Echoes of Exclusion: The Racist Backlash Against Bad Bunny's Super Bowl Halftime Show and the Long Shadow of Minority Performers in American Sports

Echoes of Exclusion: The Racist Backlash Against Bad Bunny's Super Bowl Halftime Show and the Long Shadow of Minority Performers in American Sports

The roar of the crowd at Levi's Stadium in Santa Clara, California, on February 8, 2026, will mark not just the clash of gridiron titans in Super Bowl LX, but a cultural milestone: Puerto Rican superstar Bad Bunny, born Benito Antonio Martínez Ocasio, headlining the Apple Music Super Bowl Halftime Show. As the first male Latin artist to lead the performance solo, his selection by the NFL, Roc Nation, and Apple Music was intended as a bold celebration of Latin music's global dominance and a nod to the multicultural fabric of America. Bad Bunny, with his seven studio albums, three Grammy Awards, and status as the most-streamed artist on Spotify for three consecutive years, embodies a seismic shift in pop culture. 

His residency in San Juan earlier this year generated $400 million for Puerto Rico's economy, and his final show there became Amazon Music's most-watched single-artist livestream ever. Yet, mere days after the announcement on September 28, 2025, during a Sunday Night Football broadcast, the triumph soured into a torrent of vitriol. Social media erupted with calls for his deportation—despite his U.S. citizenship as a Puerto Rican—and accusations of anti-Americanism, all laced with xenophobic barbs about his Spanish-language lyrics and gender-fluid fashion. This backlash isn't isolated; it's a chilling echo of the racism that has shadowed minority performers at America's biggest sporting spectacles for decades, from José Feliciano's soulful National Anthem in 1968 to Beyoncé's unapologetic Black power tribute in 2016. In an era where the Super Bowl halftime show draws over 133 million viewers—more than the game itself—these controversies reveal not just cultural fault lines, but a persistent resistance to letting non-white voices command the national stage without apology.

Bad Bunny's ascent to this pinnacle is a story of raw talent colliding with unyielding authenticity. Emerging from Puerto Rico's underground trap scene in 2016, he blended reggaeton, Latin trap, and rock into anthems that pulse with themes of love, identity, and resistance. Tracks like "Yo Perreo Sola" champion women's autonomy on the dance floor, while "El Apagón" critiques the island's post-Hurricane Maria blackouts and colonial neglect. His decision to forgo a U.S. leg on his 2025 world tour stemmed from genuine fears: "Fking ICE could be outside my concert," he told New York Magazine, referencing the Trump administration's aggressive deportation policies that have ensnared even U.S. citizens in bureaucratic nightmares. As a Puerto Rican, Bad Bunny navigates the paradox of American identity—citizen without full statehood, celebrated abroad but suspect at home. His Super Bowl statement captured this duality: "What I'm feeling goes beyond myself. It's for those who came before me and ran countless yards so I could come in and score a touchdown... this is for my people, my culture, and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL." It's a touchdown for Latinx representation, but for critics, it's a fumble into "woke" territory.

The backlash hit like a blitz. Within hours of the announcement, MAGA influencers like Benny Johnson decried Bad Bunny as a "massive Trump hater" and "anti-ICE activist" with "no songs in English." Conservative podcaster Robby Starbuck amplified this, labeling him a bigot for past comments dismissing certain "gringos" as non-fans, twisting it into evidence of anti-white racism. On X (formerly Twitter), users demanded subtitles for his performance—"Will there be subtitles? Asking for 90% of the country"—or outright cancellation, with one xenophobe snarling, "This will just bring them in." President Donald Trump piled on during a Newsmax interview, calling the choice "absolutely ridiculous" and claiming he'd "never heard of him," despite Bad Bunny's billions of streams. Trump's adviser Corey Lewandowski escalated the rhetoric on "The Benny Show," vowing ICE presence at the game: "There is nowhere that you can provide safe haven to people who are in this country illegally. Not the Super Bowl, and nowhere else." House Speaker Mike Johnson suggested replacing him with country singer Lee Greenwood, whose "God Bless the USA" aligns with conservative patriotism. Fox News hosts mocked his style, with one quipping about his "gender-fluid" outfits, while others predicted the NFL would "drop" him amid the "huge backlash." Even false rumors swirled of cancellation due to MAGA outrage, fanned by unverified posts on social media.

