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"content": "\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. [aside postid='arts_13864915']\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EDbDtVcmYA\u003c/p>\n\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Crypto-Bros Beware: These Artists Aren’t Buying Your Version of Utopia",
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"content": "\u003cp>Last February, the \u003cem>\u003ca href=\"https://www.nytimes.com/2018/02/02/technology/cryptocurrency-puerto-rico.html\" rel=\"noopener\" target=\"_blank\">New York Times\u003c/a>\u003c/em> reported a cadre of crypto high rollers had left the continental United States for Puerto Rico to start a crypto-utopia—that is, a settlement where their money, air- and yacht-ports all run on the blockchain. The founder, Brock Pierce, saw an opportunity in the unincorporated organized territory, whose physical infrastructure was destroyed during Hurricane Maria, and proposed that they could use blockchain technology to repair the damage.\u003c/p>\n\u003cp>More importantly, U.S. citizens who move to Puerto Rico don’t have to pay federal taxes on income sourced there, and they pay zero in capital gains. Pierce, a former child star who made a fortune off Bitcoin, wanted to name his utopia “Puertopia.” When informed that this translates to “eternal boy playground” in Latin, he changed the name to “Sol.” And so, impervious to logistics and planning, these men have descended upon the hotels and Children’s Museum of Old San Juan to “rebuild” a region still reeling from environmental and economic distress.\u003c/p>\n\u003cp>It’s hard to get excited about a nascent technology whose strongest proponents seem completely divorced from reality. At San Francisco’s \u003ca href=\"https://tttelematiccc.com/\" rel=\"noopener\" target=\"_blank\">Telematic Gallery\u003c/a>, the exhibition \u003cem>Eternal Boy Playground\u003c/em>, created by the artist collective \u003ca href=\"http://anxioustomake.ga/\" rel=\"noopener\" target=\"_blank\">Anxious To Make\u003c/a> (Liat Berdugo and Emily Martinez), captures the maddening frustration among those of us who haven’t bought into crypto-mania.\u003c/p>\n\u003cfigure id=\"attachment_13849614\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/D2.png\" alt=\"Anxious to Make, Still from 'The Insufferable Whiteness of Being,' 2018.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13849614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-1200x675.png 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make, Still from ‘The Insufferable Whiteness of Being,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit opens with the video, \u003cem>The Insufferable Whiteness of Being\u003c/em>, on the tensions between Bitcoin true believers and those who argue that the utopia project is nothing more than disaster capitalism. Text culled from YouTube videos and Twitter conversations either with or about Brock Pierce display against backdrops that include paintings of Spanish colonizers, the interior of a mansion in Puerto Rico and storm-demolished roads. \u003c/p>\n\u003cp>From the pile-up of dialogue, desperation emerges on both sides. Arguments fail for lack of knowledge, or because of the emotional exhaustion that accompanies fighting in online comment sections. Consider this bot-like exchange: “A billionaire is someone who has positively impacted a billion lives.” “A billionaire is someone who has stolen from billions of people.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I find troubling about these ardent crypto fans is their insistence that everyone outside of it can’t possibly know what they’re talking about. Their paranoia toward the institutions that enabled their financial gain in the first place routinely show through: “Cash and the US dollar is a tool of Fascism. If you had a clue about the future of money, you’d understand.”\u003c/p>\n\u003cfigure id=\"attachment_13849615\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/keyboard-2.jpg\" alt=\"Anxious to Make's crypto-camouflage wireless keyboard on "crypto-tropical" wallpaper.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13849615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make’s crypto-camouflage wireless keyboard on “crypto-tropical” wallpaper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across from the video projection, a towel drapes across a beach chair bearing a screen-printed still from \u003cem>The Insufferable Whiteness of Being\u003c/em>. “Yeah, they colonizers,” it reads. The chair sits in front of a wall decked out in what the artists call a “crypto-tropical” or “crypto-camouflage” pattern.\u003c/p>\n\u003cp>The design is an assortment of crypto-references: a \u003cem>Where’s Waldo\u003c/em>-like who’s-who of mega-investors and crypto-billionaires, pineapples, 1s and 0s, the Puerto Rican flag, low-res clipart images of the Bitcoin logo, and the name “Satoshi” (a nod to Satoshi Nakamoto, the elusive, unknown founder of Bitcoin). The scene gets at the crypto bros’ bubble, but Anxious To Make’s work really shines, and is funnier, when they’re more substantively critical. \u003c/p>\n\u003cp>In \u003cem>Seeing Blocks and Crypto Bros\u003c/em>, Anxious to Make sources drawings from Mechanical Turk (MTurk), Amazon’s crowdsourcing marketplace, to convey a layperson’s understanding of cryptocurrency. The workers were paid in U.S. dollars, and gallery proceeds from the books’ sale support MTurk worker-run forums. \u003c/p>\n\u003cfigure id=\"attachment_13849616\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200.png\" alt=\"Anxious to Make, Spread from 'Seeing Blocks and Crypto Bros,' 2018.\" width=\"1200\" height=\"929\" class=\"size-full wp-image-13849616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-160x124.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-800x619.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-768x595.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-1020x790.png 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make, Spread from ‘Seeing Blocks and Crypto Bros,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists gave MTurk participants prompts of “draw how crypto works,” “draw the blockchain,” and “draw a person who owns Bitcoin.” Beneath each drawing is the worker’s ID number and the amount of time it took them to complete the drawing. While I often find MTurk-based art to be one-note or exploitive—“Look at what the robot people did!”—this is a thoughtful application of the technology. \u003c/p>\n\u003cp>The drawings are fascinating in their varying levels of detail, sloppiness, humor and confusion: many conflate Bitcoin (the currency) with blockchain (the technology that underlies it).