The song’s success highlights the truism that the soul that moves so many of us, that we groove to, that animates our lives, that in some ways binds us as a global community — pop music — is the opposite of nativist. It’s promiscuous. It doesn’t respect borders or stick to racial categories. It borrows willy-nilly, encouraging cross-fertilization of cultures and styles. It courses with energy from the African diaspora. And those billions of views say that people, lots of them American, can’t get enough of it.

Of course, the song’s success doesn’t mean that President Trump’s project will fail, or that cranky nativism will give way to happy multiculturalism. Plenty of people might be willing to watch a video by Puerto Rican artists and still not want a Spanish-speaking neighbor next door. (Although Puerto Rico is a United States territory, so if you’re American, get over it.)

But the song’s success does highlight a side of humanity that, these days, often seems overshadowed by uglier tendencies. We know that humans can be tribal, that we quickly organize ourselves into in-groups and out-groups, that we can treat those out-groups cruelly and even savagely. These tendencies probably predate our being human. Even groups of chimpanzees wage war against one another.

But we have this other side that’s curious, that doesn’t cringe from difference so much as find inspiration in it. A transcendent side that takes joy in bringing together disparate parts, in creation, in play.