La gente a la que le gusta Bad Bunny, que aprecia su música, que se ha pasado más horas en Ticketmaster para conseguir su entrada de las que disfrutará en el concierto, la que soltó una lágrima cuando Benito Antonio Martínez Ocasio convirtió la Super Bowl en una fiesta del orgullo latino, todas las mujeres feministas que disfrutamos del reguetón, las que cantamos orgullosas “yo perreo sola”, toda esa gente ha salido a defender la Casita de Bad Bunny con toda la gracia de su retórica. No porque la Casita estuviera o les pareciera bien, porque de hecho ha sido un error lamentable, sino porque pensaban que Benito Antonio es un buen tipo. Y que si Bad Bunny es bueno entonces la Casita tiene que serlo también.

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In September 2017, just as Abner Román and Karla Ly Quiñones were about to open the doors of Café Comunión in the Santurce neighborhood of San Juan, Puerto Rico, Hurricane Maria devastated the island.

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At a time when tens of thousands of people flock each night to see Bad Bunny in Madrid and share millions of videos capturing his every move, it feels strange to think that on this very day, exactly 50 years ago, a concert took place that was likely attended by fewer people than those dancing each night in the Puerto Rican star’s casita — and yet may have changed popular music forever.

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Bad Bunny performs today, June 1, at Metropolitano Stadium. He played on May 30 and 31, and will return on June 2, 3, and so on, for a total of 10 shows. In the entertainment industry, this is known as a musical residency — a series of concerts an artist stages in the same venue over a short period of time. There’s no exact number that defines one, but one of the core ideas behind the concept is impact: the more shows, the better.

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