\u003c/p>\n\u003cp>In the corner of the gallery, artificial turf leads to a replica Bitcoin ATM flanked by gold spray-painted sandbags, playing on the “speculative” aspect of the speculative currency. But instead of accepting bank cards and dispensing Bitcoin, this ATM accepts your fiat currency and prints out cryptocurrecy-related prophecies. These include “The man stuck in the past, back when a pizza cost 10,000 bitcoins, has the most to lose” and “A friend asks only for your time, not your cryptocurrency.” \u003c/p>\n\u003cfigure id=\"attachment_13849617\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp.jpg\" alt=\"Anxious to Make, 'Bitcoin Futures,' 2018; Prophecy printing in process.\" width=\"1200\" height=\"626\" class=\"size-full wp-image-13849617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-1020x532.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make, ‘Bitcoin Futures,’ 2018; Prophecy printing in process. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art can’t deflect the hubris and idiocy of the present moment, but it can offer perspective. Anxious to Make have carved out a modest critique of an island-sized tax shelter in a room-sized gallery space. Instead of directly confronting men (as many have pointed out, they’re almost all men) in futile comment sections, they mine language and image-making to critique the devotional crypto-set.\u003c/p>\n\u003cp>These are still the early days of blockchain, a technology which has the potential to be a force for good. But in the impulsive Puertopians’ hands, altruistic use seems unlikely. We’ve seen so many complex, too-big-to-fail systems crash spectacularly. In these volatile times, the 99 percent of us who aren’t gazillionaires will need to invest more in our own humility and suspicion, and not in far-fetched schemes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eternal Boy Playground’ is on view at Telematic Gallery (323 10th Street, San Francisco) through Feb. 2, 2019. \u003ca href=\"https://tttelematiccc.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last February, the \u003cem>\u003ca href=\"https://www.nytimes.com/2018/02/02/technology/cryptocurrency-puerto-rico.html\" rel=\"noopener\" target=\"_blank\">New York Times\u003c/a>\u003c/em> reported a cadre of crypto high rollers had left the continental United States for Puerto Rico to start a crypto-utopia—that is, a settlement where their money, air- and yacht-ports all run on the blockchain. The founder, Brock Pierce, saw an opportunity in the unincorporated organized territory, whose physical infrastructure was destroyed during Hurricane Maria, and proposed that they could use blockchain technology to repair the damage.\u003c/p>\n\u003cp>More importantly, U.S. citizens who move to Puerto Rico don’t have to pay federal taxes on income sourced there, and they pay zero in capital gains. Pierce, a former child star who made a fortune off Bitcoin, wanted to name his utopia “Puertopia.” When informed that this translates to “eternal boy playground” in Latin, he changed the name to “Sol.” And so, impervious to logistics and planning, these men have descended upon the hotels and Children’s Museum of Old San Juan to “rebuild” a region still reeling from environmental and economic distress.\u003c/p>\n\u003cp>It’s hard to get excited about a nascent technology whose strongest proponents seem completely divorced from reality. At San Francisco’s \u003ca href=\"https://tttelematiccc.com/\" rel=\"noopener\" target=\"_blank\">Telematic Gallery\u003c/a>, the exhibition \u003cem>Eternal Boy Playground\u003c/em>, created by the artist collective \u003ca href=\"http://anxioustomake.ga/\" rel=\"noopener\" target=\"_blank\">Anxious To Make\u003c/a> (Liat Berdugo and Emily Martinez), captures the maddening frustration among those of us who haven’t bought into crypto-mania.\u003c/p>\n\u003cfigure id=\"attachment_13849614\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/D2.png\" alt=\"Anxious to Make, Still from 'The Insufferable Whiteness of Being,' 2018.\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13849614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/D2-1200x675.png 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make, Still from ‘The Insufferable Whiteness of Being,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit opens with the video, \u003cem>The Insufferable Whiteness of Being\u003c/em>, on the tensions between Bitcoin true believers and those who argue that the utopia project is nothing more than disaster capitalism. Text culled from YouTube videos and Twitter conversations either with or about Brock Pierce display against backdrops that include paintings of Spanish colonizers, the interior of a mansion in Puerto Rico and storm-demolished roads. \u003c/p>\n\u003cp>From the pile-up of dialogue, desperation emerges on both sides. Arguments fail for lack of knowledge, or because of the emotional exhaustion that accompanies fighting in online comment sections. Consider this bot-like exchange: “A billionaire is someone who has positively impacted a billion lives.” “A billionaire is someone who has stolen from billions of people.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I find troubling about these ardent crypto fans is their insistence that everyone outside of it can’t possibly know what they’re talking about. Their paranoia toward the institutions that enabled their financial gain in the first place routinely show through: “Cash and the US dollar is a tool of Fascism. If you had a clue about the future of money, you’d understand.”\u003c/p>\n\u003cfigure id=\"attachment_13849615\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/keyboard-2.jpg\" alt=\"Anxious to Make's crypto-camouflage wireless keyboard on "crypto-tropical" wallpaper.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13849615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/keyboard-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make’s crypto-camouflage wireless keyboard on “crypto-tropical” wallpaper. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across from the video projection, a towel drapes across a beach chair bearing a screen-printed still from \u003cem>The Insufferable Whiteness of Being\u003c/em>. “Yeah, they colonizers,” it reads. The chair sits in front of a wall decked out in what the artists call a “crypto-tropical” or “crypto-camouflage” pattern.