Category: Culture

Zohran Mamdani: A New Order? 

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Reading time: 8 minutes

Zohran Mamdani was recently elected as the first socialist mayor of New York City last month. The city of Wall Street, billionaires and neoliberal globalization has just chosen a man who ran on a platform of housing justice, public transit, and redistributing wealth. “This isn’t just about New York,” Mamdani said during his victory speech in Queens. “It’s about imagining a different kind of future” (The New York Times, 2025). 

NYC’s position as the United States’ largest city, and  one of the world’s financial centers, is a strange bedfellow for an openly socialist politician. Some claim Mamdani’s victory represents the end of the neoliberal order within its home, yet others see it as a temporary response to exhaustion and inequality. However, it has opened a cultural conversation that stretches across the nation.   

Mamdani outside a New York bodega. Credit: Getty Images 

A Socialist in Finance’s Capital 

New York has always been a paradox: the home of billionaires and of the homeless, of high art and unpaid internships. Its contradictions are almost part of its brand. Yet it has recently gone through rapid change. The global financial center of the 1990s, of hopeful entrepreneurs and mid-western dreamers who wanted to make it big, has been lost. In its place is an almost dystopian reality: crime, economic hardship for most, abusive rents with frozen salaries, and an air of tension and distrust of institutional change. Yet here was Mamdani.     

Mamdani, born outside the US to an immigrant family, has spent years advocating for tenants’ rights and public housing (Burgis, 2025). His campaign focused on simple and popular ideas like rent freeze, free public transport, and reorienting city budgets towards public welfare (Reuters, 2025). In many ways, his election is the culmination of a cultural shift rather than a sudden revolution. Young voters, especially those under 35, have grown tired of capitalism’s unfulfilled promises. Rising costs of living, precarious work, and the digital age have made “socialism” no longer sound like a dirty word for American citizens (Pew Research Center, 2022). But was this truly a vote for socialism? Or simply a rejection of what came before? 

Exhaustion and its Opportunity 

Political scientist Michael Sandel once wrote that “populism arises when people feel humiliated by meritocracy” (Sandel, 2020). In New York, that humiliation took the form of unaffordable rent, crumbling infrastructure, and the sense that “success” was something reserved for the already successful. Analysts at The Atlantic argued that Mamdani’s victory was not a pure ideological triumph, but a reaction to systemic fatigue (The Atlantic, 2025). After decades of centrist mayors managing the city like a corporation, voters simply wanted something different. 

Even Mamdani’s critics concede that his authenticity played a role. He biked to campaign events, and refused large corporate donations (The Guardian, 2025). Instead, he built a strong grassroots support, being present in communities, engaging with his support base directly, and being present. For many disillusioned citizens, he felt real. This presence helped bridge the gap between the voters’ perception of socialism. Mamdani’s win reflects that broader transformation. He talks less about class war and more about “belonging”. An emotional register that resonates in a fragmented digital age, especially with younger voters. 

According to The New Yorker, his speeches mix activist language with pop-cultural references, a blend that feels “as Brooklyn as it is Marxist” (The New Yorker, 2025). This approach has helped him reach not only traditional leftists but also creative professionals and students who see themselves as progressive but not radical.  

Mamdani at his election rally, November 2025. Credit: Victor Llorente for The New Yorker 

A Collapse or a Shift? 

Is this the collapse of neoliberalism? Probably not. Neoliberal logic of competition, privatization, individualism still runs deep in American institutions. But culturally, the conversation has shifted, at least in urban areas. Mamdani’s rise suggests that alternative narratives are gaining legitimacy, especially among younger generations who grew up during crises rather than booms. 

When news of Mamdani’s election started appearing, some warned of market instability. Yet the stock market barely moved (Bloomberg, 2025). Finance is apparently extremely pragmatic: as long as Mamdani doesn’t impose sudden regulation, Wall Street stays stable. So far, his administration has taken a targeted approach by ending some luxury tax breaks, introducing rent caps, and expanding public transport funding (City Journal, 2025). These policies are ambitious but far from revolutionary. 

The US is still the economic powerhouse of the West, yet it is more apparently buckling under its own weight. Political tension is the highest it has been in the last 50 years, and it seems like something is brewing. Yet at the same time, its liberal institutions function in a similar way to capitalism: they allow voters to set the stage. The liberal order is strong in that way, it allows slightly different political ideas to test themselves in localised regions, before reabsorbing them into the fold. Mamdani’s politics are more democratic than socialist, and will not break with the Democratic’s party line of liberal democracy. Instead, he will serve as a political counterpart to conservatives in Washington DC: the new wunderkind, the shining light for democrats to follow.  

Bernie Sanders, Zohran Mamdani and Alexandria Ocasio-Cortez, the most prominent left-wing politicians of the Democrat Party, holding hands at a rally. Credit: ABC News 

Zohran Mamdani’s victory might not herald a new economic order, but it undeniably represents a new cultural mood: one where ideals of solidarity, justice, and public life are being reimagined. Can capitalism be “reformed” from within? Or must it be replaced by something else? Mamdani ‘s New York will prove a natural experiment for both questions. 

Sources:

Lucas Bernal  

Writer

78 RPM: The Record That Revolutionized Music Before Vinyl Even Existed

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Reading time: 8 minutes

Before 33s, before 45s, and long before Spotify playlists, music moved at a speed most people today have never experienced: 78 revolutions per minute. These shellac discs weren’t just early records — they were time machines, cultural capsules, and experiments in sound. Place a needle on one, and you’re instantly connected to a world over a century old: jazz spilling out of a New Orleans club, blues echoing from a Mississippi porch, classical orchestras captured in studios that smelled of wood, varnish, and ambition. 

Most music listeners today assume vinyl starts at 33 or 45 RPM. Few realize that for decades, 78s were the format that defined recorded music, shaping how songs were written, performed, and even how we perceive rhythm and melody. Though they were eventually replaced by longer-playing, more convenient formats, 78s left a legacy that still pulses in collectors’ crates, DJs’ loops, and archival vaults. 

The Speed That Defined an Era 

The story of 78 RPM begins with engineering necessity. In the early 20th century, phonographs were mechanical marvels, and shellac discs became their natural companion. Heavier and more brittle than modern vinyl, these discs required a rotational speed that balanced mechanical stability with audio fidelity. 78 revolutions per minute emerged as the practical standard. 

In truth, “78” wasn’t always precise. Early records spun anywhere between 70 and 90 RPM depending on the manufacturer or motor. It took time, industrial consensus, and international standardization to settle on 78 as the global norm. 

The speed shaped more than just playback — it influenced composition. With only three to five minutes per side, musicians had to convey emotion, narrative, and musical complexity within tight temporal confines. Jazz improvisations were sharpened, blues storytelling distilled, and early pop songs meticulously structured. In a sense, the 78 RPM record didn’t merely capture music — it taught music how to exist. 

