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themselves have not learned how to make it more
commercially viable. It doesn’t all have to be contestational rap; we have to be aware of what we’re
selling.
Fito: Rappers harshly criticize society, but it is
into that very same society that they hope to become integrated. The relationship with institutions is not that of sponsorship, but rather of exchange. If the door is closed, they knock, push,
break it down, and go in! Hip-hop is an imported
culture that has been taking root. And people are
more apt to accept it than tradition, because of
what is in style, fetishism, although I am not at all
interested in that. I defend it because it influences
minds and offers solutions. I don’t think that has
been fully appreciated, the possibility of rap as
having social impact.
Vega: What made you decide to launch an independent publication? Isn’t a print publication riskier than a digital site?
Mirita: I believe that art and freedom will always
find a space. I am reminded of the risk by how
some institutions from which we’ve requested
support for presenting the magazine have reacted.
We say: “Look, read it so you can see what it’s
about,” and they’ve answered: “It’s independent?
Don’t even show it to me!” So, you see how it is?
But I decided that that would not stop me, no matter what happens to us; we are going to keep publishing it.
Vega: How do you distribute it?
Mirita: We organize a concert and that’s were we
present each issue. We give printed and CD copies away. People are grateful; many who work at
institutions have offered to collaborate with us, to
help us. Of course, we still have more work to do
on the concept, on the magazine, too, but it is fulfilling a function, filling a real void. Right now, it
is the only magazine that talks about what is going on with Cuban hip-hop.
Vega: Have you noticed any increased flexibility in cultural policies? Do you think there’s an
objective possibility to negotiate with institutions?

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Fito: I prefer thinking about “people” over institutions, people who can provide that very necessary change to get closer. I mean, you have Rensoli, for example, who founded the Rap Festival,
and the Director of the Casa Cultura, well, she
knows that hip-hop is not an option for Alamar,
even though it’s part of its identity. Right now, I
think there is a latent possibility, and the concert
in the amphitheater celebrating Fila shows what
can be achieved. My father would often say to
me: “The country is dying to change; it cannot go
on as it is.” And even the institutions need the artists to support themselves. We’re not talking
about something abstract; it is a question of logistics.

Hip-Hop concert
Mirita: We’re seeing that right now with the Cuban Rap Agency. Rappers who don’t generate income will have to leave. The policy is to be profitable.
Vega: But, despite that hope, you’ve decided to
definitively leave the country… Fito, you who
were talking about the limit when we started
this conversation…it seems you’ve encountered and clashed with one anyway. Don’t you
think Cuba needs people like you both?
Fito: My opinion is not optimistic, but it comes
from my own experience. It is that any company
that aspires to grow and expand here in Cuba will
find that it’s not poss