\u003c/p>\n\u003cp>The design is an assortment of crypto-references: a \u003cem>Where’s Waldo\u003c/em>-like who’s-who of mega-investors and crypto-billionaires, pineapples, 1s and 0s, the Puerto Rican flag, low-res clipart images of the Bitcoin logo, and the name “Satoshi” (a nod to Satoshi Nakamoto, the elusive, unknown founder of Bitcoin). The scene gets at the crypto bros’ bubble, but Anxious To Make’s work really shines, and is funnier, when they’re more substantively critical. \u003c/p>\n\u003cp>In \u003cem>Seeing Blocks and Crypto Bros\u003c/em>, Anxious to Make sources drawings from Mechanical Turk (MTurk), Amazon’s crowdsourcing marketplace, to convey a layperson’s understanding of cryptocurrency. The workers were paid in U.S. dollars, and gallery proceeds from the books’ sale support MTurk worker-run forums. \u003c/p>\n\u003cfigure id=\"attachment_13849616\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200.png\" alt=\"Anxious to Make, Spread from 'Seeing Blocks and Crypto Bros,' 2018.\" width=\"1200\" height=\"929\" class=\"size-full wp-image-13849616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-160x124.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-800x619.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-768x595.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Seeing-Blocks-and-Crypto-Bros-sample-spread_1200-1020x790.png 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make, Spread from ‘Seeing Blocks and Crypto Bros,’ 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists gave MTurk participants prompts of “draw how crypto works,” “draw the blockchain,” and “draw a person who owns Bitcoin.” Beneath each drawing is the worker’s ID number and the amount of time it took them to complete the drawing. While I often find MTurk-based art to be one-note or exploitive—“Look at what the robot people did!”—this is a thoughtful application of the technology. \u003c/p>\n\u003cp>The drawings are fascinating in their varying levels of detail, sloppiness, humor and confusion: many conflate Bitcoin (the currency) with blockchain (the technology that underlies it).\u003c/p>\n\u003cp>In the corner of the gallery, artificial turf leads to a replica Bitcoin ATM flanked by gold spray-painted sandbags, playing on the “speculative” aspect of the speculative currency. But instead of accepting bank cards and dispensing Bitcoin, this ATM accepts your fiat currency and prints out cryptocurrecy-related prophecies. These include “The man stuck in the past, back when a pizza cost 10,000 bitcoins, has the most to lose” and “A friend asks only for your time, not your cryptocurrency.” \u003c/p>\n\u003cfigure id=\"attachment_13849617\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp.jpg\" alt=\"Anxious to Make, 'Bitcoin Futures,' 2018; Prophecy printing in process.\" width=\"1200\" height=\"626\" class=\"size-full wp-image-13849617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/bitcoinatm-comp-1020x532.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anxious to Make, ‘Bitcoin Futures,’ 2018; Prophecy printing in process. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art can’t deflect the hubris and idiocy of the present moment, but it can offer perspective. Anxious to Make have carved out a modest critique of an island-sized tax shelter in a room-sized gallery space. Instead of directly confronting men (as many have pointed out, they’re almost all men) in futile comment sections, they mine language and image-making to critique the devotional crypto-set.\u003c/p>\n\u003cp>These are still the early days of blockchain, a technology which has the potential to be a force for good. But in the impulsive Puertopians’ hands, altruistic use seems unlikely. We’ve seen so many complex, too-big-to-fail systems crash spectacularly. In these volatile times, the 99 percent of us who aren’t gazillionaires will need to invest more in our own humility and suspicion, and not in far-fetched schemes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eternal Boy Playground’ is on view at Telematic Gallery (323 10th Street, San Francisco) through Feb. 2, 2019. \u003ca href=\"https://tttelematiccc.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Six Months After the Storm, Puerto Rican Musicians Search for Solutions",
"headTitle": "Six Months After the Storm, Puerto Rican Musicians Search for Solutions | KQED",
"content": "\u003cp>When Hurricane María hit Puerto Rico in late September, Eduardo Alegría was in his San Juan apartment with his roommate, two dogs, and some freaked out neighbors, anxiously preparing to ride out the storm.\u003c/p>\n\u003cp>“The expectation was one of the worst things,” recalls Alegría, who fronts the experimental pop outfit \u003ca href=\"https://soundcloud.com/alegriarampante/tracks\" target=\"_blank\" rel=\"noopener\">Alegría Rampante\u003c/a>, in a recent interview with KQED Arts. He’d remembered living through the destruction of Hurricane Georges, which struck the island in 1998. María was worse.\u003c/p>\n\u003cp>“This was much bigger. This was sort of like a monster hurricane,” he says, recalling how the storm’s destructive forces stripped away Puerto Rico’s lush foliage, brutally altering the landscape. “It looked like the island had been burned to a crisp.”\u003c/p>\n\u003cp>Somehow, Alegría’s building was spared, but the fear he felt that day stays with him, he says. “It’s still a nightmare,” Alegría admits. In Spanish, the word for hurricane is \u003cem>huracán\u003c/em>, but there’s another word for storm that locals use to describe María: \u003cem>tormenta\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg\" alt=\"Residents of Aguada, Puerto Rico, stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Residents of Aguada, Puerto Rico stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Alegría and other underground artists in Puerto Rico, \u003ca href=\"https://www.treasury.gov/connect/blog/Documents/Puerto_Ricos_fiscal_challenges.pdf\" target=\"_blank\" rel=\"noopener\">recession and a contracting economy\u003c/a> were already making things more difficult by the time Hurricane María hit. Concerts were paying less, and none of the indie artists he knows could afford to have managers anymore. But now, Alegría says, “It’s always been hard, but it somehow feels harder. Can we even keep doing this?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six months after the hurricane, Puerto Rico faces a staggering list of challenges: \u003ca href=\"https://www.nytimes.com/interactive/2016/business/dealbook/puerto-rico-debt-crisis-explained.html\" target=\"_blank\" rel=\"noopener\">governmental debt\u003c/a>, austerity measures, and what many call \u003ca href=\"http://nymag.com/daily/intelligencer/2018/02/trumps-failure-in-puerto-rico-was-even-worse-than-we-knew.html\" target=\"_blank\" rel=\"noopener\">inadequate support\u003c/a> from the Trump administration. But Puerto Ricans, both on the island and in the mainland U.S., have organized and supported one another. And independent musicians, though they face their own economic challenges, have been key to that effort.\u003c/p>\n\u003cp>Through fundraisers, awareness campaigns, and direct outreach, Puerto Rican artists like Alegría are working to build a brighter, more just future for the island.