Shellac, Sound, and the Magic of Imperfection 

Vinyl enthusiasts often speak of warmth, but 78s possess a different kind of sonic magic. Shellac, the brittle resin used in these discs, produces a crisp, raw sound rich with harmonic textures and subtle distortions. Every pop, click, and crackle is more than noise — it is character, history, and memory embedded in grooves. 

Under a microscope, a 78’s groove twists like a miniature landscape, encoding vibrations that a needle transforms into audible emotion. Unlike modern vinyl, which strives for uniformity, shellac records bear the fingerprint of the craftsman, the whims of the pressing plant, and even minor environmental changes like temperature and humidity. Playing a 78 is hearing music through the lens of its creation. 

Digital reproductions often flatten this experience. Even high-quality vinyl reissues cannot replicate the unpredictable textures, the tiny inconsistencies, and the tactile intimacy of a shellac pressing. A 78 is more than a recording — it is a mechanical performance frozen in time, waiting for a needle to breathe it back to life. 

Cultural Pulse: 78s Around the World 

78 RPM records were not only technological achievements — they were vehicles of cultural exchange. Jazz leaped from New Orleans to Paris. Blues traveled from the Mississippi Delta to London parlors. Folk songs crossed oceans and continents. 

The format’s limitations — brevity, fragility, and speed — shaped the music itself. Artists learned to tell stories quickly, to craft hooks that lingered after mere minutes. Many songs we consider timeless were written to fit the mechanical boundaries of a machine. Without 78s, the architecture of modern pop, jazz, and blues might be fundamentally different. 

Collectors and DJs today prize these discs for rarity and texture. Test pressings and private editions, often never reissued, offer glimpses of performances long forgotten. Modern musicians and experimental sound artists sample 78s for loops, textures, and crackles that are impossible to generate digitally. In these grooves, the past meets the present in ways that are both sonically rich and culturally profound. 

Revival and Preservation 

Despite their decline after the mid-20th century, 78s have experienced a quiet renaissance. Archivists, collectors, and experimental musicians recognize them not as obsolete relics, but as living artifacts. 

Audiophiles chase the shellac’s signature sound. DJs and sound designers exploit the harmonic richness and crackle for texture. Archivists study stylus sizes, playback speeds, and groove geometries to digitize recordings with scientific precision, preserving sonic history with astonishing accuracy. 

Playing a 78 today is almost ritualistic. Each disc demands careful handling, meticulous cleaning, and precise playback speed. Minor deviations in pressure or RPM can alter pitch, tone, and timbre. In a digital age of effortless streaming, the 78 reminds us that presence, patience, and touch are part of the musical experience. 

Hidden Stories in Dead Wax 

Beyond the music, 78s carry secrets in the dead wax — the area near the label. Engineers and pressing plants etched matrix numbers, signatures, or cryptic messages, often unnoticed by casual listeners. These micro-details transform each disc into a narrative object, a conversation across decades. 

Listening to a 78 becomes a multi-layered experience: the music itself, the physical artifact, the hidden inscriptions, and the echo of human hands that shaped it all. It is auditory archaeology, where every crackle and pop carries historical context. 

Why 78s Still Matter 

78 RPM records are more than nostalgia — they are lessons in creativity under constraint, artifacts of global culture, and experiments in the interplay of technology and artistry. They challenge modern musicians and listeners to remember that limitations can foster genius, that fragility can convey intimacy, and that the tactile, mechanical world still has a place in the age of digital perfection. 

Holding a 78 is an encounter with history, science, and art all at once. The grooves spin stories of a world that is gone but echoes in every note. In that fragile, spinning disc, music is alive in a way that no stream, download, or even modern vinyl pressing can replicate. 

Conclusion: Spinning Time 

So, the next time you see a 78, slow down. Place the needle carefully. Listen not just to the notes, but to the echoes of time: the hum of early engineering, the resonance of human hands, the fleeting perfection of a performance captured in a fragile shellac disc. 78 RPM may have been replaced by more convenient formats, but its spirit endures — crackling, raw, and utterly alive. 

To play a 78 is not just to hear music. It is to spin history, touch culture, and feel the heartbeat of an era that still pulses beneath the grooves. 

Sources: This article was written based on the author’s personal knowledge and passion for vinyl records, drawing from years of independent learning and experience, rather than specific external sources.

Teresa Catita

Editor and Writer

From Primal to Contemporary Societies: the interpretations of dreams 

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Reading time: 7 minutes

Dreams have been interpreted in many ways throughout history. From spiritual messages in ancient cultures to symbols of the unconscious in modern psychology, each society has brought its own meaning to the world of dreams. As beliefs and knowledge evolved, so did the ways people understood what dreams reveal about life, the soul, and the mind. 

Primal Societies 

Early on, dreams were seen as messages from spirits or gods, with the soul leaving the body during sleep to experience them. During this period, Shamans (spiritual practitioners who are believed to have the ability to communicate with spirits and the otherworld) were highly valued for their ability to enter the dream world and bring back important insights, including healing and recovering lost souls and many tribes encouraged sharing dreams, especially powerful ones, for interpretation by elders or shamans. For example: The Lakota Sioux (native american people, the largest and most well-known band of the Sioux Nation renowned for being a strong and fierce tribe of warriors, they led much of the resistance against settlers encroaching on their land) believed visions had value only when shared with the community. 

Early Civilizations (Mesopotamia and Egypt) 

In this epoch, dreams were considered divine messages or oracles, influencing governance and religion. They were recorded in texts like the Epic of Gilgamesh and interpreted by priests or dream experts using three different methods: 

Clear Message 

These dreams were often considered divine communications, with a figure (usually a god, human, or sometimes an animal or object) delivering a clear, understandable message. Historical examples include the dreams of Nabonidus (king of Babylon) and Thutmose IV (Egyptian prince), where gods appeared in dreams to deliver specific commands (e.g., rebuilding a temple, clearing sand from the Sphinx). 

Symbolic Dreams 

These dreams were more cryptic and required interpretation. The Epic of Gilgamesh, an ancient Mesopotamian poem, provides examples where the hero Gilgamesh seeks interpretation from his mother. Symbolic dreams were often interpreted as foretelling future events, like the arrival of a significant person or event. 

Incubation 

It was a practice in which individuals slept in a temple to receive prophetic or healing dreams, often involving gods or divine figures. These rituals were a form of divine consultation and were especially common in Egypt and Mesopotamia. 

Oriental Societies 

China 

 Dream interpretation is a significant part of Chinese culture. Chuang Tzu (369-286 B.C.), a Taoist sage, presented the paradox of dreaming one is a butterfly and wondering if one is a butterfly dreaming of being a man or vice versa. Some Taoist temples in southern China offered people a place to sleep for receiving important dreams, and some even survived into the Great Cultural Revolution (1966-76). 