This isn't mere disagreement over booking; it's a symphony of racism, xenophobia, and cultural gatekeeping. Demands for English-only performances ignore Bad Bunny's crossover hits like "I Like It" with Cardi B and "Mia" with Drake, which topped charts in both languages. Calls for deportation erase Puerto Rico's status as a U.S. territory, reducing citizens to "them"—perpetual foreigners in the land of their birthright. The ICE threats weaponize immigration policy against a performance celebrating Latin heritage, echoing how anti-Latino sentiment has long masqueraded as "protecting American values." As one X user put it, "Kendrick Lamar spoke English and had a red, white & blue theme. They got mad. Beyoncé spoke English and literally did a country music halftime show. They got mad. At some point, you gotta just admit it got nothin to do with the language, and everything to do with you being a racist xenophobe." Bad Bunny leaned into the fray during his October 5, 2025, hosting gig on Saturday Night Live's Season 51 premiere. In a monologue blending Spanish and English, he mocked Fox News' feigned praise and declared, "If you didn’t understand what I just said, you have four months to learn." A subsequent Yankees game clip showed him seated during "God Bless America," fueling more outrage—though context suggests it was a quiet protest, not obliviousness. Jennifer Lopez, who shared the 2020 halftime stage with Shakira and Bad Bunny as a guest, defended him: "His music transcends language... I don't understand the backlash." Yet, the vitriol persists, turning a joyous milestone into a battleground.

To grasp this moment's toxicity, one must rewind to 1968, when José Feliciano, a blind Puerto Rican guitarist, ignited a firestorm with his rendition of "The Star-Spangled Banner" before Game 5 of the World Series at Detroit's Tiger Stadium. At 23, Feliciano was riding high: his album Feliciano! topped the pop charts, earning him Grammys for Best New Artist and Best Pop Song. Invited by Tigers broadcaster Ernie Harwell to appeal to younger fans amid Vietnam War protests and urban riots, Feliciano infused the anthem with folk-soul flair—strumming his guitar in a style evoking Bob Dylan, slowing the tempo to emphasize emotion over rote recitation. "I sang it with soul," he later reflected. "I thought, 'José, you've got a great opportunity to express what you feel for America.'" What followed was pandemonium. Boos drowned him out in the stadium; TV switchboards at NBC flooded with complaints. Veterans hurled shoes at screens, and radio stations blackballed his records. Calls poured in to deport him—"Send the Puerto Rican back!"—despite his U.S. citizenship. Cardinals outfielder Roger Maris griped it was "not the proper place for that kind of treatment," while Tigers pitcher Mickey Lolich blamed it for disrupting his warm-up. RCA Records capitalized by releasing the live recording as a single, which peaked at No. 50, but the damage lingered: Feliciano's career stalled for years, his "hippie" innovation branded as desecration.

Feliciano's sin? Daring to reinterpret a sacred symbol through a minority lens. In 1968, America grappled with assassinations of Martin Luther King Jr. and Robert F. Kennedy, the Chicago Democratic Convention riots, and the Tet Offensive's grim toll. The anthem, once a drinking song melody from 1814, had ossified into a litmus test of patriotism. Feliciano's version—haunting, personal—challenged that rigidity, much like Bad Bunny's Spanish anthems challenge English monolingualism today. Both men, Puerto Rican Americans, faced erasure: Feliciano as a "foreigner" desecrating tradition, Bad Bunny as a "Trump hater" invading it. As cultural scholar P.B. Johnson notes in a 2018 analysis, Feliciano's performance became a "site of struggle," embodying 1960s fears of integration and youth rebellion. Decades later, it paved the way for soulful anthems by Marvin Gaye (1983 NBA All-Star Game) and Whitney Houston (Super Bowl XXV), but the initial backlash scarred. Feliciano, now 80, revisited the memory in a 2018 New York Daily News interview: "I never thought in my wildest dreams I was going to cause such a stir." His resilience mirrors Bad Bunny's: both turned pain into art, refusing to let racism silence their souls.

