Tag Archives: New York City

REAL HAVANA, a Photographic Exhibit of the photos of RODRIGO ARDILES, DEC 6 – JAN 4

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OPENING
SATURDAY, DECEMBER 6, 8PM

CLEMENTE SOTO VELEZ CULTURAL CENTER
107 SUFFOLK STREET, NYC

FOR MORE INFORMATION PLEASE CONTACT

YASMIN ROSARIO, CSV CENTER, 212-260-4080, X 11
MIGUEL TRELLES, 212-260-8728 (LEAVE MESSAGE W. PHONE) OR EMAIL
migueltrelles2001@yahoo.com OR CONTACT THE ARTIST DIRECTLY:
Rodrigo Ardiles rodrigo@creativo.ca

“Real Havana” by Rodrigo Ardiles, a visual documentary series “Real Havana” created by Chilean photographer Rodrigo Ardiles; sets out to capture the simplicity and everyday life of people’s routines in Havana. Ardiles focuses on theinhabitants creativity to survive under a international economic blockade, allowing the spectator to connect with this reality through these images.

“Real Havana” reaches New York after touring Europe and South America; with achieved recognition in Italy at the Latin American photographer’s exhibit “Sguardi dall’america latina” (III edición, Bolognia, Italia).

The Clemente Soto Vélez Cultural & Educational Center, a 501 (C)3 not-for-profit, was founded in 1993. It is a Puerto Rican/Latino cultural institution that has demonstrated a broad-minded cultural vision and a
collaborative philosophy. It’s mission is focused on the cultivation, presentation and preservation of Puerto Rican and Latino culture. Yet, it is equally determined to operate in a multi-cultural and inclusive manner, by housing and promoting artists and performance events that fully reflect the cultural diversity of the Lower East Side and the city as a whole.

The Clemente Soto Vélez Cultural & Educational Center, continues to be the home to sixteen performing arts and educational organizations – 13 are resident groups (with designated space in the Center) and three are affiliated organizations that use the Center’s facility for rehearsals, creative development and FREE public performances. These are flourishing companies that are enhancing the artistic and cultural life of New York City through their diverse educational workshops and public performances.

“Real Havana” will be inaugurated December 6, 2008, at 8pm, at the Clemente Soto Vélez Cultural & Educational Center Inc. 107 Suffolk
St, New York, NY 10002 (212) 260-4080. The exhibit will be open to the public, free of charge.

This cultural event is sponsored by L & I Photo and Digital Labs,
1W 22nd. St. New York City, NY Tel. 212.645.5300

Patricia Villalobos Echeverria’s AGUASMALAS (BLACKWATERS) at MediaNoche

November 22 – December 14, 2008

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

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

Gallery hours: Thurs – Sat, 3PM – 7PM

PRdream mourns the passing of Joe Cuba, 1931 – 2009

Viewing on Wednesday & Thursday, February 18 & 19, 2PM – 10PM

R&G Ortiz Funeral Home
204 E. 116th Street, between 3rd & 2nd Avenues
212.722.3512

From: Aurora Communications, Inc.

Joe Cuba: Father of New York Boogaloo has passed away

The “Father of Boogaloo” Joe Cuba passed away on Sunday, February 15, 2009 at 4 p.m. at Mt. Sinai Hospital in New York. He was the most popular exponent of the boogaloo, a fused Latino and R&B rhythm that exploded onto the American top 40s charts during the turbulent 1960s & ‘70s. Hits such as “*Bang Bang,” “Push Push,” “El Pito,” “Ariñañara,” and “Sock It To Me Baby,” rocked the hit parades establishing Joe Cuba and his Sextet as the definitive sound of Latin New York during the ‘60s & ‘70s. The Joe Cuba Sextet’s unusual instrumentation featured vibraphones replacing the traditional brass sound. His music was at the forefront of the Nuyroican movement of New York where the children of Puerto Rican emigrants, America’s last citizens, took music, culture, arts and politics into their own hands.

Joe Cuba’s Sextet became popular in the New York Latino community precisely because it fused a bilingual mix of Afro-Caribbean genres blended with the popular urban rhythm & blues of its time creating a musical marriage between the Fania and Motown sound. His was the first musical introduction to Latin rhythms for many American aficionados. The lyrics to Cuba’s repertoire mixed Spanish and English, becoming an important part of the emerging Nuyorican identity.

