DEBATES MUSICALES

(Introducción sonora)

Lydia Platón (LP): Hoy en Itinerarios Sonoros recordamos el debate de los '80 entre cocolos y rockeros. A través de la película del mismo título de Ana María García de 1992. El documental nos presenta los debates de identidad según el lente de aquella época. Luego de conversar con la cineasta entrevistamos a jóvenes de hoy que nos presentan sus ideas sobre la relación entre la música y la cultura actual.

Voz femenina: Tanto los rockeros como los cocolos se exhiben diferencias a la hora de asistir a sus conciertos y a las playas. Sin embargo, unos y otros sí tienen ambiciones y metas por cumplir. Ambos grupos rinden culto a la música.

Ana María García (AMG): Soy Ana María García. Soy documentalista, cineasta y también profesora de la Escuela de Comunicación en la Universidad de Puerto Rico Recinto de Rio Piedras. Imparto en los cursos de audio visual, en la concentración Audio Visual.

LP: Ana María, hace veinticinco años salió una película que se llamaba Cocolos y Rockeros. ¿Puedes decirnos brevemente de qué se trataba?

AMG: Pues mira, si. En esa época yo vivía todavía en Nueva York y cuando venia a la isla los hijos de mis amigos me preguntaban si yo era cocola o rocera. Eso por supuesto me atrajo mucho porque era un fenómeno muy extendido entre la juventud, particularmente de escuela superior, no tanto ya en otras edades. Y entonces me empecé a dar cuenta que esas identificaciones a partir de la música tenían mucho que ver con la clase social, con la identificación de clase, identificación racial y que incluso habían conflictos sociales que se manifestaban a través de una rivalidad entre cocolos y rockeros y cuando hice el documental eso se confirmó porque los rockeros hablaban muy mal de los cocolos y vice versa.

Por ejemplo, los rockeros decían que los cocolos eran criminales, que eran los que limpiaban las venta... los parabrisas en las luces y que te robaban.

(Audio de documental)

Siempre había uno que otro rockero que defendía los cocolos. Era muy interesante pero ese era el imaginario que había sobre qué era ser un cocolo, que se vestían cafres, que sus preferencias estéticas eran obviamente muy distintas en ambos grupos y sí habían unos códigos de vestimenta que identificaban cada cual.

Los cocolos por su parte decían que los rockeros tenían mucho guille, que era gente mas arrogante, que era gente que los rechazaba y se daba esa situación social entre estos dos grupos a partir de identificaciones musicales.

LP: Y en términos de lo que aprendiste en esa experiencia y como has seguido tu también haciendo tu documentación cinematográfica y has continuado trabajándote mas de identificaciones, quería preguntarte un poquito sobre tu relación con la sonoridad, porque ese temáticamente es de la música, de música identidad, si tu has seguido dándole cabeza a ese tema, si lo has pensado en algún otro contexto. ¿Cómo eso lo podemos seguir viendo en tu trabajo?

AMG: Bueno, te puedo decir que ha habido mucha gente que me ha pedido que actualice, que haga el documental de la situación y las rivalidades musicales en este momento. Yo lo que... es evidente que estas diferencias se han manifestado a través de la historia. Por ejemplo, a principio de siglo pues era la danza versus la bomba. Cuando yo estaba en escuela elemental, que eso fue en los años sesenta, eran los agogos... los agogos que eran los rockeros versus los conserva que eran los salseros. Y esos términos van cambiando, no, van cambiando, peros esos choques de clase con relación a la música están ahí permanentemente en la sociedad.

Posterior a cocolos y rockeros pues la salsa se internacionalizó y surgieron figuras como Rubén Blades o Juan Luis Guerra que eran figuras mucho mas sofisticadas, digamos, académicamente, incluso Rubén era abogado y Juan Luis estudió en Berklee; y eran figuras que hasta cierto punto le dieron un brillo a la música de salsa y la salsa empezó a ser mucho mas aceptada en Puerto Rico.

Pero siempre hay su... el otro fenómeno que es interesante que es el reggaetón. El reggaetón permea todas las clases sociales. A los jóvenes les encanta el reggaetón y a pesar de que tiene un fundamento, verdad, una zapata en la clase trabajadora sí es un tipo de música que ha logrado conquistar los muchachos de cualquier clase social.