Fast-forward to 2016, when Beyoncé commandeered Super Bowl 50's halftime at Levi's Stadium—ironically the same venue Bad Bunny will grace in 2026—with a performance that was peak Black excellence and unyielding activism. Flanked by dancers in berets and leather, evoking the Black Panther Party's 50th anniversary, she debuted "Formation," her video's imagery nodding to Hurricane Katrina's neglect and police violence against Black bodies. The troupe formed an "X" for Malcolm X; fists raised in Black Power salutes. It was a takeover: Beyoncé, already a global icon with 13 years in the spotlight, injected politics into a "neutral" spectacle, much like Coldplay's preceding set of rainbows and unity. Watched by 112 million, it sparked ecstasy and enmity. Fans hailed it as "unapologetic blackness," boosting Red Lobster sales 30% via a lyric shoutout. But Rudy Giuliani blasted it on Fox & Friends as "outrageous," accusing her of using the stage to "attack police officers" while accepting a police escort—hypocrisy that drew racism charges against him. Protests brewed outside NFL headquarters, branded a "race-baiting stunt" glorifying a "hate group." Eventbrite pages screamed, "No hate speech & racism at the SuperBowl ever again!" with BoycottBeyonce and BlueLivesMatter. The FCC fielded dozens of complaints: one likened it to a "KKK rally full of hatred," another decried "racist hand gestures." A white fan lamented double standards—if a white artist touted racial pride, "extreme backlash" would ensue.

Beyoncé's performance weaponized visibility, much like Bad Bunny's will. "Formation" wasn't subtle: "My daddy Alabama, momma Louisiana / You mix that negro with that Creole make a Texas bama." It mourned Black pain while flaunting joy—natural hair, Afros, Southern gothic flair. Critics like Joe Concha on Fox News called it "inappropriate" for "Middle America," echoing Giuliani's wholesome entertainment plea. Yet, Beyoncé's retort was silence; her power lay in the act itself. As The New York Times noted, it forced conversations on institutional racism, from Katrina's levee failures to Black Lives Matter's urgency. The backlash revealed entitlement: why must entertainment assuage white discomfort? Beyoncé, a Black woman from Houston's Third Ward, headlined three years after her solo 2013 show—another first for a Black woman—but 2016's edge drew the knives. Petitions for boycotts fizzled, counter-protests in "Formation"-inspired gear swelled, affirming: "Don’t let anyone make her powerful statement about the value of Black life be overshadowed." Like Feliciano's anthem and Bad Bunny's reggaeton, Beyoncé's set was subversive—remixing American symbols to center the marginalized.

These aren't anomalies; they're a pattern etched in the Super Bowl's history, where minority performers bear the brunt of America's unresolved racial reckonings. Consider Shakira and Jennifer Lopez's 2020 halftime at Miami's Hard Rock Stadium, a Latin explosion that Bad Bunny guested on. Their set—zumba rhythms, hip sways, guest spots from Bad Bunny ("Safarea") and J Balvin ("Que Calor")—drew 103 million viewers. But political props stung: children in cage-like structures evoked Trump's family separations; Lopez's Puerto Rican flag cape post-Hurricane Maria nodded to colonial aid delays. Conservatives cried foul—"too political," "too sexy"—with FCC complaints spiking over "inappropriate" dances. Yet, it shattered barriers: first Latina headliners, boosting Latin music streams 12% overnight. Lopez later reflected, "We fought to keep that statement," underscoring the gatekeeping even allies face.

Black performers fare no better. Kendrick Lamar's 2025 Super Bowl LIX show in New Orleans—fresh off five Grammys for "Not Like Us"—was the most-watched ever at 133.5 million, an all-Black affair with SZA and Samuel L. Jackson as Uncle Sam critiquing racism via a splitting American flag. FCC logs overflowed: over 120 complaints branded it "racist against white people" for lacking "diversity (white, Latin, Native American, etc.)." One whined, "All these people complain about racism and if the Super Bowl halftime show isn't racist then I don't know what is." Echoing 2022's Dr. Dre/Snoop Dogg/Mary J. Blige/Kendrick lineup—the first all-hip-hop show—where Eminem knelt for Kaepernick (uncensored, unlike Lamar's "negus" in "Alright"), complaints fixated on "no white people," ignoring decades of white-dominated lineups. As Wired quipped, it's DEI twisted into "diversity for white people only." Rihanna's 2023 aerial spectacle, her first post-pregnancy, faced slut-shaming for her red bodysuit, thinly veiled racial policing of Black women's bodies. Even Michael Jackson's 1993 moonwalk—boosting ratings to 133 million—drew Jackson 5-era whispers of "not American enough" due to his global flair.