Joe Cuba’s music validated the developing Nuyorican population whose language and music Cuba captured with his sound, underlines Giora Breil, CEO of Emusica, the company that now owns the Fania label and who has remastered many of the classics to a new generation of music lovers. “He led the urban tribe,” pointed Breil, “into a united front of cultural warriors that were defining the social and political times they lived in.”

Longtime manager and promoter Hector Maisonave recalls Cuba as ”an innovator who crossed over into mainstream music at an early time. He was the soul of El Barrio. After Joe Cuba, El Barrio is just a street that crosses an avenue.”

In 1962, Cuba recorded “*To Be With You” *with the vocals of Cheo Feliciano and Jimmy Sabater whose careers he spotlighted after the bands introductory appearance at the Stardust Ballroom prior to its summer stint in the Catskills.

Born in 1931 in the heart of Spanish Harlem, his Puerto Rican parents arrived in New York City in the 20s. Christened “Gilberto Miguel Calderón,” Cuba was a “doo wopper” who played for J. Panama in 1950 when he was a young 19 year old before going on to play for La Alfarona X, where the young “congüerro” percussionist replaced Sabu Martinez tapped to play with Xavier Cugat.

By 1965, the Sextet got their first crossover hit with the Latino and soul fusion of “El Pito” (I Never Go Back To Georgia), a tune Cuba recorded against the advice of the producer later to be “broken” by a DJ over WBLS FM in N.Y.. The Dizzy Gillespie “/Never Go Back To Georgia” chant was taken from the intro to the seminal Afro-Cuban tune, “Manteca.” Vocalist Jimmy Sabater later revealed that “none of us had ever been to Georgia.” In fact, Cuba later comically described a conversation he had with the Governor of Georgia who called him demanding why he would record a song whose chorus negatively derided the still segregated Southern town. The quick thinking Joe Cuba replied, “Georgia is the name of my girl.”

“Joe Cuba exemplified the power that comes from collaboration.” highlighted East Harlem’s councilwoman Melissa Mark Viverito. “Through his music, Joe brought together Latinos and African Americans and his art form reflected the influences of both cultures, Furthermore, his music united Harlem and East Harlem by reflecting the growth both communities experienced during the 1960s and ’70s. Joe Cuba made Spanish Harlem proud as he bravely brought his particular New York Latino identity to stages all over the world.”

In 1967, Joe Cuba’s band ––with no horns– scored a “hit” in the United States National Hit Parade List with the song “Bang Bang” – a tune that ushered in the Latin Boogaloo era. He also had a #1 hit, that year on the Billboard charts with the song “Sock It To Me Baby.” The band’s instrumentation included congas, timbales, an occasional bongo, bass, piano and vibraphone. “A bastard sound,” is what Cuba called it pointing to the fans, the people, as the true creators of this music. “You don’t go into a rehearsal and say ‘Hey, let’s invent a new sound or dance.’ They happen. The boogaloo came out of left field.“ Joe Cuba recounts in Mary Kent’s book:” Salsa Talks: A Musical History Uncovered. “It’s the public that creates new dances and different things. The audience invents, the audience relates to what you are doing and then puts their thing into what you are playing/,” pointing to
other artists such as Ricardo Ray or Hector Rivera as pioneers of the urban fused rhythm.

“I met Joe up in the Catskills in 1955,” /recalls nine time Grammy Award winner *Eddie Palmieri*. “When I later started La Perfecta,” Palmieri muses, “we alternated on stages with Joe. He was full of life and had a great sense of humor, always laughing at his own jokes,” chuckles the pianist. Palmieri pointed to Cuba’s many musical contributions underlining the power and popularity of his small band and bilingual lyrics while providing a springboard for the harmonies and careers of Cheo Feliciano, Willie Torres and Jimmy Sabater. “He was Spanish Harlem personified,” describes Palmieri recalling the “take no prisoners” attitude Cuba had when it came to dealing with those who reluctantly paid the musicians. Recalling their early recording days with the infamous Morris Levy, Palmieri cites the antics of Joe Cuba, Ismael Rivera and himself as the reason for Levy selling them as a Tico package to Fania label owner, Jerry Masucci.

Funny, irreverent and with a great humor for practical jokes, Joe Cuba, or Sonny as he was called by his closest friends, was raised in East Harlem. Stickball being the main sport for young boys of the neighborhood, Cuba’s father organized a stickball club called the Devils. After Cuba broke a leg, he took up playing the conga and continued to practice between school and his free time. Eventually, he graduated from high school and joined a band.

