Tag Archives: United States

PRdream mourns the passing of José “Chegui” Torres, 1936 – 2009

Boxing’s renaissance man Jose Torres commanded ring & respect
by Mike Lupica

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For the old-timers, the ones who come out of fight nights at the old Garden and out of a much older New York, it will always be 1965 for Jose Torres, when he was young. It will be the night at the old Garden when he beat Willie Pastrano, dancing and jabbing and finally body-punching his way to a TKO. He became the light-heavyweight champion of the world that night and seemed to have won the championship of the city as well. Jose Torres came from Puerto Rico, but by then he was more here than there.

The next day he made his first stop as champ at 110th and Lexington Ave., climbed up on a fire escape and addressed a crowd of thousands.

“This is for everybody,” he said, and told the crowd that if he could do something like this in the city of New York, anything was possible.

But he was so much more than just a prizefighter, even if that is how the world first knew him. He became the first Latino columnist in town, at least in an English-language paper, when my old boss, the great Paul Sann, put him to work at the old New York Post. He would later become a commentator on television, and radio host, and in the 1980s even became the New York State Athletic Commissioner.

He was a friend to Norman Mailer, who was once brave enough to get into the ring with him, and Pete Hamill. He once said that Pete had given him his first book and how he now owned more than 800 of them, and was confident that “Pete’s responsible for six or seven hundred.” He had a good enough voice to sing a ballad one time on the Ed Sullivan Show.

“I keep telling you,” he used to say to me, “I am more a lover than a fighter.”

Jose Torres wrote books about Muhammad Ali and Mike Tyson, and spent so much time trying to save Tyson from himself and what he called the “parasites” around him. And became a friend to Robert F. Kennedy when Kennedy became the U.S. senator from New York.

Kennedy wanted to learn about the city, to know the city, and not just the avenues of power in Manhattan. So Hamill and the late Jack Newfield became guides for him in those years. So did Jose Torres. They would get in the car at night and drive the neighborhoods of Brooklyn, get out and talk to the people who lived in them. A Kennedy doing this, and the kid from Puerto Rico who had won a silver medal in the ’56 Summer Olympics, won the 160-pound division of the ’58 Golden Gloves, would later end up in the International Boxing Hall of Fame in Canastota, N.Y.

And Kennedy and Jose Torres would talk through the night. One of the things they talked about was what Robert Kennedy talked about in speeches in those days, about how within 40 years a man of color would be President. It was why Torres thrilled so much to the run Barack Obama made to the nomination and finally to today, even though he was back in Puerto Rico by last year, there to write and grow old as gracefully as he had fought once.

Pete Hamill said Monday that the last time he talked to Torres, his dear friend of half a century, was 10 days ago.

“It’s amazing, Pete, this country – what a place. What an amazing place,” Torres said to Hamill on the phone that day. He was talking, of course, about Obama.

Jose Torres did not make it to Obama’s inauguration. Did not make it to today. Did not live long enough to hear Obama, whom he believed was the heir to Kennedy’s ideals and compassion and spirit, give his speech today.

Jose Torres died in his sleep early Monday, at the age of 72. He suffered from diabetes and his friends believe that his body was never right after the pounding he took from Tom McNeely, a heavyweight, in Puerto Rico in 1965. It was a non-title fight and Jose ended up winning it, but McNeely brutally worked Jose’s body that night.

Jose finally lost his title to Dick Tiger, a future Hall of Famer the same as Willie Pastrano, the same as Jose. It was some amazing time in their division. Then Tiger beat him a second fight at the Garden, even though that one nearly caused a riot when it was announced that the decision had gone against Jose. He fought twice more after that and then retired.

And this wasn’t the beginning of some slow, sad ending for a retired boxer who had taken too many shots to the head. This was the beginning of a joyful, amazing life, one so well-lived and so well-enjoyed, in the city of New York.

For the next four decades he lectured and wrote his books and became Commissioner Torres finally. His last columns were for El Diario. At the boxing Hall of Fame, he is described this way: “Boxing’s renaissance man.” He was all that, a splendid ambassador for the island of his birth and the city he adopted and of his sport.

He was a lover: of his boxing career, of being a champion, of being a writer, of knowing that books he wrote, in his second language, would be on library shelves forever. More than anything he would have loved Barack Obama’s speech today, about the world Jose Torres imagined once from a fire escape on 110th Street, one where anything really is possible.