India 

The Vedas, India’s sacred texts, suggest that the soul leaves the body during sleep and creates its own experiences. Some believe dreams are illusions, while others, like Shankaracharya, (Indian Vedic scholar, philosopher and teacher) regarded them as meaningless. However, Hinduism and Buddhism often teach that both dreams and the waking world are illusory. Dreams were also viewed as omens or reflections of illness or death. Yogis encouraged using dreams to improve moral and spiritual life. 

Hebrew and Jewish sources 

In the Hebrew Bible, dreams were seen as divine messages, often interpreted by figures like Joseph and Daniel. Joseph’s symbolic dreams about his family were later realized. Biblical prophets had visions that seemed dreamlike, such as Zechariah and Ezekiel, but the distinction between dreams and visions was often unclear. Later Jewish tradition had rabbis and philosophers specializing in dream interpretation. Bad dreams were countered with rituals like fasting or prayer. Dreams were often seen as prophetic or a sign of divine favor. 

Sigmund Freud and The Interpretation of Dreams 

Freud proposed that dreams are not just random or meaningless occurrences during sleep, but that they are deeply connected to our unconscious mind. Freud believed that dreams offer a window into the hidden parts of our psyche, specifically repressed desires, thoughts, and unresolved conflicts. 

Freud’s theory of the unconscious mind, central to his psychoanalytic approach, suggested that much of our mental life operates outside of conscious awareness. He argued that while we may not be consciously aware of certain feelings, fears, or desires, they still affect our thoughts, behaviors, and, importantly, our dreams. 

Freudian Theory of Dream Analysis 

For Freud, dreams were a “royal road” to understanding the unconscious mind. In other words, by analyzing dreams, a person can access a deeper understanding of their hidden psychological conflicts and motivations. He believed that dreams act as a kind of “censorship” in the mind, allowing repressed thoughts and desires to emerge in a disguised or symbolic form. 

Dreams were not meant to be taken at face value. Instead, they required careful interpretation to uncover their underlying meaning. Therefore, various methods were developed for analyzing dreams, including the use of free association (allowing the dreamer to speak freely about any thoughts that come to mind) and exploring common symbols in dreams. 

Modern dream therapy and analysis still rely on many of Freud’s concepts, although contemporary psychologists also incorporate cognitive and biological approaches to understanding dreams. Freud’s ideas helped pave the way for later theorists like Carl Jung, who developed his own theories about the symbolic meaning of dreams and the collective unconscious. 

Carl Jung 

Carl Jung’s theory of dream interpretation diverges from Freud’s by emphasizing not just personal unconscious material but also the concept of the collective unconscious—a universal layer of the unconscious shared by all humans. This collective unconscious holds archetypes, which are timeless, universal symbols and themes present in all cultures. Dreams, according to Jung, serve as a connection to this deeper layer of the psyche, offering insight into both personal and universal experiences. 

Jung believed that dreams often serve a compensatory function. They aim to balance what’s lacking or repressed in our waking lives. For example, if someone is overly focused on rational thought, their dreams might present emotions or irrational elements to restore balance. This compensatory nature allows dreams to provide a mirror for the psyche, offering what’s needed for emotional and psychological growth. 

In Jung’s view, dreams are filled with archetypes—symbols that represent fundamental human experiences and qualities. Common archetypes include the Shadow, which represents the hidden, often repressed aspects of the self, and the Anima/Animus, the inner feminine and masculine aspects within all individuals. These archetypes frequently appear in dreams, guiding the dreamer toward greater self-awareness and integration. 

For Jung, the ultimate goal of life was individuation, a process of becoming the person one is inherently meant to be by integrating unconscious material into conscious awareness. Dreams play a crucial role in this process, revealing hidden desires, unresolved conflicts, and qualities that need to be acknowledged and integrated. Through dreams, the unconscious mind communicates essential messages to the conscious self, aiding in personal transformation. 

Jung also highlighted that dream symbols could carry both personal and universal meanings. While some symbols in dreams reflect the dreamer’s personal experiences or feelings, others may connect to archetypes and universal themes shared across humanity. For Jung, understanding these symbols required a personalized, introspective approach to dream interpretation, with the dreamers themselves serving as the best interpreter of their own dream images. 

To further engage with these symbols, Jung developed the technique of active imagination, where individuals consciously interact with the images from their dreams through creative means like drawing or writing. This helps integrate the unconscious material and deepens the understanding of the dream’s meaning. 

Conclusion 

In essence, the interpretation of dreams has evolved from being seen as messages from spirits and gods in primal societies to symbolic or prophetic visions in early civilizations like Mesopotamia and Egypt. In Oriental cultures, dreams were linked to the soul’s journey or illusions. With Freud and Jung, dream analysis shifted to understanding the unconscious mind and universal archetypes. Today, while contemporary approaches blend Freud’s and Jung’s theories with modern psychology, dreams continue to offer valuable insights into the self and the human psyche. 

Sources: Dream Interpretation in Ancient Civilizations, The collected works of C. G. Jung, Freud Museum London…

Teresa Catita

Oscars 2025: A Review

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Reading Time: 4 minutes

More than a week has passed and our Arts and Culture members had time to digest this Oscars season… Here are their thoughts on the results for Best Picture, Best Actor and Best Actress!

Ana Cardoso– A&C Member and Writer

For best picture and actress, my bet was on Fernanda Torres and Ainda Estou Aqui. The film delivers a deeply moving narrative about resilience and identity, following a young woman’s journey of self-discovery after an unexpected loss. Its emotional depth and powerful performances made it my favorite. However, Mikey Madison and Anora took home the win—an unexpected but understandable choice. The film, which tells the captivating  story of a woman navigating love and survival in a world that constantly underestimates her, captivated audiences with its authenticity and storytelling. While Anora’s victory came as a surprise, its impact on indie movies is undeniable. Finally, best actor was none other than Adrien Brody. Performance after performance, Adrien has consistently proven his brilliance as an actor.

His ability to fully immerse himself in complex and emotionally charged characters is remarkable, making us believe in every emotion as if it were his own. In Brutalist, Adrien elevates his performance to the level of the one that secured him his first Oscar. No surprise here—this win was well-deserved.

Anora (2024) won big at the 2025 Oscars, including Best Actress and Best Picture. (Image credit: Getty Images / Jeff Kravitz)
‘Anora’ Poster, 2024
Sean Baker, diretor de ‘Anora’ — Foto: Mike Coppola / GETTY IMAGES NORTH AMERICA / Getty Images via AFP
Sean Baker and Mikey Madison pose at the Los Angeles premiere of “Anora.” (AP Photo/ Chris Pizzello)
Top L to R: Vache Tovmasyan, Karren Karagulian; bottom L to R: Yura Borisov, Mikey Madison, Mark EydelshteynRed Gaskell

Marco Pagliacci– A&C Member and Writer

For best picture, Anora is definitely an unconventional and unexpected choice. The film has a good pace and keeps the viewer engaged, the film breaks traditional patterns, but I struggled to connect with the protagonists and fully understand the reasons behind their actions in a love story without love. However, the ending redeems it, offering a reflection on the hidden fragilities beneath the surface. I wasn’t particularly struck by Mikey Madison’s performance, which felt primarily physical rather than deeply expressive. While undeniably intense, it lacked the emotional depth needed to make the character truly compelling. It’s not even comparable to Emma Stone’s performance last year, which had layers and complexity.