This racism thrives on erasure: the Super Bowl's early days featured Up with People, a white Christian troupe, until 1991's New Kids on the Block. HBCU marching bands like Grambling State graced pre-1990s shows, but headliners were white until Diana Ross in 1996. Ella Fitzgerald's 1972 swing set was the first Black woman's solo, yet unrecorded—lost to history, like many minority contributions. The NFL's Roc Nation partnership since 2019, helmed by Jay-Z, aimed to diversify, yielding these "controversial" picks. But as The Hill notes, amid Brian Flores' 2022 lawsuit alleging racist hiring, the league spotlights Black music while sidestepping equity. Bad Bunny's slot follows Lamar's, signaling inclusion's perils: visibility invites scrutiny, not celebration.

Why does this persist? At its core, the Super Bowl is America's mirror—capitalist colossus, cultural exporter, racial battleground. Halftime, once a college marching band affair, evolved into a $15 million spectacle under MTV in 1991, amplifying voices that unsettle the status quo. Minority performers disrupt the narrative of unhyphenated Americanness, forcing confrontation with empire's legacies: Puerto Rico's colonial debt, Black Panther surveillance, Katrina's drowned Black neighborhoods. As Bad Bunny told Zane Lowe, "I'm going to embrace the moment... show what we have, our music, our culture." Yet, backlash reframes empowerment as threat—Spanish as invasion, Black fists as hate, soulful anthems as desecration. It's "anticipatory obedience," per NPR's 2025 analysis of the NFL ditching "End Racism" end-zone decals post-Lamar: preempting white discomfort at the cost of justice.

The human toll is profound. Feliciano's blackballing delayed his fame; he met his wife through a fan club sparked by the controversy, but years of gigs dried up. Beyoncé weathered boycotts that fizzled but stung, her silence a shield. Bad Bunny, fresh from San Juan's sold-out Coliseo, skips U.S. tours fearing raids on fans—many undocumented Latinos drawn to his pro-immigrant anthems. On X, supporters rally: petitions affirm his "multicultural America" nod, with Dr. Ariel Morel writing, "This symbolizes commitment to showcasing diversity." Lopez's defense—"transcends language"—bolsters him, as does Jay-Z's praise: "What Benito has done... is truly inspiring." Yet, threats loom: Lewandowski's ICE vow, though denied by the White House, chills. California's January 2026 mask/ID laws may blunt raids, but the message lands: perform, but know your place.

As February nears, Bad Bunny's show promises subversion—reggaeton revolutions, Puerto Rican pride, no English concessions. Will it draw 140 million, surpassing Lamar? Likely. But the real game is cultural: can America cheer without clutching pearls? History—from Feliciano's guitar strings to Beyoncé's berets—says progress is ragged, racism resilient. Bad Bunny's touchdown isn't just for Puerto Rico; it's for every minority artist who's sung through boos. In his words, "No one will ever be able to remove or erase" us. Four months to learn? Make it a lifetime.

 Sources

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Bishop Espaillat Target of Catholic White Gaze & Racism-Lite

The X post by Jonni Martinez (@iJonniM) criticizing Bishop Joseph Espaillat for using urban ghetto language or vernacular during a Confirmation Mass at St. Patrick's Cathedral is a microcosm of a larger cultural and theological debate within the Catholic Church. This debate centers on the tension between preserving traditional liturgical practices and embracing the principles of inculturation as articulated by the Second Vatican Council. The criticism leveled against Bishop Espaillat reveals not only a discomfort with linguistic and cultural diversity but also a subtle form of racial bias that can be termed "racism lite." This analysis will delve deeply into the implications of such criticism, the historical context of inculturation within the Catholic Church, and the broader societal dynamics of cultural gatekeeping and the white gaze. It will argue that the Church's mission as a universal body necessitates the acceptance and integration of diverse cultural expressions, challenging the notion that only Eurocentric forms of Catholicism are legitimate.

 The Criticism and Its Context

Jonni Martinez's post, which quotes a video of Bishop Espaillat speaking in urban vernacular during a Confirmation Mass, expresses bewilderment and disapproval from Caucasians, asking, "What did I just listen to…" This reaction is not isolated but part of a thread where other users, such as Matthew Joseph (@matthew_sede), lament the "pollution" of traditional Catholic spaces by modern, non-traditional elements. The video in question shows Bishop Espaillat, dressed in full liturgical vestments, using phrases like "Come on clock it" and "Y'all better y'all better clock it," which are drawn from urban slang. The setting is St. Patrick's Cathedral, a symbol of traditional Catholicism in the United States, which amplifies the perceived dissonance between the sacred space and the language used.

