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Bad Bunny's Puerto Rico Takeover

Bad Bunny's Puerto Rico Takeover

Yahooa day ago
Few entertainers have redefined the boundaries of language and sound quite like Bad Bunny, whose rise from SoundCloud obscurity to global icon status has made him a genre-shattering force. Even fans who don't speak a word of Spanish find themselves captivated by his poetic lyricism and hypnotic melodies -- proof that emotion and rhythm can transcend any linguistic barrier.
Now, as he returns to his native Puerto Rico for an extended residency, it feels like a full-circle moment for an artist who has never stopped waving the flag for his island -- whether on international stages or in the verses that put his homeland on the map.
When Benito announced a 30-show residency in January at the Coliseo de Puerto Rico José Miguel Agrelot, we immediately knew it would signify a monumental shift for the industry and a financial boon for the Caribbean archipelago. There was a curious anticipation for what we could expect, but obvious certainty that it would be a thoughtfully curated production packed with certain motifs only understandable by residents who resonate with Bad Bunny's frustration about growing gentrification in Puerto Rico and other political realities.
The first organized residency done by any artist in Puerto Rico, it's no surprise people wanted to see for themselves why Bad Bunny is so deeply in love with his homeland. Within four hours of tickets going on sale for the "No Me Quiero Ir De Aquí" residency, they were already sold out for the 18,500-seat venue. The first nine shows were reserved just for Puerto Rican residents, another example of how Bad Bunny prioritizes a community that never doubted his potential from the early days.
From there, hospitality officials jumped into action to pull off an extraordinary experience for visitors. Ahead of the three-month residency's start, it was already estimated that it would significantly stimulate the island's economy by at least $181 million and generate well over 35,000 hotel night bookings. Tourism jobs, which typically sit at around 100,000 on the island of 3.2 million people, could see a temporary spike of about 3%. In total, about 600,000 people are expected to visit Puerto Rico for the concert alone, which is roughly double the number of visitors the island usually gets.
This is what happens when the biggest artist on Earth reinvests in his roots.
From Local Hero to Global Host
In front of a full house on July 11, the opening night of "No Me Quiero Ir De Aquí" set the tone for what future attendees can expect. A three-hour ode to heritage, it began with a lesson on Puerto Rico's complex roots. Prior to Benito taking the stage, a giant screen flashed facts and messages in Spanish like "Puerto Rico is an archipelago, not just an island," "Puerto Rico is an unincorporated territory of the United States, but it has its own flag, culture, and identity," and "Puerto Rico has two native musical genres: bomba and plena," an homage to its African and working-class ethics.
How do you pack six albums' worth of hits into a few hours? An ambitious task, but no match for the guy whose creativity almost feels limitless at times. The setlist tracks from the 31-year-old's just-released (I Should Have Taken More Photos) and singles anyone with a social media account has heard over and over. In total, over 30 songs spanning three hours and genres such as reggaetón, salsa, bomba, trap, and plena, a true melting pot of the island's diverse sound. It's clear the music is for Puerto Ricans, about Puerto Ricans, from perhaps the most famous Puerto Rican.
With enough wardrobe changes to rival Beyoncé, the Grammy Award winner's first look features a beige Taíno-inspired ensemble with straw accents and a winter-trapper-style hat. From there, exquisite suiting in vibrant colors and more casual sets paired with sneakers from his long-running adidas partnership. Between the dancers working overtime and a crowd screaming the lyrics to every song, it's a pleasant display of sensory overload.
Puerto Rico has long been a wellspring of cultural influence, with its music, style, and message of resilience symbolizing an abundant reminder that happiness awaits on the other side of conflict. The island never needed Bad Bunny to validate its impact, but through his vision and massive platform, he's created something more: an immersive celebration that invites both residents and visitors to witness its brilliance firsthand. In doing so, he ensures that Puerto Rico's voice isn't just heard -- it echoes, unmistakably and indelibly, across the world.
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Tom Lehrer, song satirist and mathematician, dies at 97
Tom Lehrer, song satirist and mathematician, dies at 97

