，指的是伴随夏威夷国家的文化侵蚀和绅士化；这首歌不仅被波多黎各人，而且还涵盖了夏威夷原住民，多米尼加人，哥斯达黎加人和厄瓜多尔人，他们都指出了他们的土地的平行斗争。“DTMF”—the album’s nostalgic title track, which features the chorus “I should’ve taken more pictures when I had you”—has been called the “unofficial anthem of the Palestinian people” and the “soundtrack for Gaza’s visual archive” by some journalists, having been used on social media to accompany videos of life in Gaza and Lebanon taken before the events of October 7. (“I hope my people never move远处。
But the 13-minute Debí Tirar Más Fotos short film, which Bad Bunny co-wrote and co-directed with the filmmaker Arí Maniel Cruz Suárez, is the DTMF project’s most poignant discussion of displacement. It speaks to the cultural erasure that threatens dispossessed people everywhere, the feeling of slowly losing a homeland—comparable to the ache of phantom limb. Bad Bunny’s film brings this concept—often discussed using dry academic jargon—to life in a particularly inventive way: He throws viewers into a sensory-deprivation-tank model of Puerto Rico, in which the sounds and sights that define its culture seem to be going extinct. Debí Tirar Más Fotos proposes that, when Puerto Rican politicians respond insufficiently and callously to ecological disasters and cater to outside investors more than locals—as Bad Bunny has often noted they do—the island loses what makes it Puerto Rico: its music, its culture, its people.
但是，《 Bad Bunny》与电影制片人AríManielCruzSuárez共同创作并与之共同执导了13分钟的DebíTirarMásFotos短片，是DTMF项目对流离失所的最凄美的讨论。它讲述了威胁到各地驱散人们的文化擦除，这种感觉慢慢失去了家园，这与幻影肢体的疼痛相吻合。Bad Bunny的电影将这一概念带到了以一种特别创造力的方式来生活中的这种概念：他将观众带入波多黎各的感官剥夺坦克模型，其中定义其文化的声音和视线似乎已经灭绝了。DebíTirarMásFotos提出，当波多黎各政客对生态灾难的反应不足，对生态灾难的反应不足，并且对外部投资者的反应比当地人更多时 - 正如Bad Bunny经常指出的那样，他们的工作 - 岛上的岛屿失去了波多黎各：它的音乐，音乐，文化，其人民，其人民。
The film highlights this tension through an allegory of an old man and a toad. The characters are more symbolic than specific, the kind of stand-ins that displaced people anywhere might relate to. The man (played by Jacobo Morales) is seemingly one of the few Puerto Ricans left in his nameless neighborhood; he is listed in the credits only as “Señor.” His friend Concho is an anthropomorphic version of the endangered amphibian. Together, the film suggests, the two represent the Puerto Ricans, human and nonhuman, who are being ousted from the island by, among other factors, poor governance and social inequality.
这部电影通过一个老人和蟾蜍的寓言突出了这种紧张感。角色比特定的角色更像是象征性的，这种替代者可能与任何地方有关。这个男人（由雅各布·莫拉莱斯（Jacobo Morales）扮演）似乎是剩下的少数波多黎各人之一。他仅在荣誉中被列为“Señor”。他的朋友康乔（Concho）是濒临灭绝的两栖动物的拟人化版本。这部电影认为，这两者共同代表了波多黎各人，人类和非人类，他们被不良的治理和社会不平等从岛上驱逐出境。
Displacement isn’t a new subject for Bad Bunny: The artist’s 2022 song “El Apagón” features the chorus “What belongs to me, they’ll keep it to themselves,” followed by “This is my beach, this is my sun / This is my land, this is me.” His music video for the track took the form of a 22-minute documentary by the journalist Bianca Graulau; it was packed with reporting on how tax breaks have made it easy for investors to buy up properties, outprice locals, and develop luxury rentals across Puerto Rico. These critiques are undergirded by Bad Bunny’s long-standing devotion to the island, which has been amplified in recent appearances he’s made to promote his latest record. Take the Puerto Rican flag he projected onto Saturday Night Live’s stage in May during a performance, or his upcoming summer residency in San Juan, aptly titled “No Me Quiero Ir de Aquí” (“I Don’t Want to Leave Here”).