Asi que se van dando ciertas variaciones pero ese choque de clase siempre está ahí y muy raro que tu veas a un estudiante de Marista, por ejemplo, o de San Ignacio vestirse como se visten los reggaetoneros. Eso es muy distinto. O sea que siempre permanecen esos códigos de vestimenta, incluso de lenguaje corporal, de lenguaje corporal que identifican a los grupos.

Bueno, yo creo que también el fenómeno de Residente es parte de esa aceptación generalizada de estas nuevas... estos nuevos géneros musicales que son, como tu dices, son urbano y que proceden principalmente de la clase trabajadora. Creo que Residente ha sido una figura clave en eso y por supuesto en la música de el es muchísimo mas híbrida. No es un reggaetón puro, díganos, tipo Bad Bunny, pero sí es... tiene de todo, tiene de todo.

LP: ¿Quieres dejarnos con algún pensamiento mirando atrás en estos veinticinco años? No has vuelto a visitar las sonoridades. Tu trabajo ha sido mas sobre figuras. Para hablar un poco de tu trabajo ahora, ¿qué debemos esperar?

AMG: Bueno, en términos de temática sobre música en el cine en mi trabajo documental... te puedo decir que me encantaría hacer un documental sobre el jazz puertorriqueño, ese jazz latino híbrido con un fundamento de percusión distinto al jazz mas clásico. Eso me encanta. Como tu sabes, todo depende de los fondos que uno pueda conseguir para un proyecto. Hay muchos fenómenos musicales de los cuales a mi me gustaría hacer documentales. Es que realmente nuestro país es tan denso, su cultura musical es tan densa y tan variada y tan fructífera que es que los temas sobran. Con relació... o sea, como te digo, todo depende de fondos.

El sonido para mi tiene una importancia dramática enorme en cualquier género de cine. En el fílmico, en la ficción o en el documental el sonido es una forma mas de crear significados. Tiende a ser muy subestimado, su capacidad dramática y de comunicar. Significado es subestimada pero creo que sí hay una tendencia ahora entre los cineastas mas jóvenes de darle muchísima mas atención a las bandas sonoras, ya sea de ficción o documental. Eso lo vemos en una película, por ejemplo como El silencio del Viento que tiene un trabajo de sonido de Maite Rivera que es espectacular. Y con la idea... hay una tendencia en el cine nuestro, el latinoamericano, de tener ya lo que se llama un diseñador de sonido de post-producción.

Ya no es cualquiera el que edita el sonido, el que crea esas diferentes pistas para la banda sonora, sino que son ya especialistas que van muchísimo mas allá del sonido literal, y empiezan a trabajar un sonido muchísimo mas que evoca sentimientos, que evoca subjetividades, y creo que es una evolución importante en el documental puertorriqueño, por ejemplo... o el largo puertorriqueño, en América latina en general, porque el cine cubano también está prestándole mucha atención a ese diseño de sonido que ya no es el sonidista. Ya es un diseñador de sonido que elabora con muchísima diversidad de lo literal y lo mas subjetivo, lo mas abstracto. O sea, ya es un sonido mucho mas complejo.

(Audio documental)

Ambar Suarez Cubiyé (AS): Mi nombre es Ambar Suarez Cubillé. Soy recién graduada de la Universidad de Puerto Rico Recinto de Rio Piedras de periodismo y literatura hispanoamericana.

LP: Ambar es parte de nuestro equipo de producción aquí de Itinerarios Sonoros.

AS: Pues un poquito como de trasfondo yo soy músico. Vengo de una familia musical. Mi papá es cuatrista de Jayuya. Mi mamá es una cocola empedernida de Ponce.

(Voz masculina)

Entonces yo he crecido rodeada de música. Todos mis hermanos son músicos. Mi hermano mayor es profesor en la Libre de Ponce. Yo estudié música por seis años de mi vida y pues trabajando en la serie de Itinerarios Sonoros he escuchado a distintos académicos intelectuales hablando y dando sus opiniones sobre los sonidos en general y la interacción que tenemos la cultura, la humanidad y la historia con los sonidos, con todo tipo de sonidos.

Para mi generación la música es fundamental para nuestro crecimiento, para nuestro desarrollo y me parece importante establecer y estudiar las relaciones que tiene la música con la cultura. Actualmente la música popular que mi generación escucha es la música urbana: el reggaetón, el trap, el hip hop, la música anglosajona.