“He was not afraid to experiment/,” said *David Fernandez*, arranger & musical director of Zon del Barrio who played with the legendary Cuba when he arrived in New York in 2002.

By 1954, at the suggestion of his agent to change the band’s name from the Jose Calderon Sextet to the Joe Cuba Sextet, the newly named Joe Cuba Sextet made their debut at the Stardust Ballroom. Charlie Palmieri was musical director of the sextet before his untimely 1988 death from a heart attack.

Since then, the Joe Cuba Sextet and band has been a staple of concerts and festivals that unite both Latinos, African-Americans and just plain music lovers in venues all over the world.

In 2003, the following CDs were released:

* “Joe Cuba Sextet Vol I: Mardi Gras Music for Dancing”
* “Merengue Loco” and
* “Out of This World Cha Cha”.

In 2004, Joe Cuba was named Grand Marshall of the Puerto Rican Day Parade celebrated in Yonkers, New York. Musician *Willie Villegas* who traveled with Joe for the past 15 years said, “It didn’t matter where we played around the world Joe would always turn to me and say, To My
Barrio…. With Love!”

Joe Cuba is survived by his wife Maria Calderon, sons Mitchell and Cesar, daughter Lisa, and grandchildren Nicole and Alexis.

Condolences can be sent directly to Joe Cuba’s widow: Maria Calderon at mariacuba1@verizon.net.

MUSICA DE CAMARA PRESENTS SOPRANO CAMILLE ORTIZ IN A SPRING CONCERT

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CAMILLE ORTIZ IN A SPRING CONCERT

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

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

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

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

Visions of Puerto Rico photo exhibit

Exhibition: Visions of Puerto Rico & Puerto Rican Pride

June 12th – 28th – Opening Show 7-10 p.m. on June 12th

Clemente Soto Velez Cultural & Educational Center, Inc.

107 Suffolk Street, Manhattan

Contact: Mia Roman Hernandez – artbymamamia@yahoo.com / 646-361-6448

About the show:

“Visions of Puerto Rico & Puerto Rican Pride” Celebrates Puerto Rican culture through Photography. The show will include more than fifty works by emerging and established artists from Puerto Rico, Miami Fl. and New York City. Each artist brings a unique style and vision. These artists have discovered the beauty, tales and the history to their culture in which has been incorporated into their craft of photography. Some of the pieces will depict Community, Urban settings, Music, Nature, Family, Politics and Spirituality. The photos will embrace the cultural empowerment of the Puerto Ricans and their pride. The photos will evoke emotion, feeling and discussion. We have bridged a gap between the Puerto Ricans on the Island and the Puerto Ricans out side of the island and this exhibit is the result of that connection.

Art is an expression of the unconscious and is dedicated to the free expression of feeling.

About CSV/ Clemente Soto Velez Cultural & Educational Center, Inc.:

The Clemente Soto Vélez Cultural & Educational Center, Inc. (CSV), a 501 (C) 3 not-for-profit, was founded in 1993. The CSV Cultural Center is a Puerto Rican/Latino cultural institution that has demonstrated a broad-minded cultural vision and a collaborative philosophy. While CSV’s mission is focused on the cultivation, presentation and preservation of Puerto Rican and Latino culture, it is equally determined to operate in a multi-cultural and inclusive manner, housing and promoting artists and performance events that fully reflect the cultural diversity of the Lower East Side and the city as a whole.

Artists include:

Clarisel Gonzalez, Mia Roman Hernandez, Elena Marrero, Vivien Perez, Carissa Hernandez, Christopher Lopez, Susan Alvarez, Marcelino Pagan, Luis Cordero, Pepper Negron, Marie Paola Martinez, Gamalier Martinez, Gerardo Javier Melendez Silvagnoli, Marielly Martinez, Ismael Nunez, Pablo Colon, Eliud Martinez

source: Art by Mia press release

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

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

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

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

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

FILM SCHEDULE

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

Correa

Correa

Correa

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

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

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

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

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

THE PUERTO RICAN CRIME FILM AS PROTEST

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

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

BORDER ART: AN INTRODUCTION

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

IT’S THE ENVIRONMENT…

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

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

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

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

CANCELLED DUE TO RAIN! — PRDREAM’s SUMMER FILM FEST presents “Swim the River” – Free Screening at the 103rd St. Garden