For best actor, it was a well-deserved and anticipated victory for Adrien Brody, who captivated with an extraordinary and nuanced performance, as said in his final speech that can and should teach us something. In the final stretch, it seemed that Timothée Chalamet, with his portrayal of Bob Dylan, could threaten Brody’s win. However, Brody’s deeper and more personal interpretation of the drama ultimately triumphed, making him the rightful winner.

Marta Nascimento– Head of Arts & Culture

Best Picture’s winner was unexpected! But I loved the love that Anora got! It told such a striking story with layered characters (especially Anora) all brought together by Sean Baker’s beautiful cinematography. Mikey Madison also deserved to win, I think her part in Anora showed great range for her as an actor, especially considering her more laid back personality in real life. I was rooting for her and obviously for Fernanda Torres who I thought was outstanding in I’m Still Here. For best actor,  I confess I was rooting for Colman Domingo or Timothee Chalamet but, nevertheless, Adrien Brody delivered, as always, an outstanding performance in The Brutalist (was it worth such a long speech though?).

‘The Brutalist’, A24 (2025)
Adrien Brody plays immigrant architect László Tóth in the film, “The Brutalist.”
(A24)
Lionel Hahn/Getty Images (2025)
Adrien Brody accepting his award Photograph: Rob Latour/REX/Shutterstock

Mafalda Carvalho– A&C Member and Writer

Regarding the best actress and best pictures awards, although my Portuguese-speaker pride would have liked to see I’m Still Here and Fernanda Torres much deservedly win, I can definitely say that Anora and Mikey Madison were my second favorites. Anora was my first Sean Baker film, and I was not ready for it. The movie and performances are incredibly realistic, conveying all the pain, joy, and discomfort felt by the characters, which can only be achieved through a deep research and understanding of the realities they depict. Sean Baker, as in all his movies, and Mikey Madison alike sure did a good job at this, especially seeing how the actress’ seemingly demure character, in interviews, contrasts with the lively, almost feisty, Anora.

As for Adrien Brody winning best actor, with The Brutalist, although neither actor nor movie were favorites of mine, it is undeniable that Adrien Brody delivers, once more, an impeccable performance. Nonetheless, I believe that the academy has looked past incredibly talented nominees, namely Timotheé Chalamet in A Complete Unknown, and Colman Domingo in Sing Sing.

The miracle on the Han River

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Reading time: 7 minutes

Miracles do not only arise in nature but can also be witnessed in economic contexts. Similarly, they evoke fascination and amazement, however, experiencing wonders can also heighten awareness of their fragility and develop a stronger sense of responsibility, making it even more thrilling to analyze their origins, synergies and lessons. 

The “Miracle on the Han River” describes South Korea’s economic transformation from one of the poorest nations in the world to a global industrial and economic powerhouse within a few decades. Following the Korean War from 1950 to 1953, South Korea faced immense challenges, containing widespread poverty, devastated infrastructure, and reliance on foreign aid, primarily from the United States. Its gross national product (GNP) per capita in 1962 made up barely $87, reflecting its fatal economic state. 

However, beginning in the 1960s, South Korea started a journey of rapid industrialization and economic development – a transformation being so significant and unparalleled that it was characterized as the “Miracle on the Han River.” The latter arised and simultaneously indicated how a nation, through visionary leadership, economic planning, and societal mobilization, can overcome substantial challenges and achieve sustained growth. Today, South Korea serves as a model for developing nations aiming to replicate its success​. 

Background 

South Korea’s economic transformation was initiated under the leadership of President Park Chung-hee in the 1960s. His government adopted a developmental state model that prioritized economic growth through export-oriented industrialization and infrastructure development. This approach included significant government intervention, incentives for private sector growth, and a focus on creating global competitiveness.  

Figure 1– Park Chung Hee 

Park aimed to make South Korea self-reliant and less dependent on foreign aid, especially from the United States, while also competing with North Korea’s growing industries. For him, economic growth was not just about improving the economy but also about building national security and pride.  

Though his leadership was authoritarian and often criticized for limiting human rights, Park played a key role in South Korea’s economic progress. His idea of “treating employees like family” helped increase productivity among workers. 

A key element of the economic transformation was the establishment of Five-Year Economic Development Plans, which outlined ambitious goals and focused resources on priority sectors. The state also invested heavily in education and technology, creating a skilled workforce capable of supporting industrial growth. As a result, South Korea experienced an average annual GDP growth rate of over 7% for several decades, becoming one of the world’s largest economies by the late 20th century​. 

Figure 2– Gross domestic product (GDP) in current prices from 1987 to 2029 (in billion U.S. dollars) 

The chaebŏls has a key to success  

After 1961, the South Korean government worked closely with business leaders to achieve its development goals. These businesses, known as chaebols, were family-run corporate groups that exercise monopolistic or oligopolistic control over certain products and industries. 

The chaebols received various advantages, such as reduced import duties on capital goods and lower rates for utilities. The state closely monitored the chaebols to ensure they used government support effectively. If a chaebol failed to meet economic targets or compete in local and global markets, it risked losing state support. 

The chaebol system proved highly successful, with the top ten conglomerates growing at more than three times the rate of the country’s GDP. Among these conglomerates we find our todays Samsung, LG, and Hyundai. 

The change in the 70s  

As the United States became less reliable as a military and political ally, particularly after establishing relations with the People’s Republic of China, South Korea felt an increased urgency to become autonomous. This included manufacturing its own weapons, producing capital goods, and competing with North Korea’s advancements in heavy industry. 

To address this, South Korea shifted its focus to heavy industry and capital goods production while increasing restrictions on foreign direct investment. 

Although many foreign experts doubted South Korea’s ability to sustain a heavy industrial base due to its size and level of development, the plan succeeded. The economy grew at double-digit rates even during the challenging global conditions of the 1970s. Industries like steel and shipbuilding grow. Steel production increased and by the 1980s, South Korea had become the world’s second-largest shipbuilder, known for completing orders quickly and reliably. 

From Military Leadership to Democratization  

On October 26, 1979, President Park Chung Hee was assassinated. After this, Chun Doo Hwan, a military leader, became president and ruled from 1980 to 1988. He continued many of Park’s economic policies, but during the 1980s and 1990s, South Korea’s economy started to change. Exports shifted to more advanced products, such as consumer electronics, computers, and semiconductors, while textiles became less important. Industries became more focused on machines and technology rather than human labor. 

