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but rather in a professional one. All this made me go back to my neighborhood, to Alamar, to my Garaje 19 project, to get into digital media and promote alternative art in a much more ambitious project, Talento Cubano, which created an Internet portal for unrepresented, itinerant artists all throughout the island. Now, anyone can promote him or herself through Facebook, but at that time, there was no awareness of that. Vega: Do you both believe that the order to prohibit rap concerts at the garage was an extension of that stigma? Fito: I don’t think so. The last concert involved the Estudiante sin Semilla group, and their songs contain social criticism and call the audience to be active. This might scare people, so a few neighbors told the police. And, of course, we don’t own that garage; we don’t even have a car. Look, I don’t think we’re going to become free of censorship just because someone who understands it all pops up. It is a matter of negotiating interests. Nothing stays the same; each effort we make makes the obstacle of censorship shift a bit. Remember, we’re talking about people who have no sense of freedom. And Alamar has always been stigmatized for its rock concerts, rap festivals, OMNI, etc. They consider it dangerous because it is the margin expressing itself in a unified, powerful manner. Mirita: I don’t agree with that view because the very same people who called the police knew us very well and up till then we’d been able to talk to them with no problem. But there were already peopl H