Patricia Villalobos Echeverria’s AGUASMALAS (BLACKWATERS) at MediaNoche

November 22 – December 14, 2008

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Multichannel video projections onto parasitic, bomb-like sculptures activate MediaNoche’s architecture. Images of mass rallies and marching soldiers are juxtaposed to a man’s body, floating in dark, indeterminate waters. The sculptures act as bodies themselves, simultaneously inhabiting the physical space of the gallery and the projections of the sea, a dark field of liquid that alludes to contamination or oil. It should be noted that the English translation of Aguasmalas also references the private military company Blackwater, contracted by the US government to provide security services in Iraq.

MediaNoche Gallery
1355 Park Avenue, Corner Store at 102nd Street
New York City
212.828.0401
www.medianoche.us
infoATmedianoche.us

Gallery hours: Thurs – Sat, 3PM – 7PM

Three Latina Artists / Tres Artistas Latinas

Calero Lazarus

February 2 – March 27
Panel Discussion: Wednesday March 11, 2009 2pm
Closing Reception: Sunday, March 22, 2009 3 – 5PM.

Elia Alba, Rodriguez Calero, Juana Valdes are three Latina artists whose multimedia artworks are meditations on being women artists with Spanish-speaking Caribbean heritage. “By birth or heritage their roots are in the Spanish-speaking Caribbean” writes Anreus. “Within its diversity the Spanish-speaking Caribbean shares a similar colonial history, a hybrid spirituality and a multi-racial identity. All of these issues continue to be potent in the lives and culture(s) of Latinos in the United States.” Curated by Alejandro Anreus. Catalog available.

Ben Shahn Center for the Visual Arts
Court Gallery
William Patterson University
300 Pompton Road
Wayne, New Jersey 07470
1973.720.2654
www.wpunj.edu

PRdream mourns the passing of Manny Oquendo

MANNY OQUENDO
January 1, 1931 – March 25, 2009

Bandleader, percussionist Manny Oquendo passed away March 25, 2009 of a heart attack. A self-taught musician, Oquendo was a senior statesman of the Latin percussion instruments of timbales and bongos before founding and co-directing the critically acclaimed Latin music band, Conjunto Libre for more than 35 years.

A member of the seminal recording “Grupo Folklorico Experimental Nuevayorquino” Parts I & II, Manny Oquendo was known for his understated yet aggressive solo improvisations on both the timbal and bongos. His was not a race as to who could play the fastest, or who could do the most paradiddles, excessive drum rolls or “contra-clave,” Manny Oquendo’s style was a school in and of itself. “The Timbalero must always keep the beat,” he emphasized in interviews. “Never overplay,” was his most consistent rule.

His style was found in the roots of Cuban bands such as Arcaño’s or Orquesta Aragon, never flashy, never overstated. For influence and inspiration he looked to the drummers of the vintage Cuban bands such as bongocero, Ramón Castro, who played with the Orquesta Casino de la Playa and later with Pérez Prado or Conjunto Casino’s Yeyito Iglesias or Papa Kila (Antolín Suárez) who played with Arsenio Rodríguez or Sonora Matancera’s Manteca (José Rosario Chávez). Manny Oquendo was known by what he said on the timbal, not how many things he could do to it.

For more than 60 years, Manny Oquendo’s said many things through his percussive strength and musical vision. His profound yet understated sounds were part of the Latin New York music scene from the ‘40s until today.

Born José Manuel Oquendo on South Fourth St. Brooklyn, he was called “Manolo” before he became “Manny” in his teens. The family later moved to East Harlem in 1939 where Oquendo was captivated by the sounds of music. “Music was everywhere,” he recalled.

East Barrio’s first Latin music record store “Almacenes Hernandez” (originally located at 1600 Madison Avenue and opened in 1927) was just one flight down from the Oquendo family’s apartment. The swinging big bands of Machito, Jose Fajardo and Orquesta Aragon became the soundtrack of his childhood. “There was music constantly coming out of that store, and that was my education,” he recalled.

His first set of drums were a pair of “tom toms” with the skin on both ends. Played with sticks from a wooden hanger, Manny played along to records from his parents’ victrola. Spanish language radio stations were always on in his home. Later, when Oquendo visited his parent’s roots in Ponce, he discovered the cuatro through his grandfather.

After the “tom toms,” Oquendo got a pair of wooden timbales and began playing with Sexteto Sanabria but not before taking a few drum lessons at a school on 125th Street at 25 cents per lesson. Later on, he studied privately with Sam Ulano, a well-known percussion teacher. Jazz drummer Max Roach also studied with Ulano alongside Manny. Whenever they’d run into each other they’d reminisce on their school days. Oquendo always kept his set of trap drums.