\u003c/p>\n\u003cfigure id=\"attachment_13827131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg\" alt=\"): A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Grassroots Recovery\u003c/h2>\n\u003cp>When Oakland musician \u003ca href=\"https://mariajosemontijo.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">María José Montijo\u003c/a> returned to San Juan in January, she was shocked at how Hurricane María had changed her hometown.\u003c/p>\n\u003cp>“There’s a lot of pockets — even in the metropolitan area where things are a little bit more normalized — that don’t have electricity,” she recalls. Most of the traffic lights were still dead, causing confusion on the roads. “Driving is super insane and scary,” she adds.\u003c/p>\n\u003cp>A licensed acupuncturist and harp player, Montijo calls herself “a healer that makes music in her spare time.” Before her trip, she’d raised money and helped relief efforts from her Bay Area home; \u003ca href=\"https://www.kqed.org/arts/13813342/after-the-hurricane-a-puerto-rican-musician-uses-her-harp-to-heal\" target=\"_blank\" rel=\"noopener\">her concerts\u003c/a> brought in around $4,000 to buy critical supplies like water filters and solar lights. Once on the island, she volunteered with radical healthcare organizations like \u003ca href=\"https://www.facebook.com/saludacupunturapr/\" target=\"_blank\" rel=\"noopener\">Salud y Acupuntura Para el Pueblo\u003c/a>, which runs street clinics for community members.\u003c/p>\n\u003cfigure id=\"attachment_13827125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827125 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg\" alt=\"Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-520x274.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the surprises weren’t all bad, and Montijo was encouraged by the grassroots recovery efforts on the island. “Strangely enough, it was a great trip,” she says. “I felt very inspired by people coming together since day one to help each other out, because the help never came from the government.”\u003c/p>\n\u003cp>Montijo refers to federal and local recovery efforts widely criticized for their inadequacy and marred by scandal. In February, FEMA announced that it would end emergency food and water aid, then retracted the statement after receiving \u003ca href=\"https://www.npr.org/2018/01/31/582056547/lawmakers-respond-to-fema-puerto-rico-cutoff\" target=\"_blank\" rel=\"noopener\">pushback from lawmakers from both parties\u003c/a>. And Puerto Rican officials have been accused of \u003ca href=\"https://www.kqed.org/news/11650250/the-california-report-1860\" target=\"_blank\" rel=\"noopener\">intentionally causing delays\u003c/a> in the reconstruction of the island’s electrical grid so they can build the case for selling it off.\u003c/p>\n\u003cfigure id=\"attachment_13827126\" class=\"wp-caption alignright\" style=\"max-width: 695px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827126 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg\" alt=\"María José Montijo (center left) with bomba musicians La Familia Cepeda at a street festival in San Sebastián, Puerto Rico.\" width=\"695\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg 695w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-375x406.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-520x563.jpg 520w\" sizes=\"(max-width: 695px) 100vw, 695px\">\u003cfigcaption class=\"wp-caption-text\">María José Montijo (center left) with bomba musicians Jesus, Mario, and Carlos of La Familia Cepeda at Las Fiestas de la Calle San Sebastian, the Saint Sebastian Street Festival, in Old San Juan. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montijo joins a growing number of Puerto Rican-born indie musicians on the U.S. mainland who are helping the island in the face of government inaction. Among those is singer \u003ca href=\"https://www.anicordero.net/\" target=\"_blank\" rel=\"noopener\">Ani Cordero\u003c/a>, who helped spearhead an emergency relief fund from her home in Brooklyn. Along with Raquel Berrios of electronic indie duo \u003ca href=\"https://www.youtube.com/watch?v=OJ6WgRiqoO4\" target=\"_blank\" rel=\"noopener\">Buscabulla\u003c/a>, Cordero founded the \u003ca href=\"https://www.primafund.org/\" target=\"_blank\" rel=\"noopener\">PRIMA Fund\u003c/a>, which offers $500 emergency micro-grants to independent artists on the island.\u003c/p>\n\u003cp>In the storm’s immediate aftermath came a stressful two-week period when communication between the island and the mainland U.S. was completely cut off, Cordero remembers. “All the stateside Boricuas, we were not in touch with our families in a major way for the first time ever,” she says.\u003c/p>\n\u003cp>Once she regained contact, Cordero reached out to her friend Alfredo Richner, editor-in-chief for the arts and culture blog \u003ca href=\"http://puertoricoindie.com/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Indie\u003c/a>. Richner told her that independent artists were struggling to make ends meet. “Within three weeks of the hurricane, people were packing their bags because all the gigs were cancelled, studios were closed, there was no income coming in,” she says.\u003c/p>\n\u003cp>For indie artists, even a temporary lapse of income can spell disaster, and the need for steady work drew many people to the mainland. But that pressure to leave is nothing new: Decades of out-migration have made the Puerto Rican diaspora larger than the population of Puerto Rico itself. (Approximately 5 million \u003cem>Puertorriqueñxs\u003c/em> live in the mainland U.S., according to a recent Pew study, compared to around 3.4 million on the island.) That imbalance is still growing as people continue to leave Puerto Rico in search of opportunity, with an estimated \u003ca href=\"http://www.jacksonville.com/business/metro/2018-01-02/florida-has-handled-nearly-300000-puerto-rican-refugees-hurricane-maria\" target=\"_blank\" rel=\"noopener\">300,000 people\u003c/a> flocking to Florida alone since Hurricane María.\u003c/p>\n\u003cfigure id=\"attachment_13827132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg\" alt=\"An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for PRIMA Fund’s micro-grants, Cordero says she and her cofounder Raquel Berrios don’t intend them to be a cure-all — but they have been a boon for independent artists who were already struggling before the storm. “Five hundred dollars is not going to permanently change somebody’s life, but it’s rent for a lot of people, or groceries for a lot of people,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827134\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg\" alt=\"An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the money itself, the true value of the PRIMA Fund lies in the encouragement it provides to the creative community, Cordero says. “That’s been the biggest gift of the fund, that somebody cares about the work that [these artists] are doing and values it and wants to support it,” she explains, adding that she hopes the fund will set the foundation for a more durable network for artists and their supporters.