In 1987, South Korea began to democratize, which affected economic development. The days of strong, authoritarian governments ended, and a politically active middle class and stronger labor unions started to influence policies. Wages increased quickly during the late 1980s and early 1990s, partly because labor unions had gained more power. 

After 1996  

In 1996, South Korea joined the Organization of Economic Cooperation and Development (OECD), a group of 30 developed nations. This marked South Korea’s transition from a developing country to being recognized as a wealthy, developed nation. However, the country still faced challenges. South Koreans worked some of the longest hours among OECD countries, and the quality of life was not yet equal to other developed nations. 

In 1997, the Asian financial crisis struck, exposing serious problems in the economy. Corporate debt had grown to dangerous levels, leading to the need for an international rescue package. To recover, South Korea forced large business groups, called chaebǒls, to focus on their main businesses and reduce their debts. The government also introduced reforms to make the labor market more flexible. These efforts paid off, with the economy experiencing rapid growth in 1999–2000. South Korea went from being a debtor nation to a creditor nation within a few years. 

By 2017, South Korea was known globally for its technological innovation. Its GDP per capita had risen slightly above the European Union average, and the country ranked among the best in the world for health standards and education. 

Challenges  

Despite these successes, the Miracle on the Han River also came with challenges. Rapid industrialization intensified income inequality and environmental degradation.  

While South Korea became a major exporter of entertainment, other parts of its service economy failed behind. The dominance of chaebǒls also created problems for smaller startups, limiting their growth and influence. These large corporations held significant power over public policy, raising concerns about fairness in the economy. 

Additionally, South Korea faced demographic and environmental challenges. It had one of the lowest birth rates in the world and a population that was living longer than ever, which put pressure on social systems. There were also significant issues with air and water pollution, as well as other environmental costs of rapid development. These challenges reflected South Korea’s transition into a prosperous and technologically advanced country by the 21st century. 

Conclusion 

The “Miracle on the Han River” demonstrates how visionary leadership, strategic planning, and societal mobilization can transform a nation from the brink of collapse into a global economic powerhouse. South Korea’s journey from post-war devastation to technological and industrial excellence offers valuable lessons for developing nations striving for similar growth. 

However, this remarkable success came with significant challenges. Rapid industrialization aggravated income inequality, environmental degradation, and demographic pressures. The dominance of chaebŏls, while instrumental in driving growth, prevented innovation from smaller startups and raised concerns about economic fairness. 

Drawing a bigger picture, South Korea’s story is not just about growth but also about resilience and adaptation. From overcoming financial crises to transitioning into a democratic society, South Korea has shown the importance of evolving in response to opportunities as well as challenges. Since the country continues to address issues like an aging population and environmental sustainability, it demonstrates a testament of the power of determination and strategic vision for shaping the destiny of a nation. 

Sources: Journal of Education, Humanities and Social Sciences; Asian Affairs: An American Review;  Situations; International Journal of Multimedia and Ubiquitous Engineering.

Beatriz Gomes

Mara Blanz

Is It Morally Correct to Separate Art from its Artist?

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Reading time: 7 minutes

Separating art from the artist is a concept that refers to the idea of appreciating or evaluating a work of art independently of the personal characteristics, actions, or beliefs of the artist who created it. This concept arises from the recognition that an artist’s personal life, behaviour, or views may not be associated with their artistic output. And that the value or merit of a work of art should be assessed based on its own qualities rather than the character or actions of the creator.

Some people believe that art stands on its own and has its intrinsic meaning, which is not impacted by an artist’s actions. They find it easy to enjoy the work put out by artists whose actions they disagree with, treating them as two separate entities. Other people will say it’s impossible and morally incorrect to bear the idea of said separation, saying that art fundamentally must reflect the artist’s beliefs and ideas, that being an artist is a deeply intimate experience, and to remove an artist from their creations, is to decontextualize their work and leaves it devoid of meaning. Another worry is that if we are too rigorous towards which art to consume, we would be reduced to a very limited number of creations.

Where did “separate the art from the artist” come from?

From a historical standpoint, the idea of separating art from the artist was first introduced under the New Criticism of the early 20th century, a time when English literature was heavily analysed and prioritized over classical literature.

The New Criticism was a formalist Movement in literary theory that dominated American literary criticism. It emphasized close reading, particularly poetry, to discover how a work of literature functioned as a self-contained, self-referential, aesthetic object. The method of New Criticism is a close reading and concentrates on such a formal aspect as rhythm, theme, imaginary metaphor, etc.

The essence of New Criticism lies in the analysis and interpretation of literature solely through the text itself, without considering the influence or intentions of the author, or the historical and cultural context that might have shaped the work.

Examples of influential people with controversial histories

Chris Brown

Musician Chris Brown has been known and talked about for his documented history of violence towards women, and, in 2009, musician and businesswoman Rihanna was a victim of his abuse. Since then, assault and battery charges (battery is a criminal offense involving unlawful physical contact, distinct from assault, which is the act of creating apprehension of such contact) have been recurrent in the last several years of his public image, particularly accusations from women who have filed police reports against the singer and dancer.

Despite his violent actions and behaviour toward women, Brown releases music regularly. This type of situation made some people ponder if they should keep on streaming Chris Brown´s songs because by supporting his career and ability to create more content they are directly benefiting him.

Caravaggio

Caravaggio’s “Judith Beheading Holofernes,” 1599

This painting, like many others by Caravaggio, is probably familiar to most. The Baroque artist is renowned for his grim and violent depictions, such as the one represented above. However, Caravaggio´s notoriety extends beyond his artwork. In the early 17th century, he faced trial at least 11 times for various offenses.

His life was marked by a pattern of recklessness and conflict. As his fame grew, so did his reputation for indulging in vices such as drinking, gambling, and brawling. Between 1598 and 1601, he faced legal troubles for yielding a sword without a permit, assaulting a man with a stick, and allegedly attacking another with a sword. Additionally, he found himself embroiled in a bitter rivalry with fellow painter Giovanni Baglione, who accused Caravaggio of hiring assassins to kill him.

The artist´s run-ins with the law were numerous and varied. He was taken to court for acts ranging from throwing a plate of artichokes at a waiter to breaking a window shutter in his rented room. He even spent time in prison for offenses like pelting stones at policemen and verbally abusing a woman and her daughter. Then, in May 1606, he killed a man named Ranuccio Tomassoni.

This type of action makes one question whether they should worship his art and be indifferent to what was previously expressed or take a stand against such faults and not contribute to his further recognition as an artist and person.

