logo
Buscabulla's LP ‘Se Amaba Así' Feels Like a Couple's Therapy Session — and They Want You to Hear It All

Buscabulla's LP ‘Se Amaba Así' Feels Like a Couple's Therapy Session — and They Want You to Hear It All

Yahoo13 hours ago

Before the Puerto Rican duo Buscabulla made their new album Se Amaba Así, they'd gone through a whirlwind period of ups and downs. Back in 2020, they released their breakthrough LP Regresa, a gorgeous rumination of life in their native Puerto Rico, where they moved in 2017 from New York. Regresa was met with tons of critical acclaim and attention — and then the world shut down.
Buscabulla, made up of artistic and romantic partners Luis Alfredo Del Valle and Raquel Berrios, who have been together for a decade, managed to do a lot during the pandemic, releasing stunning videos and visual concepts for Regresa. But the fact that they couldn't go out and tour the record made their career progress really difficult. 'We felt this lull of not being able to promote the album and we were hitting a weird point of, 'Damn, we have to make another project now,'' Berrios explains. 'But we hadn't seen any sort of substantial gains because it was the whole pandemic. Luis and I were feeling like, 'Are we going to have to do something else?' Things were so bleak.'
More from Rolling Stone
Bad Bunny on Puerto Rico: 'It's Not Always Paradise, But ... I Don't Want to Leave'
Bad Bunny Slams 'Sons of Bitches' ICE Officers in Puerto Rico
Rauw Alejandro's 'Cosa Nuestra' Shows Brought New York's Salsa Era to Puerto Rico
'You put so much work into a record and then it comes out in this the weirdest environment,' Del Valle adds. 'And then, like, a year goes by and you're still kind of in your house. So it was like, 'I don't know, maybe we gotta try something else.''
However, in April 2021, right on Easter, they got an unexpected call: It was Bad Bunny. 'I always tell the story, like 'The Bunny called on Easter Sunday,'' Berrios says with a laugh. 'What's wild is that he said, 'You know, all I did was listen to your record while I was like an isolation.'' Bad Bunny shared that Regresa had touched him deeply, and eventually, he asked the duo join him on a song called 'Andrea,' from his record-breaking album Un Verano Sin Ti. So much of the dreamy track, about a woman finding her own autonomy in Puerto Rico, gets its breeziness from Berrios' hushed vocals, and it struck a chord at a time when the island has grappled with femicides and violence against women. 'Andrea' became an emotional favorite on Un Verano Sin Ti, and it currently has 550 million streams on Spotify. The gates crashed open for Buscabulla.
'All of a sudden, this explosion came,' Berrios recalls. 'We got the opportunity to really play, and we played everywhere: We did a U.S. tour, we played in Colombia, we did a lot.' Yet all of it — the rollercoaster highs and lows, the touring, the hectic boom-and-bust cycles of music — began tugging at the seams of their tight-knit partnership. 'I think that with a lot of the craziness that was happening, Luis and I were all also feeling it in our own relationship. I mean, we've been doing this now for more than 10 years, our band and being in a relationship. And it was just a lot. It really took a toll on us, and we just decided to write about it.'
What started pouring out became Se Amaba Así, a profoundly personal portrait of their romance and their relationship as artists, partners, and parents. (They have an 11-year-old daughter together.) It's far more intense and intimate than any of Buscabulla's past work, while still remaining sonically adventurous and unexpected. 'It's a record about us,' Del Valle says. 'It's a record about our struggles as people to stay together. And it's one of these things where you have all this anxiety because you're really putting yourself on the line in a very real way.'
