
Participants march in the 53rd annual Chicago Pride Parade on June 30, 2024, in Chicago, Illinois. (Photo by KAMIL KRZACZYNSKI / AFP) (Photo by KAMIL KRZACZYNSKI/AFP via Getty Images)
The Chicago Pride Parade has undergone a dramatic transformation since its early days, shifting from a jubilant, sexually expressive act of defiance into a carefully curated and often sanitized celebration. What was once a radical protest against heteronormativity and state control has become, in many ways, a corporatized festival designed for comfort rather than confrontation. I witnessed this difference firsthand. In 1996, I marched in the Chicago Pride Parade representing Northern Illinois University’s LGBTQ student group. We carried signs demanding queer liberation, chanted with raised fists, and celebrated our bodies and desires publicly, unapologetically. That experience was one of joy, solidarity, and sexual freedom—a moment when Pride was still very much about disrupting societal norms, not being absorbed into them.
Back then, Pride was deeply rooted in the spirit of the Stonewall Riots, which were themselves an uprising against police brutality and sexual repression. The early parades were messy, loud, and intentionally provocative. The presence of leather dykes, drag queens, trans sex workers, and bare-chested men wasn’t seen as a liability to be managed but as a central part of the protest. The parade was a place where queer people could publicly celebrate their sexualities, assert their right to pleasure, and reject the shame imposed by religious institutions, the state, and the medical establishment. As Gayle Rubin (1984) argues in Thinking Sex, sexuality is a frequent site of oppression, and its liberation is integral to broader social justice.
In recent decades, however, the increasing influence of corporate sponsorship and political interests has dulled the parade’s revolutionary edge. Corporate logos now dominate floats where once activists had marched. Politicians use the parade for photo opportunities rather than advocacy. In 2017, members of Black Lives Matter were briefly detained for disrupting the Chicago parade to protest police presence—an incident that underscores how the parade now often serves authority rather than challenges it (Bridges, 2017). These developments reflect a broader trend in which the politics of Pride have been defanged in order to be palatable to mainstream audiences.
As corporate sponsors and city officials pushed to make Pride “family-friendly,” explicit expressions of sexuality became increasingly discouraged. Kink communities, once a visible part of the parade, have been pressured to tone down their presence. Nude or partially clothed participants are often now treated as potential public relations liabilities rather than as rightful members of the LGBTQ spectrum. This retreat from sexual expression is not benign. It represents a fundamental misunderstanding of what queerness means and why visibility matters. As Sarah Schulman (2012) notes in The Gentrification of the Mind, the loss of sexual politics from queer spaces is not accidental but a consequence of neoliberal attempts to assimilate LGBTQ people into systems that continue to marginalize them.
Moreover, this sanitization undermines the very people whose liberation Pride was supposed to champion. Trans people, sex workers, people living with HIV, and those engaged in non-normative sexual practices have seen their visibility diminish just as the broader LGBTQ movement claims “inclusion.” According to Ritchie and Mogul (2007), this erasure aligns with a carceral and assimilationist approach to queer politics—one that values respectability over radicalism and marginalizes those who don’t conform. What was once a space to celebrate and politicize sex has been repackaged into a space where sexuality must be discreet, marketable, and inoffensive.
The shift is especially devastating for younger queer people, who now encounter a version of Pride that often leaves out the sexual energy that was once central to our movement. In Gay Shame, Halperin and Traub (2009) explore how the repression of queer sexuality under the guise of “progress” leads not to freedom, but to a new form of policing—this time from within the community. When Pride becomes merely a parade of sanitized slogans and rainbow logos, we lose not only our history but our future.
The LGBTQ movement was born from sexual deviance, rebellion, and refusal to conform. Sanitizing that history does not protect us—it disarms us. If we allow Pride to become sexually lifeless, we are not making it more inclusive; we are making it less honest. Pride must be reclaimed as a space where queer and trans people can express their desires and bodies with the same unapologetic defiance that launched the movement. Otherwise, it risks becoming a museum piece: brightly colored, well-funded, and utterly devoid of power.
References
Bridges, T. (2017, June 25). Activists protesting police presence at Chicago Pride Parade briefly detained. Chicago Tribune.
Halperin, D. M., & Traub, V. (Eds.). (2009). Gay shame. University of Chicago Press.
Ritchie, A. J., & Mogul, J. L. (2007). In Queer communities, police presence isn’t about safety. ColorLines. https://www.colorlines.com
Rubin, G. (1984). Thinking sex: Notes for a radical theory of the politics of sexuality. In C. Vance (Ed.), Pleasure and danger: Exploring female sexuality (pp. 267–319). Routledge.
Schulman, S. (2012). The gentrification of the mind: Witness to a lost imagination. University of California Press.
I was let go from my student teaching position because of some tweets. In these posts, I said, among other things, “I like to suck dick.” It wasn’t part of a curriculum. It wasn’t aimed at students. It was a personal expression—raw, queer, unapologetic. And for that, I was deemed “unfit.”