\u003c/p>\n\u003cp>“The diaspora has really risen up to the call of action and to support the self-organizing movement that’s happening in Puerto Rico,” says Montijo. “Out of need, because the aid is lacking.”\u003c/p>\n\u003ch2>‘We Have Our Work Cut Out For Us’\u003c/h2>\n\u003cp>On a balmy evening in February, Otura Mun takes a break from reassembling his home studio on a narrow street in San Juan to meet with KQED Arts. He lives in a low-slung house, its walls covered in crowded bookshelves, stacks of records, and images of the orichás, the spirits who make up the Yoruba pantheon of deities. Across the street, people spill out of an open-air bar blasting the latest reggaetón hits, interrupting the eerie quiet that still haunts many parts of the city.\u003c/p>\n\u003cp>Mun, who was born in Indiana but moved to Puerto Rico nineteen years ago, leads the Afro-Caribbean futurist ensemble \u003ca href=\"http://www.ife-music.com/\" target=\"_blank\" rel=\"noopener\">ÌFÉ\u003c/a>. In addition to being a DJ and percussionist, he’s a priest in the Yoruba faith, the Nigerian religion that combined with Catholicism and indigenous spiritual practices to create \u003cem>santería\u003c/em>, a tradition still widely practiced on the island. He was away from Puerto Rico when Hurricane María hit, raising money and booking international tour dates. A few days after returning, he got to work rebuilding his studio so that he and his bandmates could start rehearsing again.\u003c/p>\n\u003cfigure id=\"attachment_13827130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg\" alt=\"A damaged home in Yabucoa, Puerto Rico.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A damaged home in Yabucoa, Puerto Rico. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Puerto Rico, Mun explained, influential indie artists like Eduardo Alegría regularly get passed over for opportunities for mainstream acts. And while Mun has busily promoted ÌFÉ to the wider world, his bandmates on the island have seen their lives and income interrupted by the storms. “I don’t know what I can do personally, other than make sure the people that have chosen to work with this project have a future,” he says. “We have our work cut out for us.”\u003c/p>\n\u003cp>Independent artists in Puerto Rico often internalize the lopsided relationship between the island and the mainland, Mun explains, assuming they have to move to New York or Los Angeles if they want to build a successful career. “Artistic or brain drain was a problem in Puerto Rico before the hurricane,” he says. Now that musicians have lost several months of income to cancelled shows and recording delays, the pressure to leave is greater than ever.\u003c/p>\n\u003cfigure id=\"attachment_13827135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg\" alt=\"Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofía Córdova, an interdisciplinary artist and musician born in Puerto Rico, has kept busy helping relief efforts from her home in Oakland. Her band XUXA SANTAMARIA donated the \u003ca href=\"https://www.instagram.com/p/Bcskv6Vj6G-/?taken-by=hi_res_mami\" target=\"_blank\" rel=\"noopener\">proceeds from a recent release\u003c/a> to the \u003ca href=\"https://www.fondoderesilienciapuertorico.org/donate/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Resiliency Fund\u003c/a> and the \u003ca href=\"http://mariafund.org/\" target=\"_blank\" rel=\"noopener\">María Fund\u003c/a>. She says there’s a troubling imbalance in mainstream appetites for Puerto Rican artists like Luis Fonsi, Daddy Yankee, and Ozuna, showing most mainland residents’ poor understanding of the island. “The way the world consumes reggaetón and pop exports like ‘Despacito,’ for example, is to a degree that is totally incongruent with the dividends people back home get for their cultural labor,” she writes in an email to KQED Arts.\u003c/p>\n\u003cp>But Córdova also celebrates the success of “Despacito,” which dominated international charts even while the island struggled. “Encountering this song in its ubiquity post-hurricane has felt so different,” she admits. “Its fatuous lyrics and reductive production melted into something new and sparkly, something that united me, my island, and the diaspora in ways that are ineffable and like, very profound.”\u003c/p>\n\u003cfigure id=\"attachment_13827136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg\" alt=\"Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Córdova, tenuous recovery efforts and general ignorance of the problems afflicting Puerto Rico stem from the colonial relationship between the island and the mainland U.S. “Americans do not want to reckon with their daily lives being built on colony just like they don’t want to reckon with their daily lives being built on slavery,” she says.\u003c/p>\n\u003cp>Ani Cordero echoes her assessment, criticizing the federal government’s delayed response to the crisis. “We’re being treated terribly as a colonized people,” she says.\u003c/p>\n\u003cp>But while Hurricanes Irma and María have brought significant challenges to Puerto Rico, some artists are optimistic that international attention to the crisis has created an opportunity for recognition. “There’s a light on Puerto Rico right now, because people are out here and the storm was brutal,” Otura Mun says. “The storm gives us some exposure that I think we didn’t have before, and the opportunity to realize that our voices are important and people do care what’s going on out here.”\u003c/p>\n\u003cfigure id=\"attachment_13827137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg\" alt=\"A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, many Puerto Ricans continue to wait for the lights to come back on. Six months after the storms, \u003ca href=\"https://www.npr.org/2018/03/07/591681107/6-months-after-hurricanes-11-percent-of-puerto-rico-is-still-without-power\" target=\"_blank\" rel=\"noopener\">11 percent of the island still has no power\u003c/a>, and the next hurricane season begins in June. Funding for recovery efforts is in limbo, too. The U.S. Treasury Department recently reduced a promised disaster relief loan, which still hasn’t been disbursed to the Puerto Rican government, from \u003ca href=\"https://www.cbsnews.com/news/puerto-rico-says-treasury-abruptly-cutting-4-7-billion-relief-loan-to-2-billion/\" target=\"_blank\" rel=\"noopener\">$4.7 billion to just $2 billion\u003c/a> without explanation.