If you scroll through the comments of any major music publication today, you’ll find a recurring grievance: “Why is the biggest artist in the world singing in a language I don’t understand?” Bad Bunny’s refusal to “crossover” into English has become a cultural flashpoint. To some, it’s a triumphant display of Latino pride; to others, it’s a barrier to entry that feels alienating. But if we look back sixty or seventy years, the American listener was actually far more comfortable with a polyglot playlist than we are today.
What changed? It might be that we’ve lost the “shared trauma” that once forced us to look outward.
When the World Was on the Radio
In the 1950s and 60s, Americans didn’t just tolerate foreign-language hits; they celebrated them. Consider the landscape:
• Domenico Modugno’s “Volare” (1958): An Italian ballad that spent five weeks at #1 on the Billboard Hot 100 and won the first-ever Grammy for Record of the Year.
• Kyu Sakamoto’s “Sukiyaki” (1963): A Japanese torch song that reached #1 despite the fact that most listeners had no idea it was actually a melancholy poem about walking to keep from crying.
• Ritchie Valens’ “La Bamba”: A traditional Mexican huapango that became an indelible part of the early rock-and-roll DNA.
Even Doris Day’s “Que Sera, Sera,” while primarily English, leaned into its Spanish title as a universal mantra. Back then, the American ear was conditioned to find beauty in the melody, even when the vocabulary remained a mystery.
The Military Connection: A Global Perspective
There is a compelling argument that this mid-century musical tolerance was forged in the fires of World War II. After a global conflict that left 60 million dead, the world was irrevocably interconnected.
Millions of young American GIs were deployed to Europe and the Pacific. They weren’t just tourists; they were young people living in German villages, Italian cities, and Japanese occupied territories. They ate the food, heard the radio, and brought those sounds home in their kit bags.
This created a “globalized” generation. They had seen the wreckage of isolationism and, through sheer military exposure, developed a cultural elasticity. To a veteran who had spent two years in Naples, an Italian ballad on the radio didn’t feel like a “foreign intrusion”—it felt like a memory.
The Modern Divide: No Shared Experience
Contrast that with the environment that greets Bad Bunny today. Today’s United States lacks that unifying, outward-facing experience. We are more “connected” via the internet, but more “siloed” in our consumption.
• Algorithmic Bubbles: We only hear what we already like.
• The Lack of National Service: There is no longer a massive, cross-cultural “melting pot” experience like the draft to force diverse groups of Americans to live and work together.
• Language as Politics: In the current climate, Spanish isn’t just a language; it’s often treated as a political statement, making Bad Bunny’s success feel like a “takeover” to those who prefer an English-only status quo.
Final Thoughts
The criticism of Bad Bunny often stems from a feeling of being “left out.” But if the 1950s taught us anything, it’s that you don’t need to know the lyrics to feel the soul of a song.
Perhaps the reason we struggle with foreign-language hits today isn’t a lack of talent on the artist’s part, but a lack of curiosity on ours. We no longer have the grim necessity of global war to force us to see the world; now, we have to choose to look.
⭐ The True Foreign-Language #1 Hits in the U.S.
These were fully or predominantly non-English and went all the way:
- Volare – Domenico Modugno (Italian) – 1958
- Sukiyaki – Kyu Sakamoto (Japanese) – 1963
- Dominique – The Singing Nun (French) – 1963
That’s it — only three in the entire two decades reached #1 in their original languages.
📊 By Language
🇮🇹 Italian
- Volare – Modugno
- Al Di Là – Pericoli
- O Dio Mio – Annette
- Quando, Quando, Quando – Pat Boone
➡ Italian was the dominant foreign language on U.S. radio in the late ’50s/early ’60s (Sanremo effect + Italian-American audience).
🇪🇸 Spanish
- La Bamba – Ritchie Valens
- Guantanamera – The Sandpipers
- El Watusi – Ray Barretto
➡ Spanish entered via rock & Latin dance crazes.
🇫🇷 French
- Dominique – The Singing Nun
➡ The most unlikely #1 of the rock era.
🇯🇵 Japanese
- Sukiyaki – Kyu Sakamoto
➡ Still the only Japanese-language U.S. Hot 100 #1 in history.