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

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

IT’S THE ENVIRONMENT…

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

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

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


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The Black Agenda Report article opposing Sotomayor

Sonia Maria Sotomayor — She’s No Clarence Thomas, But No Thurgood Marshall Either

By Bruce A. Dixon
Created 06/03/2009 – 10:36
by BAR managing editor Bruce A. Dixon

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What is and what should be the story around the nomination of Judge Sonia Sotomayor to the high court? Is the main story a celebration of how humble origins and hard work won out? Should we spend all our time and energy refuting the racism of Republican talking heads, and none examining her record, and how she arrived at the door of the Supreme Court? Is this a good time to explore what a just and democratic society must demand from its courts — more nonwhite faces in high places? More rights for corporations? Or more justice for people? And if this isn’t a good time, is that time ever coming?

Sonia Sotomayor: She’s No Clarence Thomas, But No Thurgood Marshall Either
by BAR managing editor Bruce A. Dixon
The bubble of false reality corporate media blow around the nomination of Sonia Maria Sotomayor begins with the racist rants of Limbaugh, O’Reilly, and a host of Republican senators and talking heads. It encompasses a torrent of righteous air and ink denouncing the racists, along with an inspiring story of humble origins, hard work and determination to succeed. It feeds the ongoing narrative of America’s ultimate triumph over old fashioned racism by allowing highly qualified and carefully vetted minorities to join its ruling elite. And it includes the view of places like Business Week, which designate the nominee “centrist” and a “moderate, [1]” a view that corporate media revealingly agree is nonpolitical,” which means that the prerogatives of America’s business elite are not now and never will be up for discussion.
Absent from the conversation around the Sotomayor nomination are all but the most cursory review of her legal career before being appointed a federal judge by George Bush — a mere twelve years of legal experience, five as a prosecutor for the D.A.’s office in Manhattan, and another seven as partner at the international law firm of Pavia & Harcourt. Summaries [2] of her decisions are hard to find. Although much is made of the fact that she will be only the fifth judge not a white man to sit on the high court, few detailed comparisons are made between her legal career and those of Thurgood Marshall and Clarence Thomas. Finally there are no attempts to discuss the unique, and not always positive role that the US Supreme Court plays or ought to play in the life of the country.
All these concerns are outside the bubble, not only for corporate media, but for the blogs and commentators who allow corporate media to draw the limits of their universe.
Sotomayor’s first job out of law school was as a prosecutor in the Manhattan D.A.’s office. Her time as a prosecutor roughly coincides with the end of the first decade of New York’s infamous Rockerfeller drug laws [3], a time when our nation’s historically discriminatory law enforcement apparatus began locking up larger percentages of black and Latinos than anywhere else on the planet. From there she moved on to a spot as associate, then partner at the international law firm of Pavia & Harcourt [4], and international law firm offering “…a full range of legal services to companies, individuals, and Italian and French governmental organizations and agencies… who do business in the United States as well as American clients who do business in the U.S. and abroad.”
Among Pavia & Harcourt’s areas of special focus are the enforcement of intellectual property laws, and obtaining writs of confiscation and seizure of goods believed to be in violation of such laws. In this selection from Ed Shanahan’s IP Law & Business he assembles quotes from the Wall Street Journal, the National Journal and the New York Times that paint a picture of Sotomayor’s passionate involvement on behalf of her corporate clients:
“…as the Wall Street Journal Washington Wire blog further explains in this colorful post [5]
, the “peak” of her career at the firm “came in representing Fendi in trademark actions against makers and sellers of counterfeit handbags and other items, according to George Pavia, the firm’s managing partner.”
“Sotomayor, the WSJ reports, didn’t just fight for her clients in court.
“Firm founder George Pavia told the paper that when the firm would get a tip about suspect cargo, investigators “would trace where the shipment had gone—for example, to a warehouse or a store. Then, working with police, the firm would seek a warrant to view and attach the items. Often, the lawyers learned through experience, such visits would prompt angry responses from the merchants involved. But Sotomayor, who became a high-profile defender of the brand, seemed to enjoy going along. ‘On several occasions,’ Pavia said, ‘she went in wearing a Kevlar vest and seized the goods.’
“(In this profile [6]
of Sotomayor, The New York Times adds to the judge’s legend: “One incident that figures largely in firm lore was a seizure in Chinatown, where the counterfeiters ran away, and Ms. Sotomayor got on a motorcycle and gave chase.”)
“The Journal also reports that Sotomayor played an integral role in what might be termed an IP publicity stunt aimed at calling attention to the then-growing problem of high-fashion knockoffs:
“With Sotomayor in charge, the firm decided in 1986 to stage a bonfire —to be known as the ‘Fendi Burn’—in the parking lot of the Tavern on the Green restaurant. There was a catch, however: the New York Fire Department refused to permit it.
“So the firm decided on the next best thing, crushing the items in garbage trucks, in an event that came to be known as the ‘Fendi Crush.’
“‘In the presence of the press…we threw masses and masses of handbags, shoes, and other items into these garbage trucks,’ Pavia said. ‘It was the pinnacle of our achievement, and Sonia was the principal doer.’”
No place on earth has more lawyers than the U.S., and in the late 80s, early 90s, New York City had more lawyers than anywhere in the country. This is how a young former prosecutor gets noticed and considered for the federal bench. Maybe Democratic senators and the White House of George H.W. Bush took note of her on their own. Maybe lobbyists and campaign contributors affiliated with her clients recommended her as someone who would look out for their interests. Take your pick. Either way, Bush put her on the federal bench in 1992.
