Global reggaetón superstar Bad Bunny has performed in traditionally “female” clothes, worn nail polish, and kissed men on the international stage, but has never named his identity explicitly. Many have taken to the internet to call him, among many other celebrities a “queer baiter .” With US representational politics and queer people in the spotlight – this thesis wonders how homonormativity and neo-imperial respectability politics fueled these queer-baiting discourses. This thesis aims to tackle the contemporary debates surrounding racialized minoritarian subjects in reggaetón who are constantly caught in discourses of “too queer” or “not queer enough.” These queers frequently under colonial or neo-imperial rule, negotiate the boundaries of American homonormativity and obsession with “outness.” This thesis takes up the idea of “queerbaiting” and questions, “what happens when people outside the homo-“norms” perform their queerness in a way that is not necessarily legible to other global queers?” Utilizing methods from performance, queer, and Latine and Caribbean studies, I argue that we need new understandings of what it means to be queer. Using case studies from the reggaetón genre of Puerto Rico and the Dominican Republic, I argue that performances by Bad Bunny, Tokischa, and Ivy Queen negotiate, performances of queerness that exceed those of US imperial homonormativity. Intervention statement: this redefines how we come to understand our own queerness and futures and how we understand the most popular global music genre.