Berrios was interested in looking at all the ways love and connection have morphed in today, with constant distractions and digital overload. 'We live in a post-romantic era — I think it's the overflow of information and everything being so transparent that has sort of killed mystery and the danger of love and romance,' she says. To really interrogate love today, the band went back in time to examine these concepts over the generations. 'In our album, we really look at our own history, our parents, our culture, and the sort of conditioning of how romance works in Puerto Rico and in Latin America.' That shaped a sonic tapestry that defies specific genres or time periods. Songs like 'Mi Marido' and the title track 'Se Amaba Así' capture the high-drama and theatrics of past balladeers in Latin music history without ever feeling obvious. (Berrios shares that the over-the-top Eighties brother-sister duo Pimpinela was a major inspiration.) 'Te Fuiste,' with its skittering electronic spirit, and 'El Camino,' the first single that stews and slowly builds, are refreshingly modern and hard to pin down.
At one point, the band considered making Se Amaba Así a two-sided LP, with six songs chronicling Del Valle's experiences and six songs detailing Berrios'. Del Valle shied away from the idea a bit: 'I was like, 'I don't want to have a couple's argument on the record!' he says with a laugh. The project ended up being much more of a seamless conversation, but still full of moments of open-hearted vulnerability that focus on each perspective. On 'El Empuje,' for example, Del Valle moves into the forefront, stepping from his usual position as a producer and instrumentalist to take the mic. Through aching vocals, he sings about the push-and-pull in the relationship, describing acute pain: 'With all your anger and all your wounds, You want to suffer and make me suffer.'
Del Valle admits it wasn't easy to put it all out there. 'I felt that hesitation, for sure, because at least on my end, I don't feel like I've exposed myself in that way before,' he explains. 'But I admire artists who are honest, and I have to give credit to Raquel, because she was ballsy enough to say, 'Let's do this.'' Berrios remembers being floored by 'El Empuje': 'It's saying, 'This is hard. I can't take the push.' And I'm here sort of witnessing what he's going through,' she says. 'I love that song so much, and it stings, but at the same time, I'm like, 'Man you wrote a really good song.''
Ultimately, the process of so much honesty, exposure, and bloodletting in front of the world led to catharsis, even as Buscabulla navigates what's next for them. But what they hope is that Se Amaba Así opens a conversation for people grappling with their own complex feelings and understandings of love and connection. 'When I think about this record, at first, I was like, 'Why are you going to be so risky? And why do you want to talk about something so intimate?'' Berrios says. 'But then I felt like, 'Maybe we can help people.' Maybe it's through our own experience that people can really see themselves. The focus of this record is really kind of healing — and I hope people really reflect on how they love.'
Best of Rolling Stone
Sly and the Family Stone: 20 Essential Songs
The 50 Greatest Eminem Songs
All 274 of Taylor Swift's Songs, Ranked