Bad Bunny, the Super Bowl, and the Politics of Identity
By Katherine Walter
On February 11, 2026
In cultural politics
SANTA CLARA, CALIFORNIA – FEBRUARY 08: Bad Bunny performs onstage during the Apple Music Super Bowl LX Halftime Show at Levi’s Stadium on February 08, 2026 in Santa Clara, California. (Photo by Thearon W. Henderson/Getty Images)
The 2026 Super Bowl halftime show, headlined by Bad Bunny, quickly became one of the most culturally and politically charged performances in recent memory. Announced months in advance as the featured performer, Bad Bunny’s selection already signaled a shift in the NFL’s cultural positioning, reflecting the growing influence of Latino audiences in American media (CBS News, 2026). When he ultimately took the stage, performing largely in Spanish and centering Puerto Rican identity, the symbolism was unmistakable.
The performance was widely interpreted not just as entertainment, but as cultural assertion. Spanish-language lyrics dominated the set, and the staging highlighted themes of Latino pride, resilience, and collective identity. El País (2026) described the show as a “protest dance,” suggesting that the performance functioned as a statement of presence in a political climate often marked by contentious immigration debates and nationalist rhetoric. Rather than presenting overt political slogans, the symbolism operated through visibility: Latino culture on the largest televised stage in the United States.
To me, that is what made the performance powerful. It was not aggressive. It did not attack policy. It celebrated identity. The choice to foreground Spanish was not exclusionary—it was reflective of the lived reality of millions of Americans. In a country where Spanish is the second most spoken language, hearing it dominate the halftime stage felt less like disruption and more like acknowledgment. Representation, in this case, became a form of quiet resistance.
President Donald Trump responded sharply. According to ABC News (2026), Trump called the halftime show a “slap in the face to our country.” Reuters (2026) reported that he described the performance as “absolutely terrible,” while People (2026) noted his criticism that “nobody understands a word this guy is saying.” His reaction framed the performance not as a cultural celebration but as a deviation from traditional American norms.
The criticism did not stop with the President. Entertainment Weekly (2026) reported that House Republicans called for an investigation into the halftime show, citing concerns over its choreography and presentation. The backlash extended beyond language into broader anxieties about morality, cultural standards, and national identity. Meanwhile, reactions were far from uniformly negative. The Guardian (2026) documented widespread praise from artists and public figures who described the performance as joyful and affirming, with some viewers saying it made them feel “proudly American.”
That divide reveals something significant. The controversy was not really about music or choreography. It was about competing visions of America. One vision views national identity as rooted in linguistic and cultural uniformity. The other sees American identity as evolving, multilingual, and shaped by migration and diversity. Bad Bunny’s performance fell squarely into the latter camp.
In my view, the halftime show reflected the America that already exists rather than the one some political leaders nostalgically imagine. A multilingual performance on the Super Bowl stage does not diminish American identity—it expands it. Cultural confidence means embracing diversity, not fearing it. The polarized reaction to the show underscores how entertainment events have become symbolic arenas where broader political tensions play out.
Ultimately, the 2026 Super Bowl halftime show was more than a concert. It was a cultural mirror. Whether one saw it as celebratory or confrontational depended largely on how one defines Americanness itself. The performance—and the reaction from President Trump—demonstrates that debates over language, culture, and belonging remain central to American political life.
References
ABC News. (2026). Trump calls Bad Bunny’s Super Bowl halftime show a “slap in the face to our country.” https://abcnews.go.com/US/trump-calls-bad-bunnys-super-bowl-halftime-show/story?id=129980124
CBS News. (2026). Bad Bunny will headline the 2026 Super Bowl halftime show. https://www.cbsnews.com/news/bad-bunny-2026-super-bowl-halftime-show/
El País. (2026, February 8). Bad Bunny’s Super Bowl: The protest dance of Latinos in the US. https://english.elpais.com/culture/2026-02-08/bad-bunnys-super-bowl-the-protest-dance-of-latinos-in-the-us.html
Entertainment Weekly. (2026). House Republicans call to investigate Bad Bunny Super Bowl halftime show over “widespread twerking, grinding, pelvic thrusts.” https://ew.com/house-republicans-call-for-investigation-of-bad-bunny-super-bowl-halftime-show-11904174
People. (2026). Trump lashes out at Bad Bunny’s Super Bowl halftime show: “Nobody understands a word this guy is saying.” https://people.com/super-bowl-2026-trump-lashes-out-bad-bunny-halftime-show-11902396
Reuters. (2026, February 9). Trump says Bad Bunny’s Super Bowl halftime was “absolutely terrible.” https://www.reuters.com/world/us/trump-says-bad-bunnys-super-bowl-halftime-show-was-absolutely-terrible-2026-02-09/
The Guardian. (2026, February 9). “Made me feel proudly American”: Stars react to Bad Bunny’s Super Bowl show. https://www.theguardian.com/music/2026/feb/09/reactions-bad-bunny-super-bowl-halftime-show