other artist

Remember when snack choices fueled the most contentious debates around Super Bowl halftime? Cheetos versus Doritos. Hot wings versus garlic knots. And who the hell brought carrot sticks?!

Now Turning Point USA, the far-right organization founded by slain MAGA activist Charlie Kirk, has presented its followers with more tough choices: Who should play at Super Bowl LX’s halftime show?

Never mind that the NFL already announced earlier this month that Puerto Rican superstar Bad Bunny had landed the spot. Turning Point USA announced Thursday that it would be staging its own counterprogramming in protest of the league’s choice. It’ll be called “The All American Halftime Show” — and it most certainly won’t be in Spanish.

Ever since the NFL announced that Bad Bunny (whose real name is Benito Antonio Martinez Ocasio) would play the Big Game on Feb. 8 at Levi’s Stadium in Santa Clara, critics have been decrying the decision as an assault on Americanism.

House Speaker Mike Johnson said booking Bad Bunny was “a terrible decision.”

President Trump, who admitted he’d never heard of Bad Bunny before the late September Super Bowl announcement, said the NFL’s booking of the performer was “absolutely ridiculous.”

White House advisor Corey Lewandowski said it was “shameful they’ve decided to pick somebody who seems to hate America so much.”

Yet in comparison with other artists and celebrities who’ve widely criticized the president and his policies, Bad Bunny is not all that political or outspoken. He has, however, expressed concerns about the potential of U.S. Immigration and Customs Enforcement detaining fans at his concerts. The artist said last month that he would not book any U.S. dates for his tour over fears that fans would be swept up by ICE. “There was the issue of — like, f— ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about,” he told i-D magazine.

That was enough to deem Bad Bunny an enemy of the MAGA state and to characterize his Super Bowl show as part of a larger, hostile Latino invasion.

But let’s call it what it is: politicians and their pundits leveraging Hispanophobia for votes, influence and donations. The performer represents a population that’s been targeted by the current administration via unconstitutional sweeps of brown people in American cities, regardless of their immigration status. Bad Bunny is a U.S. citizen, like many of the folks with no criminal records who’ve been detained and even deported. Vilifying the artist and those who look and speak like him has generated votes for the right and deflected from concerns about the fragile economy and skyrocketing cost of living under Trump.

Turning Point advertises its planned counterprogramming as a show “Celebrating Faith, Family, & Freedom” and asking followers to weigh in on music genres they would like to hear at the alternative halftime show. The first option on the ballot? “Anything in English.”

The survey is situated right under a donate button, and another option to click “yes” to approve receiving “recurring automated promotional & fundraising texts from Turning Point.”

Despite the fact that the 79-year-old president had never heard of the wildly popular artist before, Bad Bunny is a three-time Grammy Award winner, a global superstar and has bested Taylor Swift’s Billboard chart numbers in the U.S.

So who does MAGA think it can get to upstage Bad Bunny at its unofficial Super Bowl side show? House Speaker Johnson suggested that “God Bless the USA” singer Lee Greenwood would attract a “broader audience.” But as Variety pointed out, the 1980s country icon boasts fewer than 500,000 Spotify listeners, compared with Bad Bunny’s 80 million.

Turning Point USA appears to be working on that problem. “Performers and event details coming soon,” said a statement on its site.

During his “Saturday Night Live” guest appearance last weekend, Bad Bunny derided the MAGA freakout around his forthcoming Super Bowl show, delivering his monologue in Spanish. He earnestly thanked his fans for acknowledging the contributions of Latinos in the U.S. Then in closing, he switched to English: “If you didn’t understand what I just said, you have four months to learn.”

No word yet if chips, salsa and guacamole will become the next target of performative, fundraising outrage on the right. Make Pretzels Great Again.

Sonny Curtis, a vintage rock ‘n’ roller who wrote the raw classic “I Fought the Law” and posed the enduring question “Who can turn the world on with her smile?” as the writer-crooner of the theme song to “The Mary Tyler Moore Show,” has died at 88.

Curtis, inducted into the Rock and Roll Hall of Fame as a member of The Crickets in 2012, died Friday, his wife of more than a half-century, Louise Curtis, confirmed to The Associated Press. His daughter, Sarah Curtis, wrote on his Facebook page that he had been suddenly ill.

Curtis wrote or co-wrote hundreds of songs, from Keith Whitley’s country smash “I’m No Stranger to the Rain” to the Everly Brothers’ “Walk Right Back,” a personal favorite Curtis completed while in Army basic training. Bing Crosby, Glen Campbell, Bruce Springsteen and the Grateful Dead were among other artists who covered his work.

