Global music superstar Bad Bunny, born Benito Antonio Martínez Ocasio, is facing a staggering $40 million lawsuit that strikes at the heart of his brand identity. The legal challenge comes not from a corporate rival or a fellow artist, but from his ex-girlfriend, Carliz De La Cruz Hernández, who claims ownership of one of the most recognizable audio tags in modern music: the sultry "Bad Bunny, baby" vocal drop. This lawsuit, filed in the courts of Puerto Rico, delves into complex issues of intellectual property, the right of publicity, and the monetary value of a creative contribution that has become synonymous with the artist's meteoric rise. At its core, the case examines whether a two-word voice memo, recorded in a moment of intimacy, can be worth a multi-million dollar fortune.
The Origin Story: More Than Just a Voice Memo
To understand the lawsuit, one must go back to 2011, long before Bad Bunny was a household name selling out stadiums worldwide. It was then that Benito Martínez began a relationship with Carliz De La Cruz Hernández while they were both students at the University of Puerto Rico in Arecibo. According to the legal filing, De La Cruz was deeply involved in Martínez's nascent career. The lawsuit portrays her as an integral part of the creative process, stating she handled his schedule, offered opinions on his songs, and managed invoices. Her role, as described in the legal documents, was that of a devoted partner and a key member of his small, foundational team.
The focal point of the dispute dates to 2015. As Martínez's musical ambitions grew, he sought a distinctive audio signature. He asked De La Cruz to record herself saying the phrase "Bad Bunny, baby" in her unique voice. The lawsuit specifies the casual and private nature of the recording: "It was agreed that the phrase 'Bad Bunny, baby' would be recorded on De La Cruz's cell phone in her friend's bathroom, as it was the place with the least background noise." She sent him the audio file, which he began using in early tracks and promotional materials, establishing it as his signature tag. Their relationship ended in 2016, and though they briefly reconciled in 2017, they ultimately went their separate ways. De La Cruz went on to attend law school, graduating in 2021, while Bad Bunny’s career exploded into a global phenomenon.
From Private Recording to Global Phenomenon
The "Bad Bunny, baby" tag became an indelible part of the artist's brand. It was a signal to fans, an instant identifier at the beginning of a track that they were about to hear his music. The issue of its ownership, however, did not surface until just before the release of Bad Bunny’s record-shattering 2022 album, Un Verano Sin Ti. According to the lawsuit, on May 4, 2022—just one day before the album's release—a representative from Rimas Entertainment, Bad Bunny’s label, contacted De La Cruz. The purpose of the call was to offer her $2,000 for the rights to her voice recording, which was slated to be used in the song "Pa Ti."
De La Cruz was reportedly shocked by the last-minute offer for a vocal tag she had recorded years prior. She declined the offer, and a subsequent phone call with a Rimas representative allegedly confirmed that her voice would also be used in another track, "Dos Mil 16." The lawsuit details that despite her explicit refusal to sell the rights or authorize its use, Rimas Entertainment and Bad Bunny proceeded with the album's release on May 6, 2022. Both "Pa Ti" and "Dos Mil 16" featured her voice, catapulting the intimate recording she made in a bathroom into an anthem heard by millions around the world. This unauthorized use forms the central pillar of her $40 million claim.
Deconstructing the $40 Million Legal Claim
The lawsuit filed by Carliz De La Cruz Hernández is not a simple monetary demand; it is built on several specific and powerful legal arguments common in intellectual property and entertainment law. The complaint names Benito Martínez Ocasio, his manager Noah Assad, and the label Rimas Entertainment as defendants.
The Core Legal Arguments
- Violation of Intellectual Property and Copyright: De La Cruz's legal team argues that her voice recording is a protected work. As the creator of the specific expression and sound recording of "Bad Bunny, baby," she holds the copyright. Using it without a license or her permission constitutes copyright infringement. The fact that the label attempted to purchase the rights for $2,000 is presented as an admission that they knew they needed her permission to use it legally.
- Violation of the Right of Publicity: This legal concept, also known as personality rights, gives an individual the exclusive right to control the commercial use of their name, image, likeness, and other unequivocal aspects of their identity—including their voice. The lawsuit argues that De La Cruz's voice is now globally recognizable and has been exploited for immense commercial gain on one of the best-selling albums of the decade without her consent or compensation.
- Unjust Enrichment: This claim posits that the defendants have profited significantly from the unauthorized use of her creative work. The argument is that it is fundamentally unfair for them to retain the massive financial benefits generated, in part, by her vocal contribution without providing her with fair compensation.
- Moral Damages and Emotional Distress: Beyond the financial claims, the lawsuit details the personal toll the situation has taken on De La Cruz. The legal document states, "Since then, thousands of people have commented directly on Carliz's social media networks, as well as every time she goes to a public place, about the 'Bad Bunny, baby.' This has caused, and is currently causing, De La Cruz to feel worried, anguished, intimidated, overwhelmed and confused." It argues this unwanted public attention has invaded her privacy and caused significant emotional harm. The $40 million figure is intended to cover both the commercial value of her voice and the personal damages she has suffered.
Industry Implications and Potential Defenses
The case of De La Cruz v. Martínez Ocasio highlights a critical, and often overlooked, aspect of music production: the necessity of clearing every single element of a track, no matter how minor it may seem. Voice tags, ad-libs, and samples from non-artists can all become legal liabilities if proper agreements are not secured. For Bad Bunny's legal team, a potential defense might involve arguing that the use of the tag was based on an implied consent from their past relationship, though the explicit rejection of the $2,000 offer severely undermines this position. Another potential angle could be to dispute the valuation of the voice tag's contribution to the album's overall success.
However, the lawsuit alleges that after De La Cruz refused to sell, Bad Bunny's team attempted to create a substitute with a sound-alike voice actor but were unsatisfied with the result, leading them to use the original recording anyway. If true, this detail would further strengthen De La Cruz's claim that her specific vocal performance was unique and essential. This lawsuit serves as a cautionary tale for the music industry, reinforcing the importance of written contracts and formal work-for-hire agreements for all creative contributions, especially in an era where virality can turn any sound bite into a valuable piece of intellectual property.
As the legal proceedings unfold, the outcome remains uncertain. Many such high-profile cases are resolved through a confidential out-of-court settlement to avoid a lengthy and public trial. However, if it does proceed, the case will set a significant precedent on how the contributions of former partners and collaborators are valued in the eyes of the law. It is a complex intersection of a past personal relationship and a present global business empire, where the echoes of a simple phrase, "Bad Bunny, baby," now reverberate in a Puerto Rican courtroom, demanding a $40 million answer. The resolution will not only determine the financial fates of the parties involved but will also send a clear message about artistic credit and compensation in the modern music landscape.