流离失所并不是Bad Bunny的新主题：艺术家的2022年歌曲“ ElApagón”以合唱为“属于我的东西，他们会保留自己”的合唱，然后是“这是我的海滩，这是我的太阳 /这是我的土地，这是我的土地，这是我。”他的曲目音乐录影带以记者比安卡·格劳拉（Bianca Graulau）的22分钟纪录片形式。它充满了有关税收减免如何使投资者轻松购买房地产，高价当地人并在波多黎各开发豪华租金变得容易的报告。这些批评受到了Bad Bunny对岛屿的长期奉献精神的影响，在最近露面中，他为宣传他的最新唱片而被放大。在5月的演出期间，他投射到周六夜现场的舞台上，或者他即将在圣胡安（San Juan）的夏季居住地占据了波多黎各旗帜，恰当地称为“ No Me Quiero irdeageagí”（“我不想离开这里”）。
Read: Bad Bunny has it all—and that’s the problem
阅读：坏兔子拥有一切 - 这就是问题
The Debí Tirar Más Fotos short film, though, excels at depicting cultural upheaval: Instead of relying on headlines, as in the “El Apagón” music video, Bad Bunny slips viewers into an off-kilter dreamscape—a Puerto Rico with barely any Puerto Ricans. Señor and Concho’s community looks like a deserted Epcot version of the island. The empty streets are awash in pastel hues. When Señor strolls to the local bakery to get a treat, he encounters only a pair of young English speakers consulting their phones for directions and a grilling, football-playing family with drawling southern accents, whose patriarch gives Señor a “get off my lawn” stare. The café exudes a watered-down Caribbean vibe—it’s called the Flamboyán Bakery, after Puerto Rico’s renowned flame tree, and quickly sells out of its vegan spin-off of the quesito pastry. Its menu is in English, and we seldom hear Spanish spoken among its employees and clientele. When Señor tries to pay in cash, he’s told that the store is a “cashless environment.” All of this may leave the viewer feeling disoriented: Is this really Puerto Rico?
不过，DebíTirarMásFotos短片擅长描绘文化动荡：而不是像“Elapagón”音乐录影带那样依靠头条新闻，而是Bad Bunny将观众滑入了一个偏僻的Dreamscape中，这是一个波多黎各，这是一个差不多的Puerto Ricicans。Señor和Concho的社区看起来像是该岛的荒芜Epcot版本。空旷的街道散发着柔和的色调。当塞纳尔（Señor）漫步到当地的面包店以获取待遇时，他只遇到一对年轻的英语说话者，咨询了他们的手机，并带有烧烤，播放足球的家庭，上面绘制了南方口音，他们的父权制给塞尼奥（Señor）带来了“去我的草坪”。在波多黎各著名的火焰树之后，咖啡馆散发着浇水的加勒比海氛围，称为Flamboyán面包店，并迅速从Quesito Pastry的素食主义者衍生出来。它的菜单是英文的，我们很少听到西班牙语在其员工和客户中讲话。当Señor试图以现金付款时，他被告知这家商店是“无现金环境”。所有这些都可能使观众感到迷失方向：这真的是波多黎各吗？
There’s also nary a reggaeton or salsa tune in the film’s first act, which may add to the confusion. Only English-language country and emo-rock songs float out of the homes Señor passes. Not until the old man returns home from the pricey café, two-thirds into the film, do the longing plucks of a bolero song start to play (a snippet of “Turista,” off Debí Tirar Más Fotos). It scores a small, more classical portrait of Caribbean life; Señor places a moka pot on a gas stove, cuts up bread, and pours his cafecito into a little green cup. After a long, uncanny absence—and among the overall strangeness of the town—the bolero riffs land on the viewer like an emotive tidal wave, flooding the largely muted streets with sound. At the bakery, Señor seemed uncomfortable, forced to speak halting English; at home, with his daily tasks scored by swooning traditional tunes, he looks at ease once again. His house becomes an oasis of local Puerto Rican music in a neighborhood that appears to be quickly forgetting its culture.