Bishop Espaillat, as the youngest bishop in the United States and an auxiliary bishop of the Archdiocese of New York, has been appointed precisely because of his ability to connect with inner-city youth. His background, growing up in the Washington Heights neighborhood of New York City, and his fluency in English, Spanish, and urban vernacular, make him uniquely positioned to bridge the gap between the Church and marginalized communities (National Catholic Register, 2024). His approach is rooted in the principle of inculturation, which seeks to adapt the Gospel to different cultural contexts to make it more accessible and relevant. However, the criticism from some quarters suggests that this approach is seen as a departure from the decorum expected in sacred spaces, particularly when those spaces are associated with a predominantly white, European aesthetic.

 The White Gaze and Racism Lite

The reaction to Bishop Espaillat's use of urban vernacular can be understood through the lens of the white gaze, a concept that describes how white cultural norms are often imposed as the standard by which all other cultural expressions are judged. This gaze assumes that whiteness is the default or superior standard, and anything deviating from it is suspect or inferior. In this case, the use of urban vernacular is seen as a degradation of the sacred, rather than a legitimate form of communication that resonates with a specific community.

This attitude aligns with what some scholars have termed "racism lite," a subtle form of racism that does not overtly advocate for racial superiority but nonetheless marginalizes non-white cultures through implicit bias and cultural gatekeeping. The Wikipedia entry on "Catholic Church and race" highlights how, despite official stances against racism, elements within the Church have resisted change, and progress has been slow (Wikipedia, 2025). The entry notes that even when racial inclusion was rhetorically prioritized, many African-American leaders felt their plight was overlooked, suggesting a disconnect between policy and practice. This disconnect is evident in the criticism of Bishop Espaillat, where the focus is not on the content of his message but on the form of its delivery, which is deemed inappropriate because it does not conform to a white, European standard.

 Inculturation and the Universal Church

The Catholic Church's approach to inculturation, as articulated in the Second Vatican Council's documents, particularly "Ad Gentes" and "Gaudium et Spes," advocates for the integration of local cultures into the life of the Church. The International Theological Commission's document on "Faith and Inculturation" (Vatican.va) emphasizes that the Church must engage with diverse cultures to spread the Gospel effectively, recognizing that the Church is not a monolithic entity but a universal (Catholic) body that embraces all peoples.

Historically, the Church has adopted local languages, music, clothing, prayers, and symbols to make Christianity accessible. For example, the use of Latin in the Western Church was itself an act of inculturation, adapting the Greek and Aramaic of the early Christian communities to the Roman Empire's dominant language. Similarly, the incorporation of African rhythms into liturgical music in some regions or the use of indigenous art in Latin American churches are examples of how the Church has historically embraced cultural diversity. The Wikipedia entry on "Inculturation" notes that early practitioners of inculturation include St. Patrick in Ireland and Sts. Cyril and Methodius for the Slavic peoples of Eastern Europe, demonstrating a long tradition of adapting the faith to local contexts (Wikipedia, 2025).

Bishop Espaillat's use of urban vernacular can be seen as a continuation of this tradition. By speaking in a language that resonates with inner-city youth, he is not diluting the faith but making it accessible to a community that might otherwise feel alienated. The criticism from some white conservative Catholics, therefore, reveals a tension between a desire to preserve a perceived traditional (often Eurocentric) form of Catholicism and the Church's mission to be truly universal. This tension is not new; it has been a recurring theme throughout the Church's history, particularly in periods of significant cultural change, such as the post-Columbian encounters with the Americas, Asia, and Africa.

 The Danger of Cultural Gatekeeping

The tendency to look down on the culture, nuances, and vernacular of minorities in the inner city, as exemplified by the reactions to Bishop Espaillat, is a form of cultural gatekeeping. This gatekeeping assumes that only certain cultural expressions are legitimate within the Church, thereby excluding those who do not conform to these standards. Such an attitude contradicts the Church's teachings on the dignity of all cultures and the importance of inculturation.

The Wikipedia entry on the Catholic Church notes that the Church operates numerous institutions worldwide, including schools, hospitals, and orphanages, often tailored to local needs and cultures (Wikipedia, 2025). This global presence underscores the Church's commitment to being a universal body, not confined to a single cultural or racial identity. The criticism of Bishop Espaillat, therefore, not only misunderstands the Church's mission but also risks alienating communities that the Church seeks to serve. For example, the use of urban vernacular may be the only way some young people can connect with the Church, and dismissing it as inappropriate could push them further away from the faith.