Rex orange county

The 25-year-old British singer and songwriter, whose real name is Alex O´Conner and is well known for being the creator of songs that touch and inspire his fans carrying them through dark phases, was charged with sexual assault accusations by a woman who alleges he assaulted her in London on six separate occasions in two days, leaving some fans devastated. Some of them, who had tattoos in honour of some of his songs, stepped forward and claimed their disappointment in social media “My heart immediately broke for the alleged victim,” Kayla Ellis told BuzzFeed News “I started crying almost instantly because I knew nothing was going to be the same after hearing this.” Eventually, the charges were dropped due to lack of evidence, but during that time, die-hard fans were struggling with separating the art from its artist, especially the ones that shared they had been through similar experiences related to sexual abuse.

R. Kelly

Chart-topping R&B singerRobert Sylvester Kelly had, for more than two decades faced allegations of sexual and child abuse. In 2022, Kelly was convicted of three child pornography charges of enticing a minor.  He was sentenced to serve 31 years imprisonment in a combination of concurrent and consecutive sentences.

He was convicted of child sexual abuse in a second federal trial in Chicago and faced charges due to sexual misconduct charges in Minnesota.

Some examples of people who came forward are Tracy Sampson, who sued R. Kelly, accusing him of inducing her “into an indecent sexual relationship” when she was 17. The woman, a former intern at Epic Records, said she was “treated as his personal sex object and cast aside”. Patrice Jones is a woman from Chicago who claimed he impregnated her when she was underage, and that she was forced to have an abortion.

In June 2002 he was charged over child abuse videos. He was charged with 21 counts of making child sexual abuse videos involving various sexual acts. In 2002-2004 arrest prompted further charges. Kelly was charged with further 12 counts of producing child sexual abuse images in Florida, where he was arrested at his holiday home.

Additionally, allegations depicted an organized effort from the singer and his associates to recruit and transport underage girls over state lines for illegal sexual purposes, including the production of child sex abuse images, as well as conspiracy to obstruct justice by destroying evidence and bribing or threatening witnesses.

There are several reasons why people might choose to separate art from the artist:

Artistic appreciation, some individuals believe that the intrinsic qualities of a work of art, such as its aesthetic beauty, technical skill, or emotional impact, should be evaluated independently of the artist´s attributes or behaviour. Artistic legacy, in cases where an artist’s personal conduct or beliefs are controversial, separating art from the artist may allow the artwork itself to be preserved and appreciated for its cultural or historical significance, even if the artist’s reputation is tarnished. Artistic freedom, being able to absorb art independently can also support the idea that artists should have the freedom to express themselves creatively without fear, censorship, or judgment based on their personal lives and beliefs.

Conclusion

For some people, in modern days, it´s unbearable to shy away from accusations, trials, and skeletons in closets, as we become ubiquitous in the media. This debate made the term cancel culture (the mass withdrawal of support from public figures or celebrities who have done things that aren’t socially accepted today) emerge. Cancel culture is adopted by those who find it hard to manage the difference between art and its creator. They state that we, as consumers, can have a momentous impact and can no longer claim ignorance of what is constantly in plain sight, leading us to the question that plots this article, is it morally correct to separate the art from the artist?

Sources: New York Post, BBC, Biography, RollingStone, English Literature Zone

Laura Casanova

New Criticism in literature | 20th Century Criticism | Modern Criticism

Are Industry Plants that bad? 

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The term Industry Plant is not new, and more and more artists are getting accused of being one, examples include Jack Harlow, Adele, Ice-Spice, Lorde, Lil Nas X, Cardi B, Bobbi Althoff from the overly awkward interviews with various celebrities, Chance the Rapper, and even Billie Eilish. However, what is this concept? In this article, I will delve into the ambiguous definition of Industry Plants, analyze some questions that arise when we try to define this notion, and briefly explore the dynamics of the music industry and why these phenomena appear. 

Is it a definable concept? 

The sources for the definition are far from scientific or academically reviewed, however since it is a term not commonly used by sociologists or scholars of the matter, I’ll have to rely on these ‘underground’ sources. According to Urban Dictionary, an Industry Plant is ‘an artist who has major/indie label backing their movement but presents themselves as a “home-grown start-up” label to create a pseudo-organic following. They act as if things miraculously happened for them based on their talent. The reality is a low-risk/high-reward situation for labels looking to build the next “new star”’. We need to break this definition down into two parts: Why does the consumer feel so strongly that they have been deceived? And how is this strategy beneficial for big labels? 

Firstly, why do consumers immediately categorize some artists as industry plants when they, the artists, gain overnight success? Is virality not a thing anymore? In show business, especially in music, we gravitate to personalities that feel authentic, and we want to support them due to factual situations that they have been through. We feel some type of comfort when we see that an artist’s setback or struggle has, however small it may be, a connection with yourself, if you think about it, most likely, this relationship is present in your favorite artists. Since this connection with an artist takes time when people cannot pinpoint the moment when they saw the artist finally getting some recognition from other people or the industry, the notion of an Industry Plant appears. 

By following this logic, an artist that has gone viral overnight is not credible and not even worth consuming? Noah Callahan-Bever, founder of Idea Generation, and a music industry icon, states that ‘Before you had the internet, it almost felt like artists came out of nowhere (…) All of a sudden they’re in The Source every month for three months in a row (…) unless you were super plugged into the industry, it was always like, “Who is this new person?”’.  

The concept of virality is much more difficult to achieve nowadays, in part because of the high exposure to content we have through various platforms but also due to the high amounts of content being created and uploaded daily to those platforms. Therefore, it seems fair for suspicion to be raised when out of a sudden Bobbi Althoff, the previously mentioned podcaster, has Drake on her fourth episode. People believe this only happens with backing from large corporations, these being management agencies or music labels. A clear example of this is Coi Leray, who was featured on big playlists, which always brings a lot of exposure, performed at big, televised award shows but only managed to sell 10k copies of her sophomore album in the first week.  

A very recent example of an artist being accused of an Industry Plant is R&B singer 4Batz. With only 3 released songs, the 22-year-old artist from Dallas, Texas, has quickly amassed a considerable amount of streams on DSPs (Digital Streaming Platforms) and a remix with Toronto’s very own, Drake. Its rough public image deceives consumers into thinking the sound of the artist will resemble something like a NLE Choppa, who raps about violence and firearms, however, the presence of a high-pitched voice creates a certain “wow” factor and seems to attract people, at least for now. What seems to be bothering some music fans is the fact that affiliations with big labels are present, with its manager being the lead creative director of RCA Records (owned by Sony Music), Amber Baker. Although all of its music is independently distributed, 4Batz’s affiliation with Amber supports the argument that there is an involvement of big labels in this, allegedly, fully independent artist.  