By the 1940s, the Oquendos moved to Kelly Street in the South Bronx unknowingly joining a community of likeminded musicians. Pianist, Noro Morales lived down the street from Manny on Stebbins Ave.; Joe Loco was by Horseshoe Park; Tito Rodríguez was on Rogers Place; Tito Puente on 163rd Street, while Arsenio Rodríguez and Ray Coén both lived on Kelly Street.

Oquendo began playing with New York’s top orchestras. He played with the Carlos Medina Orchestra, the Charlie Valero Band and Xavier Cugat’s former singer Luis del Campo before playing with the legendary Marcelino Guerra Band.

From here Oquendo played with trumpeter Frank Garcia and his vocalist, El Boy, where he met Chano Pozo who performed with Miguelito Valdes at a local show and stayed to play with the fledging timbalero. Chano remained with the small group until he got a better paying job. Oquendo moved on as well, joining pianist Jose Curbelo’s orchestra where he performed on a full array of drums owing to their diverse repertoire that included tangos, sambas and American swing music. “It gave me the feeling of being a complete drummer.” He mentioned in an interview to Frank Figueroa over Latin Beat.

From here, Manny Oquendo joined Pupi Campos’ band playing many venues on Long Island alongside Tito Puente and his Picadilly Boys. Since they were both working in the same area, Tito and Manny would ride together to their respective gigs with Manny playing in Tito’s band as he waited for his own show to begin. When Tito’s regular bongocero Chino Pozo left to tour with Katherine Dunham, Tito asked Manny to take over that chair. When Little Ray Romero took a job with Eartha Kit, it was Manny Oquendo who Tito Rodriguez called to fill his bongo chair.

Manny had his Afro-Antillian chops chiseled under the bands of Tito Puente, Tito Rodriguez, Johnny Pacheco and others. He had hung with the legendary Chano Pozo, taking the Musician’s Union cabaret license test for him enabling Pozo to work in New York clubs during his stay between 1946 –’48.

By the 1960s, everything Cuban was forbidden. Manny listened to the Mozambique sounds of Pello El Afrokan over short wave radio and on pirated records. Back in his apartment on Kelly Street in the Bronx, he’d practice hitting the timbal with the left and playing the rhythm on the right until he nailed the Cuban genre so well he made it his own.

In 1963, Manny Oquendo joined “La Perfecta,” the conjunto organized by pianist Eddie Palmieri. Alongside congüero, Tommy Lopez, Manny crystallized the Mozambique sound creating a powerhouse rhythm section alongside Palmieri’s improvisational infrastructure.

In 1974 Oquendo and bassist Andy Gonzalez left Palmieri to move in their own direction. Leaving the traditional structures behind, the duo incorporated jazz, Afro-Cuban, Afro-Puerto Rican rhythms while exploring alternatives. The goal was to “free” the music from restrictive content and Libre was born. During 1976 to 1981, Oquendo became a musical historian of the tipico sound he’d perfected with Palmieri. Libre’s first albums included classics by composers Ignacio Pineiro, Rafael Hernandez and Nico Saquito, as well as a traditional Puerto Rican plena by Manuel “Canario” Jimenez.

At the same time, the group attracted a creative crop of innovative young artists in Latin music. The Gonzalez brothers, Andy and Jerry Gonzalez are founding members; Alfredo de la Fe is featured on various incendiary violin solos with singer Herman Olivera making his recorded debut over a Libre recording while flautist Nestor Torres was also a featured guest. At various times, Barry Rogers, Jose Rodrigues, Angel “Papo” Vazquez, Jimmy Bosch, Reynaldo Jorge, Dan Reagan and Steve Turre held down the trombone line, while Oscar Hernandez, Joe Mannozzi, and Marc Diamond rocked the piano chair.

Last year, Puerto Rico’s Radio Station, Z93 dedicated its National Salsa Day to Manny Oquendo.

Manny Oquendo is survived by four sons and two sisters.

According to Manny Oquendo’s wishes, there will not be a viewing. We will post any information regarding a memorial in the future.

A video from Salsa Sunday’s Conversations with the Masters has been posted on our website at www.zondelbarrio.com/Press.php

About Aurora Flores:
Twenty-first century Renaissance woman Aurora Flores is the recipient of numerous awards and is included in Who’s Who in Hispanic America. Currently the President of Aurora Communications, she was the first Latina editor of Latin New York Magazine and the first female music correspondent for Billboard Magazine. While attending Columbia’s Journalism School, she broke into mainstream journalism and today has thousands of articles to her name.