Yo lo que quiero traer a Itinerarios Sonoros es que en el 2019 ya no hay límites, no hay barreras, no hay fronteras entre los géneros musicales o en el tipo de persona que tú eres o de que estrato social tú vienes, de qué trasfondo tú tienes para tu identificarte o consumir algún tipo de música en específico. Hoy día mi generación tú puedes ser intelectual y puedes ser cafre. Puedes escuchar Bach, puedes escuchar Miles Davis, puedes escuchar a Silvio Rodriguez, a Tego Calderón, a Bad Bunny en un mismo playlist y no pasa nada porque podemos enriquecernos de todos esos tipos de géneros musicales.

Todavía en la salsa hay muchos debates. En el género urbano definitivamente hay muchísimos debates. Inclusive, en el género de salsa urbana hay muchos debates, que eso es lo último que se ha estado cuajando. Y, wow, si hablamos del género urbano que se ha ramificado en muchas otras divisiones: está el rap, está el hip hop, está el reggaetón, está el trap, wow. O sea, figuras nuevas como Bad Bunny y figuras legendarias como Tego Calderón en sus inicios que hablaban de un espacio mas de negritud, de opresión, de pobreza, pues, como mencioné a Bad Bunny que ya nos está hablando de identidades de género, de borrar esas líneas, esas fronteras.

Verdad, en los '80 este debate de los cocolos y los rockeros, yo pienso que ese debate murió porque, como dije, tú puedes escuchar rock, puedes escuchar salsa, puedes escuchar música en inglés, música clásica, jazz o el reggaetón mas cafre del mundo y no significa nada. Al contrario, a mi me parece que tu te enriqueces de eso, de poder variar tu consumo musical. Yo pienso que mi generación goza mas de enriquecerse de conocer otros espacios, otras culturas. A través de la música viajamos, aprendemos, conocemos.

(Audio voz masculinas: "Hay músicas que vienen mas directamente de los barrios populares en los Estados Unidos, como por ejemplo, el rap o el house. Y ese tipo de música en Puerto Rico tiende a identificarse mas o se tienden a identificar mas los cocolos puertorriqueños con ellas que los rockeros".)

Gerardo Córdova (GC): Mi nombre es Gerardo Córdova. Oh, yeah, sorry, English, English, I forgot, English. My name is Gerardo Cordova. I study at the University of Loyola, Chicago. I would say, considering that in recent years how the hip hop genre has expanded tremendously in the United States, some would even say surpassing the rock genre, it's a very opinionated topic or that would spark up debates nowadays. Events that were going on in that time which would also give a lot of influence to what the artists are rapping and talking about. Nowadays, they all pretty much talk about the struggles of African Americans in the country. If you take a look at rappers such as Joey Badass and Kendrick Lamar when you're listening to their lyrics they're very critical of the way African Americans are portrayed in this country and could even be considered struggling protest music. Can be considered protest music in a way through the lyrics and their rapping that a lot of the struggle comes out into light for other people to get an understanding of what is like to be an African American in the country.

Alejandra Córdova (AC): Hola. Me llamo Alejandra Córdova. Soy mitad puertorriqueña, mitad salvadoreña y vivo en Houston. Tengo diecisiete años y soy un rising Senior en high school.

LP: Y Alejandra está estudiando un poco sobre el género del reggaetón y la pregunta que yo le hice tiene que ver con donde ella ubica como el debate que pueden tener los jóvenes alrededor de la música y lo que a ella le ha interesado estudiar de eso que es el machismo, la violencia.

AC: Bueno, en la música yo veo que hay un poco de división un poquito con el reggaetón que hay el trap, hay el reggaetón. Aunque son casi el mismo... estilo no, pero el mismo Ender the same umbrella. Hay un poco ahí. Y yo lo que veo es en rap, hip hop and R&B there's a lot of different groups and it's mixed with like the intersection of like the urban youth with the music because it's part of the culture, so there is that expect of, you know, the culture behind the music and the division between pop or what is popular in rap, someone like Drake who could be very popular and not divide between what's popular and then the classic part of the culture kind of music.

And then also there is, besides division, I think there's more kind of cross between different genres like you see Cardi B. She does collaborations now that reggaetón is so almost mainstream in the United States. There's a lot of intersection between those two genres like Cardi B who does collaborations with someone like Bad Bunny or J Balvin because she knows that's what makes money. JLO who used to do music in English and now she's moving to Spanish because that's what's popular. Reggaeton is in mainstream media, in the culture, in the United States where Despacito was weeks on Billboard and now all of a sudden in the US it's what's popular. So, less division and I think more intersection between completely different cultures and completely different genres in the United States.

