The article begins with the author's admission of ignorance regarding Bad Bunny, the Puerto Rican singer, until recently learning about his vocal stance against Donald Trump at a football game advocating for immigrant rights. This newfound appreciation has shifted the author's perspective, recognizing how Bad Bunny's influence and charm can break down historical biases Brazilians may have had against Latin American artists. After Bad Bunny's performance in São Paulo, the author suggests that this event might change the ingrained reluctance that Brazilians hold towards artists from their neighboring countries.

The author reflects on the historical context of Latin American music in Brazil by referencing Carlos Gardel, an Argentine tango singer, who has been celebrated in Brazil as much as throughout the Americas. Gardel's timeless tangos such as 'Uno' and 'Mano a Mano' continue to resonate with Brazilian audiences long after his death in 1935, showcasing the deep-rooted connections between Brazil and other Latin American cultures through music. This recognition of Gardel signals that musical appreciation has often transcended national barriers.

In conclusion, the article posits that while there might exist a historical reluctance among Brazilians towards artists from other Latin American countries, events like Bad Bunny's concert demonstrate that music can unify cultures and challenge preconceptions. The appreciation of Gardel and other Latin American artists may hint at a potential shift in the cultural landscape, fostering a more inclusive approach to regional music and collaboration, thus enriching Brazil's musical identity.