A musician by training, Aurora founded her own septet, Zon del Barrio, bringing together modern music genres, Afro-Boricua folklore and Afro-Cuban salsa. She lectures on Latin music, has composed bilingual songs for Nickelodeon’s “Dora the Explorer,” and recently edited and wrote the foreword for ¡Salsa Talks! A Musical Heritage Uncovered. Aurora can be seen in BET’s Pasos Latinos; BRAVO’s “Palladium, When Mambo was King;” the Smithsonian’s “Latin jazz, La Combinación Perfecta;” and in Edward James Olmos’s “Americanos: Latino Life in the U.S.” alongside the late Tito Puente, playing a composition she co-wrote. She is a proud descendent of Puerto Rican visionary, Eugenio Maria de Hostos.

MUSICA DE CAMARA PRESENTS SOPRANO CAMILLE ORTIZ IN A SPRING CONCERT

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CAMILLE ORTIZ IN A SPRING CONCERT

Musica de Camara Inc. presents a concert, “Painted By Sea and Sun”, at the Museum of the City of New York, featuring the soprano Camille Ortiz on Sunday, April 5th, 2009 at 3 pm. The Museum os located at 1220 Fifth Avenue at East 104th Street in New York City. Admission is free. Ms Ortiz will sing works by Jesus Guridi, Enrique Granados, Hugo Wolf, Claude Debussy and Heitor Villa Lobos. She will be joined at the piano by Jeanne-Minette Cilliers.

Camille Ortiz was born in Vega Baja, Puerto Rico and completed her Master’s Degree of Music at the Manhattan School of Music under the tutelage of Joan Patenaude-Yarnell. She appeared in the Festival of Interpretation of Spanish Song in Granada, Spain where she worked with the acclaimed Spanish mezzo soprano Teresa Berganza. In Italy, she sang leading opera roles with the Centro Studi Lirica and at the Scuola di Leonardo da Vinci in Rome, she completed her Italian studies. Among the numerous venues in which she has been presented in concert are the Carlos Chavez Hall at the Universidad Nacional Autonoma of Mexico, the Sala Manuel de Falla in Granada, Spain, the Tenri Cultural Institute and the Bruno Walter Auditorium. She has been the subject of a nationally broadcast television program on the network Telemundo and last season, after participating in a Master Class conducted by the renown soprano Martina Arroyo, Ms. Ortiz won accolades for her opera portrayals in the subsequent concert “Prelude to Performance” at the Kaye Playhouse at Hunter College. A winner of the 2008 Gerda Lissner Foundation Award and a finalist in the coveted 2009 Liederkranz Competition, she is founder-director of ALMA, an organization that promotes Hispanic American classical repertoire.

Currently on the faculty of the Manhattan School of Music, South African pianist Jeanne-Minette Cilliers has been called “a pianistic poet” and has garnered rave reviews for her color-rich and imaginative performances. Much in demand as a collaborator, she has performed in Austria, Germany, Israel, Japan, Sweden, South Africa and across the United States. She fosters a strong interest in contemporary music and her recording of Dominick Argento’s “Andre Expedition” will be released next season. Ms. Cilliers has earned both her Bachelor and Master’s Degress of Music with distinction at the University of Michigan, while studying with fellow South African Anton Nel who is a Naumberg Competition Gold medalist. Ms. Cilliers remains the first and only recipient of an Artist Diploma in Vocal Accompaniment from the Manhattan School of Music. Her upcoming schedule of performances include appearances in New York City, San Francisco, Sweden, South Africa and the Caribbean.
Now celebrating its 29th Year, and founded by soprano Eva de La O, Musica de Camara has presented Puerto Rican, Hispanic and non-Hispanic classical musicians in concert in major concert venues such as Alice Tully Hall; Lincoln Center, the Merkin Concert Hall; Kaufman Cultural Center as well as community centers, schools, colleges, churches and museums. The organization also travels to public schools in under-served communities with its Lecture Demonstration Program.

This concert has been made possible in part with the support of the New York City Department of Cultural Affairs, the New York State Council on the Arts, the New York City Council, the New York State Senate and Assembly, the East Harlem Chamber of Commerce, the Museum of the City of New York, the Con Edison Company, Bronx Lebanon Hospital, Consultiva Internacional of Puerto Rico, EMK Enterprises, Deloitte LLP, First Republic Bank, Credit Suisse, Fiddler – Gonzalez – Rodriguez PSC, the Delmar Foundation and the Carnegie Corporation of New York.