Coming back to the idea of authenticity, modern audiences are captivated, more than ever, by personalities who present to them an idea of a spectacular journey that started from an ordinary beginning, in Hip-Hop especially. However, what big music labels seem to fail to understand is a fundamental aspect of Hip-Hop as a cultural movement, the artist’s growth not only in their art but as an individual and the duality of their past and present living conditions is more important than rapping or singing about “cool stuff” in trendy instrumentals. When Notorious B.I.G, Future, Kanye, Drake, and others, ‘flex’ on their, sometimes considered, shallow lifestyle is not to show that they have all these possessions per se but to demonstrate how they went from living in the Southside of Chicago to designing couture with head designers of famous French fashion houses, in the case of Kanye West. More specifically, it’s the journey of flipping the odds and overcoming the hardships of life that attracts people, and when commercial interests, generally of big labels overpower the need for authenticity, a discontentment among Hip-Hop fans arises.  

Is the development of Industry Plants a good business opportunity for big labels? 

On superficial analysis, we quickly realize that it is much cheaper for labels to develop an artist from the ground up since signing them has less demand from competitors, and bidding wars between labels are less likely to happen. Not to mention, the investment that happens when labels sign an already established artist. During the Soundcloud era, labels would say an artist gained a following on the platform, but they were signed to a label before that. In theory, this is a great way of labels making a buck, but in reality, it is not that simple. The public normally realizes when they are being ‘fed’ a manufactured act. According to an article by Billboard Pro, outside of Olivia Rodrigo and Ice Spice, there are no artists to break through the industry. However, this is not because they developed artists in the past, the causes are much more worrying, as previously explored. 

Conclusion 

From all the examples given and the nuances analyzed, I can conclude that, regarding the accusations of artists being Industry Plants, if the success of the artist is documented, people do not seem to care as much about authenticity, however, if it appears out of nowhere, the relevancy of the artist itself is put into question. That is one of the reasons why labels do not just manufacture artists to cater to the market needs, as we have seen in the case of Hip-Hop with its growth as a genre in the 2000s, but a recent decline, in part, because of a ‘dumping effect’ of music, but also a lack of authenticity in the artists being pushed and backed by labels.  

Francisco Agostinho

A Summarised History of Jazz 

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Reading time: 5 minutes

While jazz became popular in the 1920s, its beginnings actually date back to the early 19th century! A bit before 1820, slaves would gather in the Congo Square, New Orleans, to play music. This was only possible in the state of Louisiana where the Code Noir, a rule book outlining the treatment of slaves, included a clause that allowed some slaves to have a day of rest.

The Congo Square 

Over time, New Orleans would become a “melting pot” of culture, partially due to slave trade: African Americans, descendants of slaves from the Caribbean, Creoles and European immigrants were part of the bustling population of the city. This diversity impacted the evolution of music: the blending of African and Caribbean music, slave songs, and church hymns was joined by marching band instruments, very popular during the Civil War, forming the genre known as ragtime. Then, spiritual music joined the mix, followed by the blues. This progressive build up led to the creation of jazz.  

The cornetist Buddy Bolden is often considered the first jazz musician: he assembled The Bolden Band, in 1895, that would play at dances and street parades. 

Jazz is an extremely unique and colourful genre: it embodies musical freedom. Indeed, some of its characteristics include improvisation, solos, and irregular rhythms spread over many subgenres such as modern and free jazz, bebop and swing. 

Ella Fitzgerald

Since jazz initially gained widespread popularity in the US and Europe in the 1920s, many people view this period as the beginning of the Jazz Age. The genre rose during the Roaring Twenties, a time of speakeasies in The Prohibition Era, flappers, and music. Artists and great voices like Louis Armstrong, Duke Ellington, Count Basie and Ella Fitzgerald became famous almost overnight. Subsequently, despite losing its place at the top of the musical pyramid during the Great Depression, jazz has continued to echo throughout time, influencing pop culture, even as new styles and subgenres emerged in music.

Louis Armstrong

Unfortunately, the genre has become widely associated with background or “elevator” music, undermining its complexity and beauty, which is why it is important to spread its history. Jazz, with its extensive range of sounds, can truly captivate your senses and immerse you in an exquisite musical universe. So, grab your headphones and put on some Louis Armstrong, Chet Baker or Ella Fitzgerald! 

Sources: Jazzobserver, The History of Jazz by Ted Giogia

Marta Nascimento

James Baldwin: a powerful writer and a pillar of the Civil Rights Movement 

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Reading time: 6 minutes

James Baldwin was an American writer and civil rights activist best known for his semi-autobiographical novels and essays dealing with the topics of race, politics, and sexuality. He was not only an important pioneer of the Civil Rights Movement but also one of the first writers to openly discuss these issues in the deeply conservative mid-20th century American society. Baldwin successfully intertwined the complex themes of identity, race, sexuality, and oppression in his raw and honest portrayals of society and in his beautifully tragic pieces, bringing awareness to them while defending values that are crucial, even today.  

His life and relation with the American Civil Rights Movement 

James Baldwin was born in Harlem, New York, in 1924 where he grew up in a Catholic family and developed an interest in writing in high school. In 1948, he moved to France as a way to evade the racism and homophobia he faced in his birth country and fully explore his art. There, he was able to separate himself from the segregated American society and, from an outside perspective, better write about his experience in this culture. During this time, he wrote some of his most famous novels and essays, including Go Tell It on the Mountain – inspired in his own childhood, portraying a young black boy’s experience trying to find his identity in a religious family and racist country -, Giovanni’s Room  – that deals directly with homophobia as the protagonist struggles to accept himself and to commit to a passionate relationship -, Notes of a Native Son – Baldwin’s honest reflection on his relationship with his father among racial oppression – and The Fire Next Time – a powerful essay on race, power and justice that focuses specifically on the Civil Rights Movement.  

Baldwin became very active in the American Civil Rights Movement, often visiting America and becoming close friends with Martin Luther King Jr, Malcolm X, Nina Simone, among many other of its important figures. At this time, he branched out into other forms of expression, such as writing poetry and screenplays and giving speeches about his views on discrimination and freedom. While back in the United States, he worked as a college professor at the University of Massachusetts. 

Baldwin died at the age of 63 of stomach cancer, in his home in Saint Paul de Vence, France, on December 1st, 1987. He left unfinished a manuscript, Remember This House, which would later inspire the critically acclaimed 2016 Raoul Peck film, I Am Not Your Negro. 

Zooming into some of the themes explored in his works  

As previously mentioned, one of the main themes he explored in depth in a panoply of his work was racial discrimination. He not only wrote from personal experience, but was also able to convey from an objective point of view, developing constructed arguments in his essays. For instance, in Go Tell it on the Mountain, his semi-autobiographical novel, Baldwin writes from the perspective of a young black boy, based on himself, but also about the members of his family and their lives in a profoundly prejudicial country, whereas in The Fire Next Time, the author objectively exposes the successes and failures of the Civil Rights Movement and the relations of power and race in the United States. 