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Why social media injury recovery videos could do more harm than help
Why social media injury recovery videos could do more harm than help

Yahoo

time34 minutes ago

  • Yahoo

Why social media injury recovery videos could do more harm than help

When Kim Kardashian glided into the launch party of her NYC SKIMS boutique on a knee scooter, a mobility aid for people with lower leg injuries – stiletto on one foot, designer cast on the other – she wasn't just managing an injury. She was creating content. And she's far from alone. In 2024, rapper Kid Cudi turned his own broken foot into a viral storyline, posting updates of himself on crutches and in a surgical boot after a mishap at the Coachella festival in California. These high profile injuries don't just invite sympathy; they generate style points, followers and millions of views. But as injury recovery morphs into online entertainment, it raises an important question: is this trend helping people heal or encouraging risky behaviour that can delay recovery? Get your news from actual experts, straight to your inbox. Sign up to our daily newsletter to receive all The Conversation UK's latest coverage of news and research, from politics and business to the arts and sciences. Open any social media feed and you'll likely stumble across videos of people hobbling through supermarkets, dancing on crutches, or sweating through workouts in a medical boot. Hashtags like #BrokenFootClub and #InjuryRecovery have spawned thriving online communities where users share advice, frustrations and recovery milestones. For many, rehab has become a public performance, complete with triumphant comeback narratives. And it's not just celebrities. All sorts of people are turning their injuries, from hiking sprains to post-surgery recoveries, into digital diaries. Some offer helpful tips or emotional support, while others focus on fast-tracked progress, sometimes glossing over the slower, necessary steps that true healing demands. Watching others navigate recovery can be deeply reassuring. Seeing someone joke about wobbling to the bathroom or demonstrate how to climb stairs with crutches can ease the loneliness that often comes with injury. And some creators are genuinely getting it right. Increasing numbers of healthcare professionals, from orthopaedic surgeons to physiotherapists and podiatrists, now use social media platforms such as TikTok and Instagram to share safe exercises, realistic timelines and expert tips on navigating recovery. For people who struggle to access in-person care, this clinically sound content can be a lifeline. But not all content is created equal – and some can do more harm than good. But on social media, rest isn't always part of the narrative. The most viewed recovery videos often aren't posted by healthcare professionals but by influencers eager to showcase rapid progress. Some discard crutches too soon, hop unaided, or attempt high-impact exercises while their bodies are still vulnerable – all for the sake of engagement. What's often missing is the unglamorous reality: swelling, setbacks, rest and the slow, sometimes frustrating, pace of real healing. Bones, tendons and ligaments aren't impressed by likes or follower counts. Healing requires time and carefully structured loading: a gradual, deliberate increase in weight bearing and movement to rebuild strength without risking re-injury. Ignoring this process can lead to delayed healing, chronic pain, re-injury, or even long term joint and muscle complications that can affect the knees, hips, or back. And this isn't just speculation. A 2025 study examining TikTok content on acute knee injuries found that most videos were produced by non-experts and often contained incomplete or inaccurate information. Researchers warned that this misinformation may not only distort patient expectations but also lead to decisions that hinder proper recovery. Similar trends were found in anterior cruciate ligament knee injury videos, where dangerous, non-evidence based practices were widely promoted to millions of viewers. Healthcare professionals are now seeing the ripple effects firsthand. Many physiotherapists and podiatrists report a growing number of patients arriving with unrealistic expectations shaped by social media, rather than medical advice. Some patients feel frustrated when their recovery doesn't match the rapid progress they see online. Others attempt risky exercises before their bodies are ready, setting themselves back. A 2025 study examining TikTok content on acute knee injuries found that most videos were produced by non-experts and often contained incomplete or inaccurate information. Researchers warned that this misinformation may not only distort patient expectations but also lead to decisions that hinder proper recovery. The World Health Organization has also flagged the dangers of online health misinformation. When social media shortcuts replace professional care, patients risk not only slower recovery but potentially more complex medical problems, while clinicians are left managing the aftermath. While supportive online communities can be a valuable source of comfort, the pressure to 'bounce back' quickly can be dangerous. Viral videos and celebrity recoveries can create a toxic sense of comparison, tempting people to rush their own healing process. Research shows that the psychological drive to return to activity, particularly among younger adults, can reduce rehab compliance and sharply increase the risk of re-injury. True recovery isn't governed by trending hashtags; it follows a personal, biologically determined timeline that requires patience, rest, and carefully structured rehabilitation. Seeing stars like Kim Kardashian with a designer cast might make injury look fashionable. But for most people, a broken foot is not glamorous; it's weeks of awkward movement, discomfort, adaptation and quiet, steady healing. Mobility content can inspire, motivate, and connect – but it's not a road map for your own recovery. If you're injured, approach online content with curiosity, not comparison. Learn from others, but listen to your body. Healing is personal. Your recovery won't be dictated by views, likes, or viral trends – it will unfold on your body's own timetable. This article is republished from The Conversation under a Creative Commons license. Read the original article. Craig Gwynne does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding
A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding

Washington Post

timean hour ago

  • Washington Post

A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding

NEW YORK — Taylor Mac does not set out to bite the hand that feeds in a new play satirizing cultural philanthropy. The MacArthur 'genius grant' recipient claims to be 'just trying to get some lipstick on it.' Set at a not-for-profit dance company's gala, 'Prosperous Fools' invites questions about the moral value of philanthropy in a society denounced by the comedy as 'feudal.' A boorish patron goes mad trying vainly to wield his lacking creative capital and thus confirms the choreographer's fears of selling out to a sleazy oligarch who represents everything his art opposes. The show, written by Mac and directed by Darko Tresnjak, runs through June 29 at Brooklyn's Polonsky Shakespeare Center.

A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding
A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding

Yahoo

timean hour ago

  • Yahoo

A MacArthur 'genius' skewers philanthropy in a farcical play tackling oligarchy and arts funding