Associated Press

time35 minutes ago

  • Associated Press

Tom Lehrer, song satirist and mathematician, dies at 97

LOS ANGELES (AP) — Tom Lehrer, the popular song satirist who lampooned marriage, politics, racism and the Cold War, then largely abandoned his music career to return to teaching math at Harvard and other universities, has died. He was 97. Longtime friend David Herder said Lehrer died Saturday at his home in Cambridge, Massachusetts. He did not specify a cause of death. Lehrer had remained on the math faculty of the University of California at Santa Cruz well into his late 70s. In 2020, he even turned away from his own copyright, granting the public permission to use his lyrics in any format, without any fee in return. A Harvard prodigy (he had earned a math degree from the institution at age 18), Lehrer soon turned his very sharp mind to old traditions and current events. His songs included 'Poisoning Pigeons in the Park,' 'The Old Dope Peddler' (set to a tune reminiscent of 'The Old Lamplighter'), 'Be Prepared' (in which he mocked the Boy Scouts) and 'The Vatican Rag,' in which Lehrer, an atheist, poked at the rites and ceremonies of the Roman Catholic Church. (Sample lyrics: 'Get down on your knees, fiddle with your rosaries. Bow your head with great respect, and genuflect, genuflect, genuflect.') Accompanying himself on piano, he performed the songs in a colorful style reminiscent of such musical heroes as Gilbert and Sullivan and Stephen Sondheim, the latter a lifelong friend. Lehrer was often likened to such contemporaries as Allen Sherman and Stan Freberg for his comic riffs on culture and politics and he was cited by Randy Newman and 'Weird Al' Jankovic among others as an influence. He mocked the forms of music he didn't like (modern folk songs, rock 'n' roll and modern jazz), laughed at the threat of nuclear annihilation and denounced discrimination. But he attacked in such an erudite, even polite, manner that almost no one objected. 'Tom Lehrer is the most brilliant song satirist ever recorded,' musicologist Barry Hansen once said. Hansen co-produced the 2000 boxed set of Lehrer's songs, 'The Remains of Tom Lehrer,' and had featured Lehrer's music for decades on his syndicated 'Dr. Demento' radio show. Lehrer's body of work was actually quite small, amounting to about three dozen songs. 'When I got a funny idea for a song, I wrote it. And if I didn't, I didn't,' Lehrer told The Associated Press in 2000 during a rare interview. 'I wasn't like a real writer who would sit down and put a piece of paper in the typewriter. And when I quit writing, I just quit. ... It wasn't like I had writer's block.' He'd gotten into performing accidentally when he began to compose songs in the early 1950s to amuse his friends. Soon he was performing them at coffeehouses around Cambridge, Massachusetts, while he remained at Harvard to teach and obtain a master's degree in math. He cut his first record in 1953, 'Songs by Tom Lehrer,' which included 'I Wanna Go Back to Dixie,' lampooning the attitudes of the Old South, and the 'Fight Fiercely, Harvard,' suggesting how a prissy Harvard blueblood might sing a football fight song. After a two-year stint in the Army, Lehrer began to perform concerts of his material in venues around the world. In 1959, he released another LP called 'More of Tom Lehrer' and a live recording called 'An Evening Wasted with Tom Lehrer,' nominated for a Grammy for best comedy performance (musical) in 1960. But around the same time, he largely quit touring and returned to teaching math, though he did some writing and performing on the side. Lehrer said he was never comfortable appearing in public. 'I enjoyed it up to a point,' he told The AP in 2000. 'But to me, going out and performing the concert every night when it was all available on record would be like a novelist going out and reading his novel every night.' He did produce a political satire song each week for the 1964 television show 'That Was the Week That Was,' a groundbreaking topical comedy show that anticipated 'Saturday Night Live' a decade later. He released the songs the following year in an album titled 'That Was the Year That Was.' The material included 'Who's Next?' ponders which government will be the next to get the nuclear bomb ... perhaps Alabama? (He didn't need to tell his listeners that it was a bastion of segregation at the time.) 'Pollution' takes a look at the then-new concept that perhaps rivers and lakes should be cleaned up. He also wrote songs for the 1970s educational children's show 'The Electric Company.' He told AP in 2000 that hearing from people who had benefited from them gave him far more satisfaction than praise for any of his satirical works. His songs were revived in the 1980 musical revue 'Tomfoolery' and he made a rare public appearance in London in 1998 at a celebration honoring that musical's producer, Cameron Mackintosh. Lehrer was born in 1928, in New York City, the son of a successful necktie designer. He recalled an idyllic childhood on Manhattan's Upper West Side that included attending Broadway shows with his family and walking through Central Park day or night. After skipping two grades in school, he entered Harvard at 15 and, after receiving his master's degree, he spent several years unsuccessfully pursuing a doctorate. 'I spent many, many years satisfying all the requirements, as many years as possible, and I started on the thesis,' he once said. 'But I just wanted to be a grad student, it's a wonderful life. That's what I wanted to be, and unfortunately, you can't be a Ph.D. and a grad student at the same time.' He began to teach part-time at Santa Cruz in the 1970s, mainly to escape the harsh New England winters. From time to time, he acknowledged, a student would enroll in one of his classes based on knowledge of his songs. 'But it's a real math class,' he said at the time. 'I don't do any funny theorems. So those people go away pretty quickly.' ___ Former Associated Press writer John Rogers contributed to this story. Rogrers retired from The AP in 2021.

Montreal Canadiens captain Nick Suzuki and wife Caitlin share intimate wedding photos: 'Just the two of us, forever'
Montreal Canadiens captain Nick Suzuki and wife Caitlin share intimate wedding photos: 'Just the two of us, forever'

Yahoo

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Montreal Canadiens captain Nick Suzuki and wife Caitlin share intimate wedding photos: 'Just the two of us, forever'

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Tom Lehrer, Musical Satirist With a Dark Streak, Dies at 97
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New York Times

time2 hours ago

  • New York Times

Tom Lehrer, Musical Satirist With a Dark Streak, Dies at 97

Tom Lehrer, the Harvard-trained mathematician whose wickedly iconoclastic songs made him a favorite satirist in the 1950s and '60s on college campuses and in all the Greenwich Villages of the country, died on Saturday at his home in Cambridge, Mass. He was 97. His death was confirmed by David Herder, a friend. Mr. Lehrer's lyrics were nimble, sometimes salacious and almost always sardonic, sung to music that tended to be maddeningly cheerful. Accompanying himself on piano, he performed in nightclubs, in concert and on records that his admirers purchased, originally by mail order only, in the hundreds of thousands. But his entertainment career ultimately took a back seat to academia. In his heart he never quit his day job; he just took a few sabbaticals. He stopped performing in 1960 after only a few years, resumed briefly in 1965 and then stopped for good in 1967. His music was ultimately just a momentary detour in an academic career that included teaching posts at Harvard, the Massachusetts Institute of Technology and the University of California, and even a stint with the Atomic Energy Commission. As popular as his songs were, Mr. Lehrer never felt entirely comfortable performing them. 'I don't feel the need for anonymous affection,' he told The New York Times in 2000. 'If they buy my records, I love that. But I don't think I need people in the dark applauding.' Mr. Lehrer's songwriting output was modest, but it was darkly memorable. In the tasteless world he evoked, a seemingly harmless geezer turned out to be 'The Old Dope Peddler' and spring was the time for 'Poisoning Pigeons in the Park.' Want all of The Times? Subscribe.

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