LP: So what political force do you think it can still have for the youth, you know, taking into account that youth are identified with using the music as a form of expression, of protest? What do you think of your young friends today and your music enthusiasts?

AC: I think there's a lot of politics with music, a lot. There's a lot of references. There's a lot of statements, movements and people kind of they... the person who comes to mind is someone like Kanye. He is very controversial and it can be very political in the sense that you're... now with the country so divided I would say it's like impacting youth more than ever because it's playing a role into how you listen, who you listen, like Kanye who has all these controversial things to say about the current president, is now some people and some people of the youth choose not to listen to Kanye because of politics.

So, it's influencing... you know, it's not right now just only music. Oh, I like this music. It's now what are they talking about, who are they supporting, what is the politics behind their music, and if I'm going to choose to listen based on that instead of just based on only the music. That's how I think it's influencing that kind of culture.

(Music)

LP: Agradecemos a Ana María García y a Radio Universidad por el uso de la película original Cocolos y Rockeros de 1992. En este episodio hemos escuchado a Chuco Quintero, a Cheo Feliciano y a Eddie Palmieri, entre otros, como parte de la banda sonora de la película.

Itinerarios Sonoros es una producción de la Calle Loiza, Inc. y Radio San Juan con el auspicio de la Fundación Puertorriqueña de las Humanidades. Producido y dirigido por Lydia Platón y Mariana Reyes con la colaboración de Priya Parrotta,Nalini Natarajan y Juan Otero Garabís. La dirección técnica estuvo a cargo de Ambar Suarez Cubillé Cuviye y Julio Albino. Síguenos en Soundcloud, Facebook, Twitter e Instagram como Radio San Juan.

MUSICAL DEBATES

(Sound introduction)

Lydia Platón (LP): Today on Itinerarios Sonoros we remember the debate in the 1980s between the cocolos and rockeros through the 1992 film of the same title by Ana Maria Garcia. The documentary presents identity debates as seen through the lens of that era. After conversing with the filmmaker we’ll interview today’s youth who will give us their ideas regarding the relationship between culture and music.

Feminine voice: You can see differences between rockeros and cocolos when you attend their concert, and at the beaches. However, they do have ambitions and goals to achieve. Both groups worship music.

Ana Maria Garcia (AMG): I’m Ana Maria Garcia. I’m a documentary filmmaker, a filmmaker and also a professor at the School of Communications at the University of Puerto Rico Rio Piedras Campus. I give audiovisual courses within the Audiovisual Major.

LP: Ana Maria, it’s been 25 years since a film came out that was called Cocolos y Rockeros. Can you tell us briefly what it was about?

AMG: Well, yes. Back then I still lived in New York and when I would come to the island my friends’ children would ask me if I was a cocolo or a rockeros. That of course really drew me because it was a very widespread phenomenon among youth, particularly from high school, not so much among other ages. And then I started to realize that those identifications, based on music had a lot to do with social classes, ranking, racial identification and there were even social conflicts that played out through a rivalry between cocolos and rockeros and when I made the documentary the rockeros talked trash about the cocolos and vice versa.

For example, the rockeros would say that the cocolos were criminals, that they were the ones who cleaned wind… windshield wipers at stop lights and that they would rob you.

(Audio from documentary)

There was always one or another rockero who would defend the cocolos. It was very interesting but that was the imaginary back then of what a cocolo was - that they dressed low-class, that their aesthetic preferences were obviously very different in both groups, and there were indeed dress codes identifying each one.

On their part the cocolos said the rockeros had a lot of attitude, that they were more arrogant, that they would reject them and there was that social situation between these two groups based on musical identification.

LP: And in terms of what you learned from that experience and also how you’ve continued making your documentaries and you’ve continued to work more on identification, wanted to ask you a little bit about your relationship with sound, because thematically that’s about music, about identity music, whether you still ponder that subject, whether you have thought about it in any other context. How can we still see that in your work?

AMG: Well, I can tell you that a lot of people who have asked me to update it, to do a documentary on the situation and musical rivalries nowadays. And the thing that… it’s clear that these differences have existed throughout history. For example, at the turn of the century it was danza versus bomba. When I was in elementary school, which was in the 70s, it was the agogos…. the agogos those who were the rockeros versus the conserva which were the salseros. And those terms have changed, right, they’ve changed, but class struggles tied to music exist permanently within society.