PRDREAM’s SUMMER FILM FEST formerly the Handball Court Summer Films Series

PRDREAM’S SUMMER FILMS SCHEDULE IN THE 103rd STREET COMMUNITY GARDEN (103rd Street and Park Avenue)

FOR MORE INFORMATION
Contact: Judith Escalona
212.828.0401
judith.escalonaATgmail.com

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From Elisa Perea’s “Nogales: Aqui Es….”

**Joe Falcon and Coco Rico play opening night, August 11

FILM SCHEDULE

Tuesday, August 11, at Sunset (approximately 8:30PM)
La Venganza de Correa Cotto: Feature Crime Story, 1969. Puerto Rico. Spanish, no subtitles. Some graphic scenes.
Producer Anthony Felton will be available for questions

Correa

Correa

Correa

Wednesday, August 12, at Sunset (approximately 8:30PM)
La Palomilla: Feature Crime Story, 1970. Puerto Rico. Spanish, no subtitles. Some graphic scenes.
Actors Jaime Sanchez (La Palomilla) and Ritchie Velez (cellmate) will be available for questions

Thursday, August 13, at Sunset (approximately 8:30PM)
Nogales: Aqui Es… : Documentary. 2009. Mexico. Spanish, English subtitles.
Filmmaker Elisa Perea will be available for questions

Thursday, August 20, at Sunset (approximately 8:30PM)
Taking Root: Documentary. 2008. English, no subtitles.

Thursday, August 27, at Sunset (approximately 8:30PM)
Addicted to Plastic: Documentary. 2009. English, no subtitles.

Friday, August 28, at Sunset (approximately 8:30PM)
Swim the River: Documentary. 2006. English, no subtitles.

THE PUERTO RICAN CRIME FILM AS PROTEST

This year PRDREAM’s Summer Film Fest presents two Puerto Rican crime films La Venganza de Correa Cotto, directed by Jeronimo Mitchel; and La Palomilla, directed by Efrain Lopez Neris, as an exploration of crime as a form of protest. Classics in their own right, they were produced in Puerto Rico in the seventies and reflected an earlier period of transformation and transvaluation of island society brought on by U.S. investment policies known as Operation Bootstrap.

These films portray the law as an external imposition, foreign to the values of the common folk, and the outlaw as the unconscious expression of revolt. Both Correa Cotto and Jose Anibal Gerena Lafontaine (La Palomilla) were simple men, thrust by circumstances into extraordinary acts of transgression that challenged the colonial status quo. Correa and Gerena were men of their times, embodying the passions of a people experiencing the trauma of rapid urbanization and displacement. Anthony Felton who also produced Correa Cotto: Asi Me Llaman will be present for a Q&A after the film. Jaime Sanchez. A leading actor in both Puerto Rican and American cinema, who stars in La Palomilla will be present after that screening. Ritchie Velez, an actor who appears as a cell mate in La Palomila will also be present. Some graphic scenes.

BORDER ART: AN INTRODUCTION

Elisa Perea’s Nogales, Aqui Es gives an extensive overview of the current art scene in Nogales that sits Janus-face between Mexico and the U.S. Actually, there are two towns named Nogales, the one South of the border is highlighted here as home to a fine pool of artists whose work clearly reflects the transnational nature of life on the border. In Spanish with English subtitles.

IT’S THE ENVIRONMENT…

In keeping with our practice of presenting films dealing with the environment and ecology, the summer film series presents three remarkable documentaries.

Taking Root: The story of the Kenyan Green Movement spurred by Nobel Prize winner Wangari Maathai. In seeking to stave off the starvation of her community, this woman challenges modern Kenyan life, teaching her people once again how to plant and grow their own. In the process, she uncovers the legacy of colonialism, the forgotten history, the lost culture and tradition of a ravaged land.

Addicted to Plastic: A revealing documentary about our use and abuse of plastics. So dependent have we become on things made of plastic, and so accustomed to their quick disposal, that we are choking our planet, fish and birds. There is an area in the world’s ocean that has been likened to a cesspool floating with every type of plastic imaginable, old and new.

Swim the River: Looks at one man’s ambition to swim the entire length of the Hudson River in order to draw attention to its contamination and destruction. Chris Swain swims from the Adirondack Mountains to New York City, braving whitewater, sewage snapping turtles, hydroelectric dams, homeland security patrols, factory outfalls, and PCB exposure.