For the twelve years she was a prosecutor and in private practice, right up until her appointment to the U.S. District Court, Sotomayor spent evenings, weekends and personal time, as an active board member of the Puerto Rican Legal Defense and Education Committee. During those years PRLDEF publicly opposed police brutality, the death penalty, felony disenfranchisement, and discrimination in housing and employment. It filed lawsuits to protect the voting rights of minorities in New York and the human rights of migrant workers. PRLDEF even sued an official of the Reagan administration for defamation over his public statement that most Puerto Ricans were on food stamps. No reports we have seen say that she personally filed those suits or that she ever appeared in court on behalf of litigants in discrimination and other lawsuits. As a board member she was reportedly involved in the planning and overall supervision of these activities.
After his graduation from Yale Law School in 1974, Clarence Thomas attached himself directly to the Republican party as a black man squarely against equal rights under the law. He became assistant attorney general in Missouri in 1974, chief counsel for Senator Sam Brownback in 1978, and in 1982, chairman of the Office of Economic Opportunity under Ronald Reagan, where he publicly defied the Congress by sitting on thousands of age and race discrimination complaints till the statute of limitations ran out on them. After only fourteen years as an attorney, Thomas had earned his appointment to the federal bench in 1989, and shortly after that to the Supreme Court.
The only other nonwhite person to serve on the US Supreme Court in two centuries has been Thurgood Marshall. Marshall’ graduated Howard University law school in 1933, where he was mentored by Charles Hamilton Houston [7]. Houston was the architect of a decades-long crusade to use the courts to overthrow America’s Jim Crow segregation laws. After less than a year of private practice, Marshall joined Houston at the NAACP, where he spent the next quarter century crisscrossing the country, sometimes at the risk of his own life [8], defending African Americans in court who were falsely accused of murder and rape. Marshall took their cases, along with those of black people who directly challenged Jim Crow laws all the way to the Supreme Court where he won a phenomenal 29 out of 32 cases, including the 1954 Brown v. Board of Education, which ruled that separate school systems for blacks and whites were unconstitutional.
After 28 years of legal practice, far longer than either Thomas or Sotomayor, Marshall was named to the US Court of Appeals in 1961, US Solicitor General in 1965, and in 1967 was nominated to the Supreme Court by Lyndon Baines Johnson. Before donning the black robe Marshall had already fundamentally changed the American legal landscape. He had directly represented the poor and disenfranchised in the courts of dozens of states, raised money and public support for their legal defense. By the 1950s, Marshall was known around the country as “Mr. Civil Rights.” He is said to have taken a dim view of civil disobedience and many of the tactics of the Freedom Movement in the 1950s and 60s, but generally refrained from publicly voicing those sentiments, and defended some of them in court.
The comparative pre-judicial careers of these three seem to indicate that the speedy road to the federal bench is to be a useful right wing political operative like Thomas or a zealous advocate of multinational business, like Sotomayor. Defending the poor and changing history seems to be a longer and much less certain way to get a federal judgeship.
Sonia Sotomayor is no Clarence Thomas, to be sure. The PRLDEF did great work during the years she served on its board, but she can hardly claim sole credit for it. In any case, PRLDEF wasn’t her full time job, and certainly not what got her on the federal bench. She is no Thurgood Marshall either, not by a long shot. There are still lawyers who devote most of their practice to defending the poor and disenfranchised, and an even larger number who file suits against giant corporations on behalf of ordinary people. No matter their legal brilliance, those attorneys rarely get judicial appointments. Why? No Supreme Court Justice since Marshall has represented a defendant in a criminal case, let alone a death penalty case. Why? No Supreme Court Justices sued wealthy and powerful corporations on behalf of ordinary working and poor people either. Why?
Why should representing poor people as defendants in a court of law, or suing wealthy corporations on behalf of the ordinary people whose rights these powerful and immortal institutions trample upon every day rule a judgeship out of any lawyer’s future? Was that the founding fathers’ intent? More importantly, should it be ours?
A frank discussion of what a democratic society should expect from its court system is also long overdue. For the last generation, the courts have squatted squarely on the necks of working class Americans, relentlessly affirming the unearned privileges of a wealthy corporate elite over the rest of us, often in ways no governor, president or legislature would dare attempt. To name just a few instances, the courts have ruled that equal funding of public schools between wealthy and poor neighborhoods cannot be accomplished, even when state constitutions require it. Judges have affirmed that the First Amendment gives corporations the right to lie to and deceive the public for commercial gain, that patent laws allow US corporations to claim exclusive rights to crops grown by farmers for dozens of centuries in various parts of the world. The Supreme Court recently ruled that money, in the form of campaign contributions, is free speech, setting major roadblocks in the path of campaign finance reform.
We need to take note of the historic significance of the first Latina to be nominated to the Supreme Court. Like the embrace of a black president by most of the nation’s ruling elite, it does signify a departure from a kind of old fashioned nineteenth and twentieth century racism, at least insofar as the admittance of carefully vetted and well-qualified minorities to that elite goes. But the advancement of a few is not necessarily the advancement of democracy, or of the many.
The easy out for progressives around the Sotomayor nomination is to waste all their time and oxygen debating Republicans, ridiculing and refuting their racism. While this is important, it mustn’t be allowed to take all the air from the room. If we really want more than a change in the color of the faces at the top of American society, we’ll have to spend a lot more energy evaluating their corporate connections of our judges on every level, and determining who they and our courts really serve.