After the cocolos and the rockeros, salsa became international and personalities like Rubén Blades or Juan Luis Guerra emerged, who were much more sophisticated, shall we say, academically, Rubén was even a lawyer and Juan Luis studied at Berkeley; and they were figures who to some extent gave a certain polish to salsa music and salsa began to be much more accepted in Puerto Rico.

But there’s always… The other interesting phenomenon is reggaetón. Reggaetón permeates all social classes. Young people like reggaetón and in spite of the fact that its base, its foundation is in the working class, it’s a type of music that has won over kids from all social classes.

So there have been certain variations but that class struggle is there and it’s very rare for you to see a student from Marista, for example, or from San Ignacio dress like reggaetón lovers. That’s very different. So those dress codes always persist, even body language, body language codes identifying the groups.

Well, I also think that the Residente phenomenon is part of that generalized acceptance of these new… these new musical genres that are, as you say, urban and come directly from the working class. I think Residente has been a key personality in that and of course much of his music is more hybrid. It’s not pure reggaetón, let’s say, like bad Bunny, but it is, it has everything, it has everything.

LP: Do you want to leave us with any thoughts looking back over these 25 years? You haven’t come back to sound. Your work has been more about personalities. Talking a little about your work now, what can we look forward to?

AMG: Well, in terms of the subject of movie music in my documentary work… I can tell you that I’d love to make a documentary regarding Puerto Rican jazz, that hybrid Latin jazz with a percussive base that’s different from more classical jazz. I love that. As you know, everything depends on the funding one can get for a project. There are many musical phenomena I’d like to make documentaries about. The thing is, our country is really so dense, its musical culture is so dense and so varied and so productive that there’s an abundance of topics. As for… Well, as I said, everything depends on funding.

For me sound is of enormous dramatic importance in any genre of film. In film - in fiction or in documentaries - sound is another way to create meaning. Its dramatic capacity and its capacity to communicate are underestimated. Meaning is underestimated but I think that there is indeed a tendency now among younger filmmakers to pay a lot of attention to soundtracks, whether for fiction or documentaries. We see that in a film such as, for example, El Silencio del Viento which has a soundtrack by mighty Rivera which is spectacular. And with the idea… There’s a tendency in our cinema, Latin American cinema, to nowadays have what is called a postproduction sound designer.

These days it’s not just anybody who edits sound, who creates different tracks for the soundtrack, now there are specialists who go way beyond literal sound and start to work on a sound that more than evoking feelings, evokes subjectivities, and I think that’s an important evolution in Puerto Rican documentaries, for example… or Puerto Rican feature films, in Latin America in general, because Cuban cinema is also paying a lot of attention to sound design, where it’s no longer the sound tech. Now it’s a sound designer who elaborates with great diversity from the literal and the most subjective things, the most abstract things. So, it’s a much more complex sound.

(Documentary audio)

Ambar Suarez Cuviyé (AS): My name is Ambar Suarez. I recently graduated from the University of Puerto Rico Rio Piedras campus in journalism and Hispanic American literature.

LP: Ambar is part of our production team here at Itinerarios Sonoros.

AS: Well a little background, I’m a musician. I come from a musical family. My father is a four string guitar player from Jayuya. My mother is a hopeless cocola from Ponce.

(Masculine voice)

So I grew up surrounded by music. All of my siblings are musicians. My older brother is a professor at the Libre de Ponce. I studied music for six years of my life and well, working on the Itinerarios Sonoros series I’ve listened to different intellectuals talking and giving their opinions on sound in general and the interaction between culture, humanity, history and sound, all kinds of sound.

For my generation, music is fundamental to our growth, to our development, and it seems important to me to establish and study the relationships between music and culture. Currently, the pop music my generalization listens to is urban music: reggaetón, trap, hip-hop, Anglo-Saxon music.

What I’d like to bring to Itinerarios Sonoros is that in 2019 there are no limits, there are no obstacles, there are no frontiers between musical genre or the type of person you are or what social strata you come from, what your background is, in order for you to identify with or consume specific type of music. Nowadays, my generation, you can be an intellectual and you can be low-class. You can listen to Bach, you can listen to Miles Davis, you can listen to Sylvio Rodriguez, Tego Calderón, Bad Bunny in the same playlist and it’s no big deal because we can enrich ourselves from all of these types of musical genre.