\u003c/p>\n\u003cp>Sadly, for Eduardo Alegría, none of this comes as a surprise. “It was really evident for a lot of us that we were gonna be hit with a lot of hardcore, cruel, insensitive measures, and that’s how it’s been.”\u003c/p>\n\u003cp>But even amid the crisis, María José Montijo believes there’s an opportunity for the people of Puerto Rico to rebuild their own communities in ways they see fit. Artists, she says, have a crucial role to play in this transformation.\u003c/p>\n\u003cp>“I really appreciate artists that have more visibility that are using their platforms to convey the messages that are going to make changes in people,” she says, “Changes that will affect us in creating a better and more just future.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Hurricane María hit Puerto Rico in late September, Eduardo Alegría was in his San Juan apartment with his roommate, two dogs, and some freaked out neighbors, anxiously preparing to ride out the storm.\u003c/p>\n\u003cp>“The expectation was one of the worst things,” recalls Alegría, who fronts the experimental pop outfit \u003ca href=\"https://soundcloud.com/alegriarampante/tracks\" target=\"_blank\" rel=\"noopener\">Alegría Rampante\u003c/a>, in a recent interview with KQED Arts. He’d remembered living through the destruction of Hurricane Georges, which struck the island in 1998. María was worse.\u003c/p>\n\u003cp>“This was much bigger. This was sort of like a monster hurricane,” he says, recalling how the storm’s destructive forces stripped away Puerto Rico’s lush foliage, brutally altering the landscape. “It looked like the island had been burned to a crisp.”\u003c/p>\n\u003cp>Somehow, Alegría’s building was spared, but the fear he felt that day stays with him, he says. “It’s still a nightmare,” Alegría admits. In Spanish, the word for hurricane is \u003cem>huracán\u003c/em>, but there’s another word for storm that locals use to describe María: \u003cem>tormenta\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg\" alt=\"Residents of Aguada, Puerto Rico, stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180207_Aguada_Credit_BertJohnson-13-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Residents of Aguada, Puerto Rico stand in line for food aid at a FEMA distribution center on February 7, 2018. Local officials, including police, distribute supplies provided by FEMA once a week. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Alegría and other underground artists in Puerto Rico, \u003ca href=\"https://www.treasury.gov/connect/blog/Documents/Puerto_Ricos_fiscal_challenges.pdf\" target=\"_blank\" rel=\"noopener\">recession and a contracting economy\u003c/a> were already making things more difficult by the time Hurricane María hit. Concerts were paying less, and none of the indie artists he knows could afford to have managers anymore. But now, Alegría says, “It’s always been hard, but it somehow feels harder. Can we even keep doing this?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six months after the hurricane, Puerto Rico faces a staggering list of challenges: \u003ca href=\"https://www.nytimes.com/interactive/2016/business/dealbook/puerto-rico-debt-crisis-explained.html\" target=\"_blank\" rel=\"noopener\">governmental debt\u003c/a>, austerity measures, and what many call \u003ca href=\"http://nymag.com/daily/intelligencer/2018/02/trumps-failure-in-puerto-rico-was-even-worse-than-we-knew.html\" target=\"_blank\" rel=\"noopener\">inadequate support\u003c/a> from the Trump administration. But Puerto Ricans, both on the island and in the mainland U.S., have organized and supported one another. And independent musicians, though they face their own economic challenges, have been key to that effort.\u003c/p>\n\u003cp>Through fundraisers, awareness campaigns, and direct outreach, Puerto Rican artists like Alegría are working to build a brighter, more just future for the island.\u003c/p>\n\u003cfigure id=\"attachment_13827131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg\" alt=\"): A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_SanJuan_Credit_BertJohnson-8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A toppled tree in Old San Juan that’s been painted with the Puerto Rican flag. Signs of storm damage are evident across the island, including the island’s capital. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Grassroots Recovery\u003c/h2>\n\u003cp>When Oakland musician \u003ca href=\"https://mariajosemontijo.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">María José Montijo\u003c/a> returned to San Juan in January, she was shocked at how Hurricane María had changed her hometown.\u003c/p>\n\u003cp>“There’s a lot of pockets — even in the metropolitan area where things are a little bit more normalized — that don’t have electricity,” she recalls. Most of the traffic lights were still dead, causing confusion on the roads. “Driving is super insane and scary,” she adds.\u003c/p>\n\u003cp>A licensed acupuncturist and harp player, Montijo calls herself “a healer that makes music in her spare time.” Before her trip, she’d raised money and helped relief efforts from her Bay Area home; \u003ca href=\"https://www.kqed.org/arts/13813342/after-the-hurricane-a-puerto-rican-musician-uses-her-harp-to-heal\" target=\"_blank\" rel=\"noopener\">her concerts\u003c/a> brought in around $4,000 to buy critical supplies like water filters and solar lights. Once on the island, she volunteered with radical healthcare organizations like \u003ca href=\"https://www.facebook.com/saludacupunturapr/\" target=\"_blank\" rel=\"noopener\">Salud y Acupuntura Para el Pueblo\u003c/a>, which runs street clinics for community members.\u003c/p>\n\u003cfigure id=\"attachment_13827125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827125 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg\" alt=\"Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28945265_1708409499223529_2002481280_o-520x274.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician María José Montijo administers acupuncture to hurricane survivors in Ponce, Puerto Rico. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the surprises weren’t all bad, and Montijo was encouraged by the grassroots recovery efforts on the island. “Strangely enough, it was a great trip,” she says. “I felt very inspired by people coming together since day one to help each other out, because the help never came from the government.”\u003c/p>\n\u003cp>Montijo refers to federal and local recovery efforts widely criticized for their inadequacy and marred by scandal. In February, FEMA announced that it would end emergency food and water aid, then retracted the statement after receiving \u003ca href=\"https://www.npr.org/2018/01/31/582056547/lawmakers-respond-to-fema-puerto-rico-cutoff\" target=\"_blank\" rel=\"noopener\">pushback from lawmakers from both parties\u003c/a>. And Puerto Rican officials have been accused of \u003ca href=\"https://www.kqed.org/news/11650250/the-california-report-1860\" target=\"_blank\" rel=\"noopener\">intentionally causing delays\u003c/a> in the reconstruction of the island’s electrical grid so they can build the case for selling it off.