 Historical Precedents and Theological Foundations

The principle of inculturation is not a modern invention but has deep roots in the Church's history. The early Christian communities adapted their practices to the cultures they encountered, whether it was the use of Greek in the Eastern Mediterranean or Latin in the West. The Council of Trent (1545–1563) marked a turning point in the systematic approach to inculturation, particularly with the Jesuits' missions in Asia and the Americas. The Wikipedia entry on "Inculturation" highlights how figures like Matteo Ricci adapted Catholic teachings to Chinese culture, permitting practices like ancestral veneration, which were seen as cultural rather than religious (Wikipedia, 2025).

The Second Vatican Council reaffirmed and expanded this approach, recognizing the need for the Church to engage with the modern world and its diverse cultures. "Ad Gentes" specifically calls for the Church to "enter into communion with the various civilizations, to their enrichment and the enrichment of the Church herself" (Vatican II, 1965). This communion requires not only tolerance but active engagement with and adaptation to local cultures. Bishop Espaillat's use of urban vernacular is a practical application of this principle, aiming to enrich the Church by making it relevant to a specific cultural context.

 The Role of Language in Evangelization

Language is a critical component of evangelization, as it is the primary medium through which the Gospel is communicated. The Church has a long history of translating the Bible and liturgical texts into local languages, from the Vulgate to the vernacular translations following Vatican II. The use of urban vernacular by Bishop Espaillat is an extension of this practice, recognizing that language is not just a tool for communication but a carrier of culture and identity.

The criticism of his language use, therefore, is not merely about propriety but about power dynamics within the Church. It reflects a discomfort with the idea that non-white, non-European cultural expressions can claim space within sacred settings. This discomfort is part of a broader societal trend where minority cultures are often expected to assimilate to dominant norms rather than being recognized as valid in their own right. The Wikipedia entry on "Catholic Church and race" notes that the Church has historically struggled with these dynamics, with progress often being slow and uneven (Wikipedia, 2025).

 The Universal Mission of the Church

The Catholic Church's mission is to be universal, embracing all cultures and peoples, not to impose a singular, Eurocentric standard. The term "Catholic" itself means universal, and the Church's global presence reflects this reality. The Wikipedia entry on the Catholic Church highlights its operations in over 200 countries, with a membership that spans diverse racial, ethnic, and cultural backgrounds (Wikipedia, 2025). This diversity is not just a demographic fact but a theological imperative, as the Church seeks to be a sign of unity in a fragmented world.

The criticism of Bishop Espaillat, therefore, challenges the Church to live up to its universal mission. It requires a reckoning with the ways in which cultural gatekeeping and implicit bias can undermine this mission. The Church must continue to affirm the dignity of all cultures and the legitimacy of diverse cultural expressions within its sacred spaces. This affirmation is not about abandoning tradition but about enriching it through the contributions of all peoples.

 Conclusion

The criticism of Bishop Joseph Espaillat for using urban vernacular during a Confirmation Mass at St. Patrick's Cathedral is indicative of a broader issue within some segments of the Catholic community, particularly among white conservative Catholics. This criticism reflects a "racism lite" that engages in cultural gatekeeping through a white gaze, devaluing non-white cultural expressions. However, the Catholic Church's teachings on inculturation, as articulated by Vatican II and practiced historically, support Bishop Espaillat's approach as a legitimate and necessary means of spreading the Gospel.

The Church's mission is to be universal, embracing all cultures and peoples, not to impose a singular, Eurocentric standard. The reactions to Bishop Espaillat's actions highlight the ongoing challenge of reconciling traditionalism with the Church's call to be a global, inclusive community. As the Church continues to navigate these tensions, it must remain committed to its mission of inculturation, ensuring that all voices, including those of inner-city youth, are heard and valued within the sacred space. The path forward requires not only theological reflection but also a willingness to confront and dismantle the subtle forms of racism that persist within the Church, ensuring that it truly lives up to its name as the universal (Catholic) Church.

 

What did I just listen to… https://t.co/plJvz89dSG

— Adrian 🇻🇦 (@deusimpera) August 8, 2025

References

1. International Theological Commission. (n.d.). Faith and Inculturation. Vatican.va. Retrieved from [www.vatican.va](http://www.vatican.va).

