In a legal drama that has the music industry watching closely, Carliz de la Cruz—Bad Bunny’s first girlfriend and a trained intellectual property attorney—is suing the Puerto Rican superstar for $40 million. At the heart of the dispute is the now-famous voice tag “Bad Bunny, baby,” which de la Cruz recorded when the two were a couple in Puerto Rico, long before Benito Antonio Martínez Ocasio became a global phenomenon.
De la Cruz, who founded her own law firm, De Law Office, in Puerto Rico, argues that the commercial use of her voice without her explicit consent constitutes a violation of her rights. The tag has appeared at the start of numerous Bad Bunny hits, becoming a signature element of his music. While the artist’s legal team reportedly offered a mere $2,000 to settle the matter, de la Cruz is holding firm on the multi-million-dollar figure, citing the global reach and profitability of the recordings.
From Supermarket Bagger to Superstar: The Early Days
The story of Bad Bunny and Carliz de la Cruz dates back to 2012, when Martínez was still working as a bagger at a supermarket in Vega Baja, Puerto Rico, and dreaming of breaking into urban music. De la Cruz was by his side during those formative years, a time far removed from the sold-out stadiums, luxury lifestyles, and worldwide recognition he enjoys today. According to the lawsuit, her voice was recorded during that period and later used without her permission as his career skyrocketed.
This case is particularly intriguing because de la Cruz is no ordinary ex-girlfriend. With a law degree and expertise in intellectual property and entertainment contracts, she understands the value of image and voice rights better than most. Her legal background gives her a strategic edge in the litigation, making this a complex challenge for Bad Bunny’s representatives.
For fans, the lawsuit raises questions about how artists manage informal collaborations from their early days. The gap between the initial $2,000 offer and the $40 million demand reflects the enormous tension between Bad Bunny’s meteoric trajectory and the rightful claims of someone who supported him when everything was just a dream. As the case unfolds, it could set a precedent for how the music industry handles voice tags and other creative contributions made before fame.
Bad Bunny’s career has been marked by his ability to blend reggaeton with resistance, as explored in our piece Bad Bunny: Reggaeton as Resistance and the Voice of Puerto Rico. But this legal battle adds a new layer to his story, one that touches on the ethics of artistic collaboration and the protection of intellectual property. Meanwhile, his inner circle of athlete friends, detailed in Bad Bunny's Inner Circle: The Athletes Who Call Him a Friend, may now include lawyers on both sides.
As the legal proceedings continue, the music world will be watching to see how this clash between massive fame and legal accountability plays out. For now, Carliz de la Cruz is not backing down, and her demand for $40 million serves as a reminder that even the most iconic sounds have a human origin.