Why does Sonia Sotomayor call her parents “Puerto Rican immigrants” and other thoughts

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From the Culture Kitchen blog

I cannot understand the brouhaha in some circles on the left around Sonia Sotomayor’s description of her parents as “immigrants”. And I certainly cannot believe that people on the right are so petty as to not call her the first “Hipanic”/Latina to the Supreme Court by calling Benjamin Cardozo, a man of Portuguese ascendancy, “Hipanic”.

Many of my readers know how I feel about the word “Hispanic”, so let me put this to rest: The census document quoted in my infamous article expressely describes the word “Hipanic” as used by the agency to describe Puerto Rican and other Americans of Latin American origins who did fall into the category of Mexicans. Citizens of Spaniards and Portuguese backgrounds were not “Hipanics” because they were Europeans. Same with Spanish and Portuguese -speaking African and Asian immigrants.

So people, let’s lay this one to rest: Benjamin Cardozo is not a Hispanic or Latino. Period.

Yet let me get to the issue of whether Puerto Ricans can be called immigrants.

I am appalled that in some mailing lists used by liberal bloggers there’s a rush to accuse right-wing commentators and even Sonia Sotomayor herself for calling her parents “Puerto Rican immigrants”. The logic behind this? That since Puerto Rico is a colony of the United States where Puerto Ricans have US citizenship, that this invalidates calling Puerto Rico a “foreign country” and it’s people as “immigrants to the United States”. The fight is to accuse the right of smearing her parents with the word immigrants because Puerto Ricans, allegedly, have no immigrant experience.

And what baffles me most is that the people pushing this line of thinking are “immigration activists” for whom it is a nuisance to fit Puerto Ricans in their “comprehensive immigration reform” narrative. In the past few years all the talk of immigration laws has been about how it is used to attack Mexicans and other mostly Central Americans. Yet the reality is very different.

You may want to call Puerto Ricans “migrants” because they we live in a US territory, but the peculiar political status of Puerto Rico as a pseudo-“Free Associated State” (aka: Commonwealth) has made many define Puerto Rican identity in the United States as one of immigrants with no immigrant status.