There’s still a lot of debate in salsa. Within the urban genre there are definitely lots of debates. There are even a lot of debates in salsa urbana, which is the latest thing that’s coming together. And, wow, if we talk about the urban genre which has been split into so many other branches: there’s rap, there’s hip-hop, there’s reggaetón, there’s trap - wow. So, new personalities like Bad Bunny and legendary figures Tego Calderón at first talked more about a space of blackness, depression, poverty, well, as I mentioned Bad Bunny, who’s now talking to us about gender identity, erasing those lines, those borders.

You know, in the 80s this debate between the cocolos and rockeros, I think that debate died out because, like I said, you can listen to rock, you can listen to salsa to music in English, classical music, jazz or the world’s most low-class reggaetón and it doesn’t matter. To the contrary, it seems to me that you enrich yourself from that, from being able to vary your music consumption. I think my generation gets more pleasure out of enriching itself by getting to know other spaces, other cultures. Through music, we travel, we learn, we get to know.

(Masculine voices audio: “There is music that comes directly from working-class neighborhoods in the United States, for example rap or house. And in Puerto Rico that type of music tends to be more identified with Puerto Rican cocolos, or they tend to identify more with that than the rockeros.”)

Gerardo Cordova (GC): My name is Gerardo Cordova. Oh, yeah, sorry, English, English, I forgot, English. My name is Gerardo Cordova. I study at the University of Loyola, Chicago. I would say, considering that in recent years how the hip hop genre has expanded tremendously in the United States, some would even say surpassing the rock genre, it's a very opinionated topic or that would spark up debates nowadays. Events that were going on in that time which would also give a lot of influence to what the artists are rapping and talking about. Nowadays, they all pretty much talk about the struggles of African Americans in the country. If you take a look at rappers such as Joey Badass and Kendrick Lamar when you're listening to their lyrics they're very critical of the way African Americans are portrayed in this country and could even be considered struggling protest music. Can be considered protest music in a way through the lyrics and their rapping that a lot of the struggle comes out into light for other people to get an understanding of what is like to be an African American in the country.

Alejandra Córdova (AC): Hi. My name is Alejandra Cordova. I’m half Puerto Rican, half Salvadoran and I live in Houston. I’m 17 years old and I’m a rising Senior in high school.

LP: And Alejandra is studying a little about the reggaetón genre and the question I asked her has to do with where she situates herself in the debate that young people have surrounding music and what she is interested in studying about that, which is machismo, violence.

AC: Well, in music I see that there’s a little bit of a division with reggaetón, there’s trap, there’s reggaetón. Though they’re almost the same… not style, but the same, under the same umbrella. There’s a little bit there. And what I see is in rap, hip-hop and R&B there’s a lot of different groups and it's mixed with like the intersection of like the urban youth with the music because it's part of the culture, so there is that expect of, you know, the culture behind the music and the division between pop or what is popular in rap, someone like Drake who could be very popular and not divide between what's popular and then the classic part of the culture kind of music.

And then also there is, besides division, I think there's more kind of cross between different genres like you see Cardi B. She does collaborations now that reggaetón is so almost mainstream in the United States. There's a lot of intersection between those two genres like Cardi B who does collaborations with someone like Bad Bunny or J Balvin because she knows that's what makes money. JLO who used to do music in English and now she's moving to Spanish because that's what's popular. Reggaetón is in mainstream media, in the culture, in the United States where Despacito was weeks on Billboard and now all of a sudden in the US it's what's popular. So, less division and I think more intersection between completely different cultures and completely different genres in the United States.

(Music)

LP: Thanks to Ana María García and Radio Universidad for use of the original 1992 film Cocolos y Rockeros. In this episode we heard Chuco Quintero, Cheo Feliciano and Eddie Palmieri, among others, as part of the film’s soundtrack.

LP: Itinerarios Sonoros is a Calle Loiza, Inc. and Radio San Juan production sponsored by Fundación Puertorriqueña de las Humanidades. Produced and directed by Lydia Platón Lázaro and Mariana Reyes with the collaboration of Priya Parrotta, Nalini Natarajan and Juan Otero Garabís. Technical direction was by Ambar Suarez Cubillé and Julio Albino. Follow us on Soundcloud, Facebook, Twitter and Instagram as Radio San Juan.