La Palomilla – Free Screening at the 103rd St. Community Garden

PRDREAM’S SUMMER FILMS SCHEDULE IN THE 103rd STREET COMMUNITY GARDEN (103rd Street and Park Avenue)

Wednesday, August 12, at Sunset (approximately 8:30PM)
La Palomilla: Feature Crime Story, 1970. Puerto Rico. Spanish, no subtitles. Some graphic scenes.
Actors Jaime Sanchez (La Palomilla) and Ritchie Velez (cellmate) will be available for questions

THE PUERTO RICAN CRIME FILM AS PROTEST

La Palomilla

La Palomilla

La Palomilla

This year PRDREAM’s Summer Film Fest presents two Puerto Rican crime films La Venganza de Correa Cotto, directed by Jeronimo Mitchel; and La Palomilla, directed Efrain Lopez Neris, as an exploration of crime as a form of protest. Classics in their own right, they were produced in Puerto Rico in the seventies and reflected an earlier period of transformation and transvaluation of island society brought on by U.S. investment policies known as Operation Bootstrap.

These films portray the law as an external imposition, foreign to the values of the common folk, and the outlaw as the unconscious expression of revolt. Both Correa Cotto and Jose Anibal Gerena Lafontaine (La Palomilla) were simple men, thrust by circumstances into extraordinary acts of transgression that challenged the colonial status quo. Both Cotto and Gerena were men of their times, embodying the passions of a people experiencing the trauma of rapid urbanization and displacement. Anthony Felton who also produced Correa Cotto: Asi Me Llaman will be present for a Q&A after the film. Jaime Sanchez. A leading actor in both Puerto Rican and American cinema, who stars in La Palomilla will be present after that screening. Ritchie Velez, an actor who appears as a cell mate in La Palomila will also be present. Some graphic scenes.

La Palomilla

La Palomilla

FOR MORE INFORMATION
Contact: Judith Escalona
212.828.0401
judith.escalonaATgmail.com


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América Latina: Nueva Literatura de Extremo Occidente, II

Literature at Americas Society
Americas Society ¦ 680 Park Avenue, New York, NY 10065 ¦ www.americas-society.org

Roundtable discussion (in Spanish)

América Latina: Nueva Literatura de Extremo Occidente, II

Thursday, October 29
7:00 pm
Free admission

Novelist and poet Mayra Santos-Febres (Puerto Rico) will lead a discussion with fellow writers Fernando Iwasaki (Peru), Edmundo Paz Soldán (Bolivia), Cristina Rivera-Garza (Mexico/USA), and Jorge Volpi (Mexico) on the state of Latin American literature today. This program also celebrates the publication of Jorge Volpi’s Season of Ash, translated by Alfred Mac Adam (Open Letter, 2009).

Presented in collaboration with the Salón Literario Libroamérica, a non-profit organization whose mission is the internationalization of Puerto Rican literature. We thank the Consulate General of Peru in New York for helping to promote this event.

Reservations:
Americas Society Members: Reserve today at membersres@americas-society.org .
Non-Members: Reserve online now.

Americas Society gratefully acknowledges the generous support of our Literature Program donors: Honorary Benefactor Amalia Lacroze de Fortabat, The Reed Foundation, and the Program for Cultural Cooperation between Spain’s Ministry of Culture and U.S. Universities. The Literature Program is also made possible, in part, with public funds from the New York State Council on the Arts, a State Agency, and the New York City Department of Cultural Affairs. In-kind support is provided by the Salón Literario Libroamérica.

Puerto Rico Strikes

By Yolanda Rivera
From the October 30, 2009 issue | Posted in International | Email this article

A STRIKING ISLAND: More than 200,000 Puerto Ricans joined a general strike Oct. 15.

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PHOTO: SEIU INTERNATIONAL, FLICKR.COM

SAN JUAN, PUERTO RICO—In 1934, the year of the largest sugarcane workers’ strike in Puerto Rican history, Antonio S. Pedreira, a wealthy writer and educator, described Puerto Ricans as lazy and irresponsible: “To be lazy, in our country, is self-repression, lack of mental activity and freewill […] We are squatting before our future.”
Seventy-five years later, the attitudes of Puerto Rico’s ruling elite appear unchanged. Faced with widespread opposition to plans by Gov. Luis Fortuño to fire tens of thousands of public-sector workers and privatize government services, members of the governor’s staff have called workingclass Puerto Ricans “ticks” “garrapata” and terrorists and told them to accept privatization and layoffs because “such is life.”

Fortuño, leader of the Partido Nuevo Progresista (the equivalent of the Republican Party), was inaugurated Jan. 2, 2009. In his first 10 months in office he has fired more than 23,000 public-sector workers despite promising during his campaign that he would not make layoffs. His announcement on Sept. 25 that he was firing nearly 17,000 workers spurred labor, student, religious and community groups to organize a general strike on Oct. 15.