2. Wikipedia. (2025, July 24). Catholic Church and race. Retrieved from [en.wikipedia.org](http://en.wikipedia.org).

3. Wikipedia. (2025, August 4). Catholic Church. Retrieved from [en.wikipedia.org](http://en.wikipedia.org).

4. Wikipedia. (2025, May 4). Inculturation. Retrieved from [en.wikipedia.org](http://en.wikipedia.org).

5. National Catholic Register. (2024, January 28). Bishop Joseph Espaillat: How America’s Youngest Bishop Reaches Youth. Retrieved from [www.ncregister.com](http://www.ncregister.com).

6. Vatican II. (1965). Ad Gentes. Vatican.va. Retrieved from [www.vatican.va](http://www.vatican.va).

Governor Hochul: Bronx Kids Do Not Know the Word 'Computer'

The recent comments made by Governor Kathy Hochul at a forum have sparked a significant conversation about the condescending attitudes of politicians, in particular, non-Hispanic whites, the digital divide, and its impact on communities, particularly in the Bronx. The governor's remarks, which suggested that black children in the Bronx may not be familiar with the term "computer," have been met with criticism from local politicians and the public.

The digital divide refers to the gap between those who have easy access to computers and the internet, and those who do not. This gap can significantly affect education, job opportunities, and economic growth. Governor Hochul's comments have brought attention to the ongoing issue of unequal access to technology, which is a critical factor in educational and professional development.

However, most of the talk was regarding her comments saying that Black children in the Bronx do not know what the word "computer" means. These comments were condescending and offensive to minorities especially the talented and intelligent young people of the Bronx. The comments reflect how out of touch the governor is and show the "White Gaze" often projected by non-Hispanic whites where they assume things of other racial groups and believe their knowledge or take is what is reality. Never mind that the Bronx High School of Science, BASE, Dodge High School, Alfred E Smith, and other schools that use science, and computers and teach app creation exist in the Bronx or that Astrophysicist Neil Degrasse Tyson graduated from the Bronx High School of Science.  The governor is clearly aloof to the Bronx and its people and history.  

Of course, our beautiful Black children in the Bronx know what a computer is!  I would bet top dollar they know how to use it and phones better than the governor and her staff!  

In response to the backlash, Governor Hochul expressed regret for her words and clarified her commitment to expanding economic opportunities for communities of color. She emphasized the importance of providing access to technology to help children and young adults in the Bronx and other underserved areas pursue high-paying jobs in emerging industries like artificial intelligence.

Local leaders in the Bronx have responded by highlighting the intelligence, resilience, and potential of the children in their community. They have called for more support and resources to ensure that every child has the opportunity to learn and grow in the digital age.

This incident underscores the need for continued efforts to bridge the digital divide and create equal opportunities for all. It is a reminder that words matter and that leaders must be careful in their communication, especially when discussing sensitive issues related to race and inequality.

Here are some Bronx kids' replies to the governor:

For more detailed coverage on this topic, you can refer to the original articles from various news outlets.

Source:

Mayor Adams gives Gov. Hochul pass on remarks about Bronx Black kids not knowing what 'computer is' (nydailynews.com)

New York governor said Black kids in the Bronx do not know the word ‘computer’ | Kathy Hochul | The Guardian

NY governor regrets saying Black kids in the Bronx don't know what a computer is | AP News

What is 'White Gaze?'

What is the white gaze? The white gaze is a term that describes the way that white people view and interpret the world, especially in relation to people of color. The white gaze is shaped by centuries of colonialism, slavery, racism, and privilege, and it often operates unconsciously or implicitly. 

The white gaze can manifest in various ways, such as stereotyping, exoticizing, fetishizing, appropriating, silencing, or erasing people of color and their cultures. The white gaze can also influence how people of color see themselves and internalize oppression. The white gaze is not a fixed or monolithic phenomenon, but rather a complex and dynamic one that varies depending on the context and the individual.

What are some examples of the white gaze in media? The white gaze is pervasive in many forms of media, such as literature, film, television, journalism, and music. Some examples are:

- Gone with the Wind and The Help: Both films depicted women of color as stereotypes: subservient domestic help with no agency, a typical view in cinema of BIPOC women who are of a lower economic and social status.