这部电影的第一幕也有雷鬼或莎莎味，这可能会加剧混乱。只有英语国家和emo摇滚歌曲从家中浮出水面。直到老人从昂贵的咖啡馆回到家中，电影中的三分之二才能开始演奏Bolero歌曲的渴望（“ Turista”的片段，OffDebíTirar-Másfotos）。它为加勒比海的生活刻画了一幅较小的，更古典的肖像。Señor将一个Moka锅放在煤气炉上，切成面包，然后将Cafecito倒入一个小绿色杯子中。经过一段漫长而不可思议的缺席以及城镇的整体陌生感，Bolero即兴即兴的即将到来，就像一阵潮汐浪潮一样，在很大程度上充满了声音。在面包店，塞诺（Señor）似乎不舒服，被迫说话停止英语。在家里，他的日常任务通过散发出传统的曲调来得分，他再次轻松地看着。他的房子变成了当地波多黎各音乐的绿洲，这似乎很快忘记了文化。
This scarce use of Caribbean music feels intentional: One of the effects of gentrification, Bad Bunny proposes, is silence. Throughout the DTMF album, Bad Bunny laments how many Puerto Ricans have been forced to leave the island amid financial struggles and environmental disasters such as Hurricane Maria; this is most notable on “Lo Que Le Pasó a Hawaii,” in which he notes that “no one here wanted to leave, and those who left dream of returning.” (As of 2018, more Puerto Ricans live outside Puerto Rico than on the island; the same is true of native Hawaiians and Palestinians in their respective lands.) The DTMF short film makes their absence palpable. “Did you hear that? That music!” the old man says to Concho, when a red sedan drives by their front porch playing reggaeton (Bad Bunny’s “Eoo”). The old man is moved. “You barely see that anymore,” he says of the car moseying past. “I miss hearing the young people hanging out, the motorcycles—the sound of the neighborhood.” Señor and Concho, it seems, live in a community that has turned its volume down, now that most of its Puerto Rican inhabitants have left.
加勒比音乐的这种稀缺使用感觉是有意的：绅士化的影响之一，坏兔子提出，是沉默。在整个DTMF专辑中，Bad Bunny哀叹在金融斗争和环境灾难（如飓风玛丽亚）的情况下，有多少波多黎各人被迫离开该岛；这是在“夏威夷的洛阿帕索”上最引人注目的，他指出：“没有人愿意离开，而那些留下梦dream以求的人”。（截至2018年，波多黎各人居住在波多黎各以外的波多黎各人要比岛上的地方更多；夏威夷原住民和巴勒斯坦人在各自的土地上也是如此。）DTMF短片使他们的缺席使他们的缺席显而易见。“你听到了吗？那音乐！”老人对Concho说，当红轿车驶过前廊扮演Reggaeton（Bad Bunny的“ EOO”）。老人被感动了。“你几乎看不到了，”他谈到过去的汽车时说道。“我很想念年轻人闲逛，摩托车 - 附近的声音。”塞纳尔（Señor）和康乔（Concho）似乎生活在一个已经降低数量的社区，因为它的大多数波多黎各居民已经离开了。
Read: Why do rich people love quiet?
阅读：为什么有钱人喜欢安静？
Yet Bad Bunny offers up one possible way for Puerto Ricans both on and off the island—and any group facing similar trials—to resist the cultural erasure that can accompany displacement. The proposal: to joyfully tout their music and traditional symbols. It’s an idea that’s threaded through the DTMF album, which is full of imperative lyrics such as “Don’t let go of the flag nor forget the le-lo-lai” (a lyrical scat often used in jíbaro music, a folk genre that originated in the Puerto Rican countryside). The accompanying film ends on a similar note, as Concho and Señor, the everymen of the island, model a moment of cultural pride. Concho suggests that his friend shake up the neighborhood’s ghostly quiet; why not drive around blaring some perreo bops?
然而，Bad Bunny为岛上外外的波多黎各人（以及任何面临类似试验的群体）提供了一种可能的方法，以抵制可能伴随流离失所的文化擦除。提案：欢乐地吹捧他们的音乐和传统符号。这个想法是通过DTMF专辑进行的，其中充满了当务之急的歌词，例如“不要放开国旗，也不会忘记le-lo-lai”（一种经常用于JíbaroMusic中的抒情片，这是一种起源于波多黎各Rican Countryside的民间类型）。随附的电影以类似的音符结束，就像岛上的每个人康乔（Concho）和塞诺（Señor）一样，模仿了文化自豪感。康乔（Concho）建议他的朋友摇晃着附近的幽灵般的安静。为什么不开车打perreo bops？
The old man entertains this idea, though only as a daydream. In his mind’s eye, he sees himself behind the wheel of a Jeep, the windows down. He’s blasting Bad Bunny’s song “Veldá” throughout the hilly, vacant streets. It’s a triumphant, defiant vignette—an assertion that, as the old man tells Concho, “seguimos aquí.” We’re still here.
老人却带来了这个想法，尽管只是做白日梦。在他的眼中，他看到自己在吉普车的方向盘后面，窗户向下看。在整个丘陵，空置的街道上，他正在爆炸Bad Bunny的歌曲“Veldá”。这是一个胜利的反抗小插图 - 正如老人告诉康乔（Concho）的那样，“塞吉莫斯·阿奎（SeguimosAquií）。我们还在这里。