Furthermore, Baldwin was one of the first authors to write about homosexuality very openly. Indeed, in the 20th century, queer people were still extremely discriminated both legally and socially, having to hide in order not to suffer violent backlash. In this context, Baldwin’s novel Giovanni’s Room, published in 1956, was extremely controversial as it revolves around homosexuality and the stigma around it.  

Finally, all of the themes present in Baldwin’s work come back to the notion of identity. Indeed, one of the particularities of his writing style was his ability to put inner turmoils into words. Go Tell it on the Mountain and Giovanni’s room are both illustrations of this, as they depict characters who are torn and struggling to find themselves in a world where parts of them are rejected. These deeply personal, human and raw representations of issues like racism and homophobia add depth and impact to the political dimension of his essays. 

His impact in literature 

James Baldwin was a trailblazer, being one of the first to openly discuss the social and political issues of the time without apprehension of backlash. His works started discussions on topics that were often considered taboo and inspired other artists to use their voice to bring forth awareness. As such, he is largely considered a pillar of African-American literature, being one of the first African American artists to have such an impact and becoming a representative for marginalized communities.  

On top of this, he was a crucial actor in the Civil Rights Movement through his writing and speeches. This movement truly shook the status quo, and, without it, society would not have evolved the way it did. In his involvement with the movement, Baldwin took a pacifist standpoint on all the issues he discussed and rooted, above all, for justice, freedom and brotherhood: he took a clear stance against racial prejudice suffered by African American citizens, but also distanced himself from his friend Malcom X’s more radical ideas. Indeed, whereas the Nation of Islam was a separatist movement that deemed white people as immune to virtue, Baldwin stood for equality – “The dream, the sentiment is old (…) Only the color is new.”-, as he once wrote. Through his works, Baldwin impacted the artistic and intellectual traditions in American society and the simple but vital values he defended are still relevant in today’s society. 

Conclusion 

James Baldwin was one of a kind. He was not only a praised writer, with a lyrical, raw, and realistic style, but also a pioneer in African American culture and in the revolutionary Civil Rights Movement. His works had an immense impact on society at the time and represent an extremely valuable legacy.  

Sources  

  • Go Tell It on a Mountain, Giovanni’s room and The Fire Next Time, by James Baldwin, Discourse Magazine, National Museum of African American History and Culture , USA Today 

Marta Nascimento

 

Demystifying Turn of the Tide 

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Turn of the Tide is everywhere. The new Portuguese Netflix show, which is beating national records, proclaimed its spot in the world’s top ten non-English shows of Netflix the previous week. The series created by Augusto Fraga follows the life of Eduardo (José Condessa) and his friends: Sílvia (Helena Caldeira), Carlinhos (André Leitão) and Rafael (Rodrigo Tomás), whose lives transform with the arrival of a ton of cocaine to their quiet village, Rabo de Peixe.  

The launch of the seven episodes has brought back discussion about the events that inspired the TV series, unveiling forgotten journalistic work that aimed to demystify and portray the case and its repercussions. 

Rabo de Peixe is situated on the north coast of the island of São Miguel, in Azores, and more specifically, in the municipality of Ribeira Grande. In 2001, the village’s main activity was fishing, and nowadays, it continues to be a prominent source of economic activity.  

2001 was also the year in which a Sun Kiss 47 yacht that was carrying on board more than 500 kg of 80% pure cocaine appeared on the scene of the peaceful village. Antonio Quinci, an Italian drug dealer, was transporting its cargo from Venezuela to Spain and, on its way, was forced to make an unprogrammed stop in the island of São Miguel because of damages on the rudder. Aware of the fact that it would be impossible to go directly into the harbor due to the content in its possession, Antonio decides to hide the contraband in a cave in Pilar da Bretanha and pick it up later.  

The police investigation stated that the bales of cocaine were bound by an anchor beneath the water and tied by fishing nets and chains, but as the waves started to pound the inlets, the netting securing the bales unraveled. Suddenly, dozens of packages were spreading throughout 70 kilometers of coast, having many people reporting it back to the authorities, and some not. 

Initially a fisherman discovers the hiding place for some of the drugs and alerts the authorities, which eventually leads to many more substantial information from the citizens. In the end of the operation the authorities reported a total amount of marginally less than 500 kg of cocaine, the value that stayed on the official record. However, many believe that number to be inaccurate and that due to the complexion of the boat, it should be way larger.  

All of a sudden, statements about the uses of the cocaine that wasn´t apprehended were circulating all over the island. Nowadays, many of the stories that reach us are more of combination of fact and fiction. Small drug dealers multiplied, and the drug became more accessible: From small beer glasses filled with the drug and selling packets of cigarettes full of cocaine (500 escudos) to stupider claims, such as frying meat with the powder instead of flour. 

That spike on the offer of drugs augmented the number of overdoses for a while, taking the hospitals into a state of alarm. There were claims that almost every day someone would enter the hospital in a delusional state, mostly because of a mixture of cocaine with opposite effect drugs, as heroine or tranquilizers.  

Still working on finding the cocaine that remained on the island, the police came across a package hidden under a fake hall on a yacht, which lead them to Antonio Quinci. Two weeks after his arrest, Antonio climbed the prison wall into freedom, and jumped into a waiting scooter. The guards didn´t end the rescue because they were afraid of accidently shooting the citizens passing by. But can one really escape from an island? Fifteen days after, with the hope of catching him becoming fairly low, the fugitive was found: Two cops went to a house where there was suspicion of a man being in possession of cocaine, and while inspecting the hen house, they found Antonio. The convicted went back to jail, where he would end up serving a sentence of ten years in Coimbra.  

The effects that the case had on the island cannot be measured. Some lived it through stories and through friends, having no direct impact on their lives. However, the events have certainly introduced an addiction that, otherwise, wouldn’t find a way of prospering on that island in Azores.  

Webgrafia:

Matthew Bremner, Blow up: how half a tonne of cocaine transformed the life of an island, The Guardian https://www.theguardian.com/society/2019/may/10/blow-up-how-half-a-tonne-of-cocaine-transformed-the-life-of-an-island

Macarena Lozano, Rebeca Queimaliños, translated by Heather Galloway, Snow blind: how half a ton of cocaine destroyed a tiny Portuguese island, El País https://english.elpais.com/elpais/2017/12/08/inenglish/1512720697_264543.html

Luís Ribeiro, Quando a coca deu à costa, Visão https://visao.pt/atualidade/sociedade/2023-05-26-uma-equipa-de-reporteres-da-visao-estava-em-rabo-de-peixe-quando-a-coca-deu-a-costa-e-fez-a-reportagem/

Carolina Amado, Rabo de Peixe lembra cicatrizes, mas “nunca a comunidade se sentiu tão abraçada”, Público Rabo de Peixe lembra cicatrizes, mas “nunca a comunidade se sentiu tão abraçada” | São Miguel | PÚBLICO (publico.pt)

Francisca Pereira