\u003c/p>\n\u003cfigure id=\"attachment_13827126\" class=\"wp-caption alignright\" style=\"max-width: 695px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827126 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg\" alt=\"María José Montijo (center left) with bomba musicians La Familia Cepeda at a street festival in San Sebastián, Puerto Rico.\" width=\"695\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n.jpg 695w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-375x406.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/28907815_1708416062556206_2064486802_n-520x563.jpg 520w\" sizes=\"(max-width: 695px) 100vw, 695px\">\u003cfigcaption class=\"wp-caption-text\">María José Montijo (center left) with bomba musicians Jesus, Mario, and Carlos of La Familia Cepeda at Las Fiestas de la Calle San Sebastian, the Saint Sebastian Street Festival, in Old San Juan. \u003ccite>(Courtesy of María José Montijo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montijo joins a growing number of Puerto Rican-born indie musicians on the U.S. mainland who are helping the island in the face of government inaction. Among those is singer \u003ca href=\"https://www.anicordero.net/\" target=\"_blank\" rel=\"noopener\">Ani Cordero\u003c/a>, who helped spearhead an emergency relief fund from her home in Brooklyn. Along with Raquel Berrios of electronic indie duo \u003ca href=\"https://www.youtube.com/watch?v=OJ6WgRiqoO4\" target=\"_blank\" rel=\"noopener\">Buscabulla\u003c/a>, Cordero founded the \u003ca href=\"https://www.primafund.org/\" target=\"_blank\" rel=\"noopener\">PRIMA Fund\u003c/a>, which offers $500 emergency micro-grants to independent artists on the island.\u003c/p>\n\u003cp>In the storm’s immediate aftermath came a stressful two-week period when communication between the island and the mainland U.S. was completely cut off, Cordero remembers. “All the stateside Boricuas, we were not in touch with our families in a major way for the first time ever,” she says.\u003c/p>\n\u003cp>Once she regained contact, Cordero reached out to her friend Alfredo Richner, editor-in-chief for the arts and culture blog \u003ca href=\"http://puertoricoindie.com/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Indie\u003c/a>. Richner told her that independent artists were struggling to make ends meet. “Within three weeks of the hurricane, people were packing their bags because all the gigs were cancelled, studios were closed, there was no income coming in,” she says.\u003c/p>\n\u003cp>For indie artists, even a temporary lapse of income can spell disaster, and the need for steady work drew many people to the mainland. But that pressure to leave is nothing new: Decades of out-migration have made the Puerto Rican diaspora larger than the population of Puerto Rico itself. (Approximately 5 million \u003cem>Puertorriqueñxs\u003c/em> live in the mainland U.S., according to a recent Pew study, compared to around 3.4 million on the island.) That imbalance is still growing as people continue to leave Puerto Rico in search of opportunity, with an estimated \u003ca href=\"http://www.jacksonville.com/business/metro/2018-01-02/florida-has-handled-nearly-300000-puerto-rican-refugees-hurricane-maria\" target=\"_blank\" rel=\"noopener\">300,000 people\u003c/a> flocking to Florida alone since Hurricane María.\u003c/p>\n\u003cfigure id=\"attachment_13827132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg\" alt=\"An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-35-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immobilized garbage truck at a beachside resort in Punta Santiago, Puerto Rico. Tourism, an important sector in the Puerto Rican economy, has been slow to recover in the wake of Hurricane María. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for PRIMA Fund’s micro-grants, Cordero says she and her cofounder Raquel Berrios don’t intend them to be a cure-all — but they have been a boon for independent artists who were already struggling before the storm. “Five hundred dollars is not going to permanently change somebody’s life, but it’s rent for a lot of people, or groceries for a lot of people,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827134\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg\" alt=\"An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empty Health Department building on Avenida Juan Ponce de León in San Juan, photographed on February 12, 2018. Many buildings have been left empty in the capitol city due to the twin crises of the government debt crisis and natural disaster. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the money itself, the true value of the PRIMA Fund lies in the encouragement it provides to the creative community, Cordero says. “That’s been the biggest gift of the fund, that somebody cares about the work that [these artists] are doing and values it and wants to support it,” she explains, adding that she hopes the fund will set the foundation for a more durable network for artists and their supporters.\u003c/p>\n\u003cp>“The diaspora has really risen up to the call of action and to support the self-organizing movement that’s happening in Puerto Rico,” says Montijo. “Out of need, because the aid is lacking.”\u003c/p>\n\u003ch2>‘We Have Our Work Cut Out For Us’\u003c/h2>\n\u003cp>On a balmy evening in February, Otura Mun takes a break from reassembling his home studio on a narrow street in San Juan to meet with KQED Arts. He lives in a low-slung house, its walls covered in crowded bookshelves, stacks of records, and images of the orichás, the spirits who make up the Yoruba pantheon of deities. Across the street, people spill out of an open-air bar blasting the latest reggaetón hits, interrupting the eerie quiet that still haunts many parts of the city.\u003c/p>\n\u003cp>Mun, who was born in Indiana but moved to Puerto Rico nineteen years ago, leads the Afro-Caribbean futurist ensemble \u003ca href=\"http://www.ife-music.com/\" target=\"_blank\" rel=\"noopener\">ÌFÉ\u003c/a>. In addition to being a DJ and percussionist, he’s a priest in the Yoruba faith, the Nigerian religion that combined with Catholicism and indigenous spiritual practices to create \u003cem>santería\u003c/em>, a tradition still widely practiced on the island. He was away from Puerto Rico when Hurricane María hit, raising money and booking international tour dates. A few days after returning, he got to work rebuilding his studio so that he and his bandmates could start rehearsing again.