NEW YORK (AP) — Taylor Mac does not set out to bite the hand that feeds in a new play satirizing cultural philanthropy. The MacArthur 'genius grant' recipient claims to be 'just trying to get some lipstick on it." Set at a not-for-profit dance company's gala, "Prosperous Fools" invites questions about the moral value of philanthropy in a society denounced by the comedy as 'feudal.' A boorish patron goes mad trying vainly to wield his lacking creative capital and thus confirms the choreographer's fears of selling out to a sleazy oligarch who represents everything his art opposes. The show, written by Mac and directed by Darko Tresnjak, runs through June 29 at Brooklyn's Polonsky Shakespeare Center. 'I'm not trying to hurt anybody. I'm trying to get people to think differently about the world,' said Mac, whose gender pronoun is 'judy.' 'I just wish that all of the great philanthropists of America, and the world, would lead with, 'This is a temporary solution until we can figure out how to make a government of the people, for the people, by the people,'" Mac added. "Instead of, 'This is the solution: I should have all the money and then I get to decide how the world works.'' Don't let present day parallels distract you. The fundraiser's honored donor enters atop a fire-breathing bald eagle in a black graphic tee, blazer and cap much like Elon Musk's signature White House getup. He later dons the long red tie popular in MAGA world. But the resemblance doesn't mean Mac is meditating solely on recent events such as President Donald Trump's billionaire-filled administration and tightening grip over cultural pillars including the Kennedy Center. The script reflects personal frustrations with philanthropy's uneven power dynamics navigated throughout a 30-year career spent in what Mac described as 'a million handshaking ceremonies," first as a cater-waiter and eventually as one of the celebrated honorees who donates performances to help fundraise. Mac's desperate portrayal of the artist at the center of 'Prosperous Fools' only sharpens its skewering of wealthy philanthropists who take more than they give away. When the artist cries 'But why couldn't I have a good oligarch?' and bemoans that 'I should have stayed in the artistic integrity of obscurity,' it feels like a case of art imitating life. Mainstream success came last decade for Mac. 'A 24-Decade History of Popular Music' was a Pulitzer Prize finalist in 2017 and Mac's Broadway debut play 'Gary: A Sequel to Titus Andronicus' racked up seven Tony nominations in 2019. 'Prosperous Fools,' however, was written 12 years ago before much of the critical acclaim. Mac said 'someone with power' commissioned a translation of French playwright Molière's 'Le Bourgeois Gentilhomme,' which mocks a status-obsessed middle class social climber. Mac isn't surprised the original commissioner didn't want the final product. Molière is hardly present. And the play essentially advocates for an end to the perpetuation of culture that only the affluent deem worthy of funding. Mac is also unsurprised it took over a decade to land another interested producer. The initial 40-person ballet troupe had to be shrunk to a more affordable ensemble of four dancers. Plus, its style, in Mac's judgment, is still rather 'queer' for a 'heteronormative' theater industry. 'And then the other reason is because I insult donors," Mac said. 'I don't think I insult donors," Mac added. "I ask donors to consider. And the theater is entrenched in making sure their donors feel good about themselves — not that their donors are in collaboration with us for us all to get to a place of better consciousness.' The show's slapstick humor helps break down its fairly cerebral subject matter. In one of several moments of hilarity, the patron and his 'philanthropoid' — the ballet's artistic director, whose primary concern is securing donations — sway around the stage oinking like pigs. Mac's artist delivers scathing and highbrow critiques while pretending to be 'The Princess Bride' actor Wallace Shawn in a puppet costume. The gala's other honoree — a star singer called the 'patron saint of philanthropy" who wears a gown adorned with impoverished children's faces — makes no bones about her lust for Shawn. But, as Mac knows, nonstop humor can have the effect of softening its target. 'Prosperous Fools' foregoes the actors' bows that typically end a play in favor of an epilogue, delivered by the artist in rhyming couplets, that serves as the show's final blow to 'philanthrocapitalism.' 'I want to be a tender heart in this too tough world trying to figure out how to maintain my tenderness and how to create revolution with tenderness. And I'm at a loss for it right now," Mac said. "Part of what the play is doing is saying, 'I'm at a loss. Are you? Do you have a solution for me?'' By skipping the curtain call, Mac practically demands that the crowd wrestle immediately with whether charity absolves wealth hoarders' greed — a question boldly put forth at the close of a Theatre for a New Audience season sponsored by Deloitte and Bloomberg Philanthropies. But whether the show's heavy-handed message has reached those financial backers remains to be seen. 'No one's spoken to me," Mac said. Neither responded to requests for comment. ___ Associated Press coverage of philanthropy and nonprofits receives support through the AP's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP's philanthropy coverage, visit James Pollard, The Associated Press

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store