Fortuño’s administration reacted by stoking tensions. Top law-enforcement officials including the justice secretary and police superintendent threatened to charge strikers with terrorism if they disrupted traffic at the island’s ports. Independent observers such as the American Civil Liberties Union described the government threats as “dangerous” and “sowing fear.”

The week before the general strike, 10 campuses of the University of Puerto Rico closed their doors to prevent student protesters from using the facilities to mobilize. During democratic assemblies that gathered record numbers, students had already closed the main university campus in solidarity with fired government workers, including teachers, janitors and other service employees.

Despite the official intimidation, the demonstration and walkout went ahead Oct. 15, drawing an estimated 200,000 people and shutting down most businesses, schools and government activities on the island.

During the protest, numerous workers said the massive layoffs were part an effort to “sell the island,” — to destroying public services in order to justify privatization and provide subsidies to companies owned by associates of the governor.

One marcher carried a sign calling the governor “Fortocho,” a mix of Pinocchio and Fortuño. Another had a picture of the governor as a chicken with the question, “What came first, the chicken or the egg?” referring to an unemployed worker who threw an egg at the governor during a press conference a few weeks earlier. Others chanted: “So, where’s Fortuño? Fortuño is not here. He’s selling what is left of this country.”

Many people showed their dissatisfaction by scrawling anti-privatization messages on buildings. Others wore masks of the governor’s face while they brandished fistfuls of money. After the march, students blocked the country’s largest highway and kept it closed until the police and some conservative leaders pressured them to abandon their efforts.

With a population of 3.5 million, Puerto Rico has been a U.S. colony since 1898. About 48 percent of the population lives under the poverty level and government layoffs, which represent about 12 percent of the public sector workforce, are projected to push the unemployment rate to 17 percent.

The firings were made possible by Law 7, which passed in March. It allows Fortuño to unilaterally dismiss public-sector workers, overriding labor laws that previously prohibited such actions. Union contracts are no protection either, as Law 7 effectively voids any job protections they may contain. What’s more, Law 7 clears the way for firing more public-sector workers by allowing for “Public-Private Alliances” — a euphemism for handing over government functions to private corporations.

While the governor and pundits claim the mass layoffs are necessary because the government is “too big” and is facing a $3.2 billion budget deficit, Puerto Rico is slated to receive more than $5.7 billion in funds from the U.S. stimulus package passed earlier this year. Fortuño also claims that private companies provide better services and that public-sector workers earn too much. Previous governors used the same justification for prior rounds of privatization that ended in disaster.

Pedro Roselló, governor from 1992 to 2000, privatized health services and sold hospitals. While insurance companies fattened their profits by delaying payments and services, enabling them to earn interest on public funds, the population has seen co-pays increase and intolerable delays in basic and urgent care, as in the case of cancer patients. Moreover, government officials under Roselló reportedly stole money from an organization that provided services for AIDS patients. In 1998, Roselló also sold Telefónica de Puerto Rico, a public telephone company, an action that triggered an enormous two-day general strike.

The following governor, Sila Calderón, the first female governor in the island (2000 to 2004), outsourced billing services in the Public Water Authority to ONDEO, a French company, which failed to meet the terms of its contracts but was paid $540 million. Aníbal Acevedo Vilá, the governor from 2004 to 2008, privatized testing services in the Department of Education and signed numerous contracts for millions of dollars with charter school organizations while denying salary increases to public school teachers. The independent teachers union, Federación de Maestros, staged a successful strike and won salary increases.

Puerto Rican workers have also seen massive layoffs in the private sector as the economy has been in recession for more than four years now. The governor claims privatizing public services will create 200,000 new jobs by 2013. The government’s development plans include promoting medical tourism; privatizing much of the public energy authority; displacing poor communities to build expensive apartments and shopping malls; and a luxury resort, casino and marina on a former U.S. naval base. Few believe Fortuño’s promises, however, given the mass layoffs he claimed would never happen.

Laid-off workers have few options. Even if they manage to land a job, an abysmal rate of private-sector unionism, less than 3 percent, means few protections. Private companies will not recognize decades of service in the public sector, offer health insurance or match government salaries.

Meanwhile, despite promises of state support, fired workers wait in unemployment lines so long that people arrive the day before their appointment at the Labor Department to claim benefits; their only alternative is accepting a government offer of $2,000 to leave the island.

While a large number of Puerto Rican workers and students are resolved to fight the government’s policies, the movement is divided. The ruling elite are banking on this. Following the general strike, Fortuño’s Chief of Staff, Rodríguez-Ema, said, “I know we will prevail since the movement is divided.”