Rene Marques’ La Carreta (the Oxcart) became in the middle of the 20th century “the play” that captured this migrant/immigrant ethos of the Puerto Rican experience. In the play, a family of sugar-cane field workers sets out of the plantation looking for a better life. They not only end in a slum when in San Juan, but their penury there pushes them to New York City, where they only find ruin, despair and a death that returns them to the land they had previously fled from.

The play became an allegory for Puerto Rican identity because it describes the Puerto Rican experience as one that is fundamentally migrant inside the island and immigrant when in the United States. Rene Marques’ neo-realist theater was cemented in history and in this case, in the historical context of Puerto Ricans being a nation of immigrants.

Many of the boricuas of the 20th century were descendants of immigrants themselves. Spain had given to many Europeans indentured labor contracts for settling in Puerto Rico back in the 19th Century. Through these contracts the King of Spain leased the land to whomever wanted to work it and buy it back with their revenues. Many non-Spanish speaking Spaniards ended in the country, especially Catalanes, Basques, Canarinos and Gallegos along with other European groups like Italians, Irish, along with Roma from many Eastern European countries. Even under Spanish rule Central land South Native Americans were imported as the preferred group of household servants for the Spanish elite.

Even though the task of defining what it was to be a Puerto Rican had been taken up by many artists and thinkers by the time Puerto Rico was invaded by the United States in 1898, the Puerto Rican criollo movement (aka, Spanish/European identified Puerto Ricans) was stronger and more influential than their nationalist counterparts and when compared to the separatist nationalist movement in Cuba and at the other corner of the fallen Spanish colonial world, the Philippines.

It explains in many ways why the United States furiously aligned themselves to these criollistas and unleashed a wave of violence against the mostly brown and black nationalist movement in Puerto Rico; even going as far as torturing the leader of the nationalist movement, Don Pedro Albizu Campos, by using him for radiation experiments.

Yet it’s Puerto Rico’s weird constitutional framework that muddles the migrant/immigrant debate. Here’s the preamble to the Constitution of the Commomwealth of Puerto Rico:

We, the people of Puerto Rico, in order to organize ourselves politically on a fully democratic basis, to promote the general welfare, and to secure for ourselves and our posterity the complete enjoyment of human rights, placing our trust in Almighty God, do ordain and establish this Constitution for the commonwealth which, in the exercise of our natural rights, we now create within our union with the United States of America.

In so doing, we declare:

The democratic system is fundamental to the life of the Puerto Rican community;

We understand that the democratic system of government is one in which the will of the people is the source of public power, the political order is subordinate to the rights of man, and the free participation of the citizen in collective decisions is assured;

We consider as determining factors in our life our citizenship of the United States of America and our aspiration continually to enrich our democratic heritage in the individual and collective enjoyment of its rights and privileges; our loyalty to the principles of the Federal Constitution; the co-existence in Puerto Rico of the two great cultures of the American Hemisphere; our fervor for education; our faith in justice; our devotion to the courageous, industrious, and peaceful way of life; our fidelity to individual human values above and beyond social position, racial differences, and economic interests; and our hope for a better world based on these principles.

I want to stop here a moment because there are no accidents with this preamble: At no point does it say that Puerto Ricans take an oath of loyalty to the United States. At no point does it say that Puerto Rico is part of the United States. On the contrary, this document goes through great pains in defining Puerto Rico as a separate nation and a separate country without acknowledging Puerto Ricans’ right to self-determination, autonomy and sovereignty. On the contrary, the nation of Puerto Rico and Puerto Ricans aspire continually to enrich our democratic heritage in the individual and collective enjoyment of of the rights and privileges that come with having US citizenship.

Can you understand why constitutionally many Puerto Ricans make the case that we are a nation recognized by the United States and thus a separate, albeit not foreign country?

And it’s this contradiction that defines the Puerto Rico experience in the United States. An experience that even though has been defined by US citizenship since 1917 (Puerto Ricans who emigrated between 1898 and 1917 to the US actually had PR passports), has always been one of emigration to the United States not just migration from the island.

So please, stop wasting time in debating whether it is OK to call Puerto Ricans immigrants. We are. Get over it. Now go and get Sonia Sotomayor confirmed to the Supreme Court.

Further Reading : Puerto Rico: A Colonial Experiment by Raymond Carr is an excellent resource and place to start reading about the development of the Puerto Rican commonwealth. So is Jose Trias Monge’s Puerto Rico: The Trials of the Oldest Colony in the World and Puerto Rico: A Political and Cultural History by Arturo Morales Carrion.

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