- Hidden Figures: The film portrays a white savior character who saves the leading lady from running across the campus to use the Colored Only restroom, while ignoring her agency and activism.

- Freedom Writers: The film focuses on the white teacher who inspires her students at an inner-city Los Angeles school, rather than on the students themselves.

- The Last Samurai: The film centers on Tom Cruise's character who joins a samurai rebellion in Japan, rather than on the actual samurai.

- National Geographic: The magazine has been criticized for its historical representation of people of color as exotic, primitive, or savage.

- Music videos: Many music videos feature black men as threatening or violent, and black women as sexualized or light-skinned.

Why is it important to recognize the white gaze? 

It is important to recognize the white gaze because it has a profound impact on how people of color are seen and treated in society. The white gaze can reinforce stereotypes, prejudices, and discrimination that affect the lives and opportunities of people of color. The white gaze can also limit the creativity and expression of people of color who feel pressured to conform to or appease the expectations of white audiences. By recognizing the white gaze, we can challenge its assumptions and biases, and seek to amplify and celebrate the diverse perspectives and experiences of people of color.

How can we challenge the white gaze? We can challenge the white gaze by:

- Educating ourselves and others about the history and effects of racism, colonialism, and privilege on people of color and their cultures.

- Supporting and promoting the work of people of color who create media that reflects their authentic voices and experiences.

- Critiquing and questioning the media that we consume and produce, and being aware of how it may reinforce or challenge the white gaze.

- Engaging in dialogue and listening to the perspectives and feedback of people of color who are affected by the white gaze.

- Taking action to dismantle the structures and systems that enable and perpetuate the white gaze in society.

What are some other ways to challenge the white gaze? Some other ways to challenge the white gaze are:

- Seeking out and learning from diverse sources of knowledge and wisdom that challenge or counteract the dominant narratives of whiteness.

- Developing critical media literacy skills that help us identify and analyze how the white gaze operates in different contexts and genres.

- Creating spaces and platforms for people of color to share their stories and perspectives without censorship or appropriation.

- Supporting movements and initiatives that advocate for racial justice and equity in media production and consumption.

- Celebrating and honoring the cultural diversity and richness of people of color without tokenizing or exoticizing them.

White Gaze is a serious problem in the world today as more and more minorities get more educated. They start to see the discrepancies in the world and media and then we have division and conflicts. In today's political climate, we see the "White Gaze" among both conservatives and liberals. How many times have we seen on social media or in person when a tragedy happens and how it becomes racial?  For example, when minorities go missing, there is little to no coverage in the media. However, for missing caucasian women, there are nearly endless stories on it on television.  Moreover, we saw how Black people are often demonized in the media and social media just for their economic status. 

The case of a homeless Black man killed by a white Marine is a good example. Despite the duty to retreat clause in NY State, a large number of whites on social media were disparaging the black victim and calling for the exoneration of the white marine. They cite "self-defense" for the white marine despite the evidence showing he attacked the homeless black man who suffered from mental illness.  This happens far too often. 

We saw during the events of the death of George Floyd how a large number of whites were attacking him just because he had a criminal record. Never mind that the cop kneeled on his neck for over 8 minutes which cops are NOT supposed to do. Nevertheless, the victim was blamed and is still being blamed today with some saying the cop did not kill him. They claim the fentanyl and COVID-19 killed him.  Many times in the movies we see the white person as the hero while the minorities are the criminals or sidekicks that barely get good lines or air time. It goes on and on, but White Gaze is a serious problem. 

 

What do you think? Post your comment below on Disqus. Only comments that follow posting rules will be permitted.  

References:

Can you suggest any resources to learn more about this topic? Yes, here are some resources that you may find helpful:

- White Gaze: How Black Women Experience It at Work , a paper by Courtney McCluney et al. that analyzes how Black women encounter whiteness in their workplaces.

- Go Beyond Toni Morrison with These 7 Books That Stare Down The White Gaze , an article by PBS NewsHour that recommends books by Black authors that challenge the white gaze.

- White Fragility: Why It's So Hard for White People to Talk About Racism , a book by Robin DiAngelo that explores how white people react defensively when confronted with their racial privilege and bias.

- The 1619 Project , a project by The New York Times Magazine that reexamines the legacy of slavery and its impact on American history and society.

- How to Be an Antiracist , a book by Ibram X. Kendi that offers a framework for understanding and combating racism in ourselves and in our institutions.