The most conservative unions and political organizations are allies of the former ruling party (Partido Popular Democrático, the equivalent of the Democrats). The conservative unions, some of which seem most concerned with not losing union dues, are affiliated with large U.S. unions, such as the SEIU. These unions are mostly organized under Law 45, instituted in 1998, which allowed for unionizing public-sector workers while taking away their right to strike. Many of these workers had previously been in more militant labor “associations.”

Conservative and moderate groups are interested in getting concessions from the government even if this means reducing working hours for all public-service workers or eliminating the government’s contribution to the workers’ health insurance. During the 1998 strike against the sale of the public telephone company, leaders in some of these unions and organizations demobilized a mass-based movement that put up to 500,000 people in the streets. They negotiated a truce with the government, and the telephone company was finally sold.

While the Oct. 15 mobilization marked a big step forward, halting and reversing privatization will require a still higher level of struggle. Independent unions, such as the university non-teaching employees union, called for a workers’ party during the march. The Federación de Maestros, the teachers’ union that held a strike under the former administration; the union of electric company workers; and political organizations such as la Organización Socialista Internacional and the Movimiento Socialista de Trabajadores called for organizing from below. These unions and political groups, together with other community organizations and university professors (Asociación Puertorriqueña de Profesores Universitarios), have supported calling a general strike in the future.

Yolanda Rivera is a member of the Organización Socialista Internacional. Lee Sustar contributed to this report.

Puerto Rico status should be clearly decided

MCT News Service
October 29, 2009
Puerto Ricans need to be allowed to vote on changing their political status. The status quo is untenable.

With little fanfare, a bill is circulating in the U.S. House of Representatives that proposes an election that may ultimately decide the fate of Puerto Rico. The bill is needed now more than ever, for the island is gripped in a fiscal and political crisis that can no longer be ignored.

Puerto Rico has been an incorporated territory of the United States since 1898, and its residents were granted U.S. citizenship in 1917. Although the United Nations and much of the world have recognized it as a colony, Puerto Rico’s status as a “free associated state” has resulted in a stagnant economy and mounting political unrest.

It’s been a rough month for Puerto Rico.

First, in an attempt to rectify a financial crisis, the island’s governor, Luis Fortuno, announced the layoff of 17,000 government employees, which was met with massive, angry protest. A few days later, an unemployed worker threw an egg at Fortuno during a news conference, and one of the island’s biggest rap stars insulted the governor on an MTV awards show.

Then, the island’s largest labor unions led a general strike that paralyzed the capital city of San Juan.

Two weeks ago, drug violence took the lives of eight people in a shopping mall. Puerto Rico is suffering under a wave of drug crimes, as efforts to crack down on the illicit trade along the southern border of the United States have had the effect of rerouting it through the Caribbean.

This week, the island is recovering from a massive gas explosion that has cost $6.4 million to put out and may result in long-lasting environmental damage.

The chaos in Puerto Rico is largely a function of its peculiar status.

Since becoming a territory of the United States, Puerto Ricans have wrestled with three political options: “commonwealth” (status quo), statehood, and independence. But this struggle seems to have no endgame, and the people of this island nation are the losers.

By remaining a commonwealth, Puerto Rico has failed to acquire sufficient political power and has become subservient to U.S. economic interests.

Puerto Rico needs to move to a place where its economy can develop autonomously and not just as a subsidiary of U.S. and multinational corporations. It needs to set clear priorities on how to do this, and to finally decide among three options: statehood, a more autonomous version of commonwealth, or independence.

Since by law, Congress ultimately has the last word on the fate of the island, it should pass a plebiscite bill sooner than later. The time for serious discussion about viable alternatives is now. Puerto Rico’s current political system no longer allows for true self-determination, which is the right of every American citizen.

ABOUT THE WRITER

Ed Morales is a writer for Progressive Media Project, a source of liberal commentary on domestic and international issues; it is affiliated with The Progressive magazine. Readers may write to the author at: Progressive Media Project, 409 East Main Street, Madison, Wis. 53703; e-mail: pmproj@progressive.org; Web site: www.progressive.org. For information on PMP’s funding, please visit http://www.progressive.org/pmpabout.html#anchorsupport.

This article was prepared for The Progressive Media Project and is available to MCT subscribers. McClatchy-Tribune did not subsidize the writing of this column; the opinions are those of the writer and do not necessarily represent the views of McClatchy-Tribune or its editors.

(c) 2009, Ed Morales