Born during the Great Depression to cotton farmers outside of Meadow, Texas, Curtis was a childhood friend of Buddy Holly’s and an active musician in the formative years of rock, whether jamming on guitar with Holly in the mid-1950s or opening for Elvis Presley when Elvis was still a regional act. Curtis’ songwriting touch also soon emerged: Before he turned 20, he had written the hit “Someday” for Webb Pierce and “Rock Around With Ollie Vee” for Holly.

Curtis had left Holly’s group, the Crickets, before Holly became a major star. But he returned after Holly died in a plane crash in 1959 and he was featured the following year on the album “In Style with the Crickets,” which included “I Fought the Law” (dashed off in a single afternoon, according to Curtis, who would say he had no direct inspiration for the song) and the Jerry Allison collaboration “More Than I Can Say,” a hit for Bobby Vee, and later for Leo Sayer.

Meanwhile, it took until 1966 for “I Fought the Law” and its now-immortal refrain “I fought the law — and the law won” to catch on: The Texas-based Bobby Fuller Four made it a Top 10 song. Over the following decades, it was covered by dozens of artists, from punk (the Clash) to country (Johnny Cash, Nanci Griffith) to Springsteen, Tom Petty and other mainstream rock stars.

“It’s my most important copyright,” Curtis told The Tennessean in 2014.

Curtis’ other signature song was as uplifting as “I Fought the Law” was resigned. In 1970, he was writing commercial jingles when he came up with the theme for a new CBS sitcom starring Moore as a single woman hired as a TV producer in Minneapolis. He called the song “Love is All Around,” and used a smooth melody to eventually serve up lyrics as indelible as any in television history:

“Who can turn the world on with her smile? / Who can take a nothing day, and suddenly make it all seem worthwhile? / Well it’s you girl, and you should know it / With each glance and every little movement you show it.”

The song’s endurance was sealed by the images it was heard over, especially Moore’s triumphant toss of her hat as Curtis proclaims, “You’re going to make it after all.” In tribute, other artists began recording it, including Sammy Davis Jr., Joan Jett and the Blackhearts and Minnesota’s Hüsker Dü. A commercial release featuring Curtis came out in 1980 and was a modest success, peaking at No. 29 on Billboard’s country chart.

Curtis would recall being commissioned by his friend Doug Gilmore, a music industry road manager who had heard the sitcom’s developers were looking for an opening song.

“Naturally I said yes, and later that morning, he dropped off a four-page format — you know ‘Girl from the Midwest, moves to Minneapolis, gets a job in a newsroom, can’t afford her apartment etc.,’ which gave me the flavor of what it was all about,” said Curtis, who soon met with show co-creator (and later Oscar-winning filmmaker) James L. Brooks.

“[He] came into this huge empty room, no furniture apart from a phone lying on the floor, and at first, I thought he was rather cold and sort of distant, and he said ‘We’re not at the stage of picking a song yet, but I’ll listen anyway,’” Curtis recalled. “So I played the song, just me and my guitar, and next thing, he started phoning people, and the room filled up, and then he sent out for a tape recorder.”

Curtis would eventually write two versions: the first used in Season 1, the second and better known for the remaining six seasons. The original words were more tentative, opening with “How will you make it on your own?” and ending with “You might just make it after all.” By Season 2, the show was a hit and the lyrics were reworked. The producers had wanted Andy Williams to sing the theme song, but he turned it down and Curtis’ easygoing baritone was heard instead.

Curtis made a handful of solo albums, including “Sonny Curtis” and “Spectrum,” and hit the country Top 20 with the 1981 single “Good Ol’ Girls.” In later years, he continued to play with Allison and other members of the Crickets. The band released several albums, among them “The Crickets and Their Buddies,” featuring appearances by Eric Clapton, Graham Nash and Phil Everly. One of Curtis’ more notable songs was “The Real Buddy Holly Story,” a rebuke to the 1978 biopic “The Buddy Holly Story,” which starred Gary Busey.

Curtis settled in Nashville in the mid-1970s and lived there with his wife, Louise. He was inducted into the Nashville Songwriters Hall of Fame in 1991 and, as part of the Crickets, into Nashville’s Musicians Hall of Fame and Museum in 2007. Five years later, he and the Crickets were inducted into the Rock Hall, praised as “the blueprint for rock and roll bands (that) inspired thousands of kids to start up garage bands around the world.”

Italie writes for the Associated Press. Associated Press journalist Mallika Sen contributed reporting.