Saturday, September 30, 2017

'It’s a disgraceful job'’: Puerto Rican congressman slams Trump over hurricane response


Rep. Luis V. Gutiérrez, who represents an Illinois district but was born in Puerto Rico, has had strong words for the administration. (Bill O’Leary/The Washington Post)

Rep. Luis V. Gutiérrez (D-Ill.), one of four members of Congress born in Puerto Rico, said the Trump administration has done a “disgraceful job” of helping the 3.4 million Americans on the island devastated by Hurricane Maria.

“I think it isn’t a good job; it’s a disgraceful job. The United States of America is the most powerful, wealthiest country in the world, and this is not a response that’s demonstrative of our power and our wealth,” Gutiérrez said, his voice breaking during an interview Friday night with CNN’s Jim Scuitto.

President Trump has been facing mounting criticism over what some say is his administration’s slow response to Hurricane Maria. For four days after the massive hurricane made landfall, Trump and his aides remained largely silent as the storm-ravaged island struggled with lack of food, water and electricity, The Washington Post reported Friday. Earlier, the president had issued an emergency declaration and promised that all federal resources would be directed to help.

Local officials on the island, including San Juan Mayor Carmen Yulín Cruz, decried the failure to deliver basic necessities to communities across Puerto Rico and said the federal response had “collapsed.”

In response, Trump faulted the island’s “broken infrastructure & massive debt,” blamed the news media, and personally attacked Cruz. The president also praised his administration’s relief efforts, saying in a tweet Saturday that the thousands of federal workers on the island are doing a “fantastic job.”

More than 11,800 federal workers from three dozen departments and agencies are in Puerto Rico and the U.S. Virgin Islands as part of recovery efforts after Hurricanes Maria and Irma, according to the Federal Emergency Management Agency. The agency also said that millions of meals and liters of water have been provided and that more supplies are en route by air and sea.

Before Maria made landfall, more than 4,500 members of the National Guard were in Puerto Rico, administration officials said.

Gutiérrez, who owns a vacation property a few miles from San Juan, the capital, said the response had been inadequate.

“It’s costing lives, Mr. President, of children, and the elderly and the infirmed,” Gutiérrez said of the administration’s response. “And we should begin an operation to also evacuate people from this island, especially the elderly, especially those that have sicknesses until they can return to [the] island to rebuild it.”

He also said of Trump: “I would hope that as he likes to talk about fire and the fury of the armed forces of the United States, that he bring them to Puerto Rico. Put that same fire and fury to save the people of Puerto Rico from what is going to be a disaster here on this island.”

Gutiérrez added, though, that there is some good news. FEMA had promised to deliver 1.7 million meals and 2.5 million liters of water to the island, he said.
Moving food, water and other basic necessities to Puerto Rico’s ports and terminals is only half of the logistical challenge, as The Post reported this week. Distributing those goods to the people who need them is the other part of the problem, as damages to the trucking infrastructure and roads have also hampered relief efforts.

Gutiérrez, who represents many Puerto Rican constituents in Chicago, arrived on the island Friday. He is known for fiery speeches on the House floor and for regularly delivering passionate criticisms of Trump and, before him, President Barack Obama, over issues including immigration.
He is one of three Democratic congressmen who were arrested outside Trump Tower on Tuesday. Gutiérrez and Reps. Adriano Espaillat (N.Y.) and Raúl M.

Grijalva (Ariz.) were protesting Trump’s decision to end an Obama-era program that provided legal protections to hundreds of thousands of immigrants who were brought to the country illegally as children.

Before he flew to Puerto Rico, Gutiérrez called for the federal government to not only meet immediate needs for food, water, medicine and shelter, but also to promise long-term investment and cooperation with the island’s government. He vowed to push Congress to appropriate funding to rebuild Puerto Rico.

“The work of first responders and our military has been heroic, but the island needs more. . . . This is a public-health crisis and should be declared a health emergency by the federal government,” Gutiérrez said in a speech on the House floor.

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The Playlist: Hear Beyoncé Join ‘Mi Gente,’ Plus 9 More New Songs

The Playlist: Hear Beyoncé Join ‘Mi Gente,’ Plus 9 More New Songs - The New York Times
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The Playlist: Hear Beyoncé Join ‘Mi Gente,’ Plus 9 More New Songs

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Beyoncé has joined J Balvin and Willy William’s song “Mi Gente,” and will be donating proceeds to hurricane relief efforts.CreditEvan Agostini/Invision, via Associated Press
Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos — and anything else that strikes them as intriguing. This week, Chance the Rapper debuts a song on “Colbert,” Torres ends her new album with transcendence and Yeah Yeah Yeahs dig up a track from the “Fever to Tell” era.
Just want the music? Listen to this Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com, and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage, here.

J Balvin and Willy William featuring Beyoncé, ‘Mi Gente’

“Mi Gente,” the vibrant, twisty, honking collaboration between the global reggaeton star J Balvin and Willy William, currently sits at No. 19 on the Billboard Hot 100, which means it has 18 spots to go to match the success of this summer’s breakthrough Spanish-language crossover hit, “Despacito.” Time for a turbo charge. Much like the remix of “Despacito” imported Justin Bieber, the new version of “Mi Gente” welcomes one of pop’s biggest stars: Beyoncé. She sings mostly in Spanish here, clustering her words in the same pattern as J Balvin, which doesn’t allow her voice to roam widely as it generally does, and should. But never mind that: she is donating her proceeds from this song to hurricane relief efforts. JON CARAMANICA

Chance the Rapper featuring Daniel Caesar, ‘First World Problems’

“Next time I’m in church, please, no photos,” Kanye West rapped in 2009, on Jay-Z’s “Run This Town.” If any rapper had found a way to make sacred spaces part of the secular conversation, it was Mr. West, but by that point in his career, he’d come to realize that it went both ways — you had to be prepared for the ways the secular world could impose upon your private worship space.
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It took Chance the Rapper, a devout student of Mr. West, a shorter period of time to arrive at this conclusion. On his new song “First World Problems” — which he debuted this week on “The Late Show With Stephen Colbert,” before the song even had a title — Chance sounds exhausted and burdened. “I go to church, they want a flick/I wanna flip the table,” he raps.
This meditation on burnout is really a series of winces. Chance confesses to being an absentee parent, a bad cousin, missing his high school prom, being busier than a hummingbird. For two and a half verses, Chance bathes in his melancholia. But midway through the third verse, he finds a reserve of energy, not to serve himself, but others: He talks about dirty water in Flint, and bent knees and the hypocrisy of bigots. So much horror in the world: He can’t slow down now. J.C.

Torres, ‘To Be Given a Body’

On “Three Futures,” her third album as Torres, the songwriter Mackenzie Scott uses an electronic foundation, slashes of electric guitar and her full-throated voice in songs about her own physicality, from a simple act of claiming space to sexuality and mortality. Its final song, “To Be Given a Body,” offers both culmination and transcendence, contemplating the mystery of incarnation. A fast electronic ticking is joined by low, irregular heartbeat thuds; the harmony is a shifting cluster of sustained organ tones. Ms. Scott, with her voice turned pensive and serene, offers a melody that suggests an age-old invocation, singing, “To be given a body is the greatest gift.” Her voice disappears for the last half of the eight-minute song; the organ continues the melody and the beat persists for a while. But for the final stretch all that remains are those sustained tones, a void awaiting new life. JON PARELES

The World Is a Beautiful Place & I Am No Longer Afraid to Die, ‘Gram’

“This should never have been a crime,” David Bello sings in “Gram” from “