With his gangster image, Colón ruffled the feathers of the musical establishment, but thrilled millions of fans as he displayed the raw rhythmic possibility of salsa

Willie Colón, who has died in New York at the age of 75, was many things: master blaster of Nuyorican salsa; Puerto Rican superstar; actor in Mexican soap operas; an activist and, later, a reactionary in New York politics. These are just a few of the myriad accomplishments of a musician who always seemed to be in a hurry to move on, make new music and get into a spat with a fellow salsero or political opponent. Colón was an energy source, a musician as loud and vibrant – and sometimes infuriating – as the city he lived and died in.

While to Nuyoricans – Puerto Ricans living in New York – Colón was a legend, to many Anglo New Yorkers he barely registered, perhaps noted by a few for playing with David Byrne during the singer’s adventures in Latin American music. He was nominated for 10 Grammys but never troubled the US Top 40, yet across much of Latin America he was arguably the most celebrated brass player of the past six decades, winning the Latin Grammys’ musical excellence award in 2004. Colón was to salsa what Elvis Presley was to rock’n’roll – the fearless teenager whose loose, fast, rough interpretation of the music he heard on the streets helped create a genre that grew into the dominant Latin dance music.

Puerto Rican rapper speaks at concert of Colón’s influence after trombonist, vocalist and composer dies aged 75

Tributes have poured in from stars including Bad Bunny for Willie Colón, the pioneering trombonist, vocalist and composer who died on Saturday aged 75.

With more than 30m albums sold, multiple platinum records and 11 combined Grammy and Latin Grammy nominations, Colón is among the most successful salsa artists of all time.

Puerto Rican singer sells out concerts in Portuguese-speaking Brazil with breakthrough ‘anti-American agenda of emancipation’

There is a saying in Brazil that Brazilians realise they are Latin only when they travel to the US or Europe.

Among the many reasons for this is that the largest country in Latin America is also the only one in the region where Portuguese is spoken rather than Spanish.

The Grammy winner will star alongside Edward Norton and Javier Bardem in a film inspired by an early 20th century revolutionary, directed by rapper Residente

Fresh off his victorious Super Bowl half-time show, Bad Bunny will take on his first lead acting role. The rapper and sometime actor will star in Porto Rico, a love letter to his home of Puerto Rico directed by the veteran rapper René “Residente” Pérez Joglar.

As announced by Deadline, the film boasts a starry cast including Viggo Mortensen, Javier Bardem and Edward Norton, as well as executive producer Alejandro G Iñárritu, director of Birdman and The Revenant.

The Puerto Rican star’s vision of American identity moved beyond colonial tropes to span an entire hemisphere

By now, many of us have a favorite part of Bad Bunny’s Super Bowl half-time performance. It’s a dense, rich set that invites rewatching to take in every thoughtful, exuberant detail – even though it’s barely 14 minutes long.

My most beloved part occurs a little more than nine minutes into the homage, when the cuatro puertorriqueño appears. The stringed instrument has its own moment in the spotlight, shown in the talented hands of the cuatrista José Eduardo Santana just before Ricky Martin performs.

Puerto Rican musician transformed high street fashion into a symbol of cultural power and accessibility

• Bad Bunny’s Super Bowl half-time show review – a thrilling ode to Boricua joy

Of the many cultural flashpoints in Bad Bunny’s Super Bowl half-time performance on Sunday, one that few observers saw coming was his decision to wear two outfits by the Spanish high street brand Zara.

As the most-watched event on US television, the Super Bowl half-time show is a marketing moment as much as a musical one. From Rihanna’s pregnancy reveal to Kendrick Lamar’s show-stealing jeans, the 13-minute showcase has long doubled as a luxury fashion parade.

While Trump has attacked the Grammy-winning Puerto Rican star, celebrities have come out in force to support the half-time show

As blue, red and white fireworks filled the sky at the end of Bad Bunny’s Super Bowl half-time show, a message filled the screen in all capitals: “The only thing more powerful than hate is love.”

It was the enduring statement from a 13-minute spectacle that invited an estimated 135.4 million viewers into Bad Bunny’s world, with richly textured references to politics, history and Puerto Rican culture. The artist born Benito Antonio Martínez Ocasio transformed the pitch of the Levi’s Stadium in Santa Clara, California, into his own love letter to the island, with cinematic set pieces including sugarcane fields, a house party, and a lively wedding ceremony featuring a surprise performance by Lady Gaga.

The claim that music sung in Spanish will alienate viewers ignores the fact that many people would rather join the fun than risk being left out of it

The morning after the 3 January US military action in Venezuela, in which Nicolás Maduro was captured, the Federal Aviation Administration temporarily closed airspace in parts of the eastern Caribbean, and my stay in St Kitts stretched into an unexpected extra week. At the mercy of the systems that determine which corridors open and when, and who gets routed where, an overwhelmed customer service agent suggested I charter a boat to nearby St Maarten, fly to Amsterdam, and then stitch together a series of flights to avoid the affected airspace. I understood the Caribbean, then, less as a string of proximate islands and, instead, as a set of routes connected by powers elsewhere.

Power doesn’t just regulate airspace, it also governs cultural transmission – who gets broadcast, who gets heard, and on what terms. That’s why the handwringing over the Puerto Rican artist Bad Bunny headlining the Super Bowl halftime show, and the characterization of his almost exclusive use of Spanish in his music as an intrusion, feel so disingenuous. The drama isn’t about understanding the lyrics. Rather it’s a claim about Bad Bunny and his music as fundamentally un-American, stemming from a fear of feeling left out, or the more colloquially known fear of missing out (Fomo).

Grammy-winning Puerto Rican star is in the center of US culture wars before leading this weekend’s half-time show

A few days after Christmas 2022, Bad Bunny, the Puerto Rican reggaetonero, appeared without warning on one of the most unlikely of stages: the roof of a Gulf Oil gas station in San Juan. To a massive crowd singing every word, he performed a surprise concert, along with friend and collaborator Arcángel, that was part hype-y music video shoot, part exultant post-tour homecoming, and part pointed critique. He ended the set with El Apagón (“The Power Outage”), a clubby protest anthem about local displacement and the rolling blackouts that have plagued Puerto Rico, a US “commonwealth” (read: colony), since Hurricane Maria in 2017.

Bad Bunny sang it from a roof on Santurce’s Calle Loíza, a thoroughfare in a former working-class Black neighborhood now dotted with Airbnbs. But you do not need the full context to get the show’s contagious energy. Though I have never walked Calle Loíza, nor do I speak Spanish, the gas station show is still my favorite concert to rewatch via online fan clips: electric, organic, genuinely popular. In terms of reach, critical acclaim and longevity, Bad Bunny rivals – and sometimes outsells – the likes of Taylor Swift, Kendrick Lamar, Beyoncé and Drake, though it is hard to imagine those peers appearing so unguarded, so public, as he does on that roof.