\u003c/p>\n\u003cfigure id=\"attachment_13827130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg\" alt=\"A damaged home in Yabucoa, Puerto Rico.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180208_EasternCoast_Credit_BertJohnson-22-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A damaged home in Yabucoa, Puerto Rico. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Puerto Rico, Mun explained, influential indie artists like Eduardo Alegría regularly get passed over for opportunities for mainstream acts. And while Mun has busily promoted ÌFÉ to the wider world, his bandmates on the island have seen their lives and income interrupted by the storms. “I don’t know what I can do personally, other than make sure the people that have chosen to work with this project have a future,” he says. “We have our work cut out for us.”\u003c/p>\n\u003cp>Independent artists in Puerto Rico often internalize the lopsided relationship between the island and the mainland, Mun explains, assuming they have to move to New York or Los Angeles if they want to build a successful career. “Artistic or brain drain was a problem in Puerto Rico before the hurricane,” he says. Now that musicians have lost several months of income to cancelled shows and recording delays, the pressure to leave is greater than ever.\u003c/p>\n\u003cfigure id=\"attachment_13827135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827135\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg\" alt=\"Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grafitti on the steps of a high school in San Juan reads, “Harvard University wants smart Puerto Ricans.” Out-migration of Puerto Ricans, or “brain drain,” is a long-standing problem that has been accelerated in the wake of Hurricane María. Independent artists are especially vulnerable since shows and recording studios have been slow to recover. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sofía Córdova, an interdisciplinary artist and musician born in Puerto Rico, has kept busy helping relief efforts from her home in Oakland. Her band XUXA SANTAMARIA donated the \u003ca href=\"https://www.instagram.com/p/Bcskv6Vj6G-/?taken-by=hi_res_mami\" target=\"_blank\" rel=\"noopener\">proceeds from a recent release\u003c/a> to the \u003ca href=\"https://www.fondoderesilienciapuertorico.org/donate/\" target=\"_blank\" rel=\"noopener\">Puerto Rico Resiliency Fund\u003c/a> and the \u003ca href=\"http://mariafund.org/\" target=\"_blank\" rel=\"noopener\">María Fund\u003c/a>. She says there’s a troubling imbalance in mainstream appetites for Puerto Rican artists like Luis Fonsi, Daddy Yankee, and Ozuna, showing most mainland residents’ poor understanding of the island. “The way the world consumes reggaetón and pop exports like ‘Despacito,’ for example, is to a degree that is totally incongruent with the dividends people back home get for their cultural labor,” she writes in an email to KQED Arts.\u003c/p>\n\u003cp>But Córdova also celebrates the success of “Despacito,” which dominated international charts even while the island struggled. “Encountering this song in its ubiquity post-hurricane has felt so different,” she admits. “Its fatuous lyrics and reductive production melted into something new and sparkly, something that united me, my island, and the diaspora in ways that are ineffable and like, very profound.”\u003c/p>\n\u003cfigure id=\"attachment_13827136\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg\" alt=\"Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180313_SofiaCordova_Credit_BertJohnson-3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based, Puerto Rican-born musician Sofía Córdova raised money for hurricane relief with her recent release. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Córdova, tenuous recovery efforts and general ignorance of the problems afflicting Puerto Rico stem from the colonial relationship between the island and the mainland U.S. “Americans do not want to reckon with their daily lives being built on colony just like they don’t want to reckon with their daily lives being built on slavery,” she says.\u003c/p>\n\u003cp>Ani Cordero echoes her assessment, criticizing the federal government’s delayed response to the crisis. “We’re being treated terribly as a colonized people,” she says.\u003c/p>\n\u003cp>But while Hurricanes Irma and María have brought significant challenges to Puerto Rico, some artists are optimistic that international attention to the crisis has created an opportunity for recognition. “There’s a light on Puerto Rico right now, because people are out here and the storm was brutal,” Otura Mun says. “The storm gives us some exposure that I think we didn’t have before, and the opportunity to realize that our voices are important and people do care what’s going on out here.”\u003c/p>\n\u003cfigure id=\"attachment_13827137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg\" alt=\"A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/20180222_Santurce_Credit_BertJohnson-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural in Santurce, a neighborhood of San Juan that serves as a hub for the independent music and arts scene. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, many Puerto Ricans continue to wait for the lights to come back on. Six months after the storms, \u003ca href=\"https://www.npr.org/2018/03/07/591681107/6-months-after-hurricanes-11-percent-of-puerto-rico-is-still-without-power\" target=\"_blank\" rel=\"noopener\">11 percent of the island still has no power\u003c/a>, and the next hurricane season begins in June. Funding for recovery efforts is in limbo, too. The U.S. Treasury Department recently reduced a promised disaster relief loan, which still hasn’t been disbursed to the Puerto Rican government, from \u003ca href=\"https://www.cbsnews.com/news/puerto-rico-says-treasury-abruptly-cutting-4-7-billion-relief-loan-to-2-billion/\" target=\"_blank\" rel=\"noopener\">$4.7 billion to just $2 billion\u003c/a> without explanation.\u003c/p>\n\u003cp>Sadly, for Eduardo Alegría, none of this comes as a surprise. “It was really evident for a lot of us that we were gonna be hit with a lot of hardcore, cruel, insensitive measures, and that’s how it’s been.”\u003c/p>\n\u003cp>But even amid the crisis, María José Montijo believes there’s an opportunity for the people of Puerto Rico to rebuild their own communities in ways they see fit. Artists, she says, have a crucial role to play in this transformation.\u003c/p>\n\u003cp>“I really appreciate artists that have more visibility that are using their platforms to convey the messages that are going to make changes in people,” she says, “Changes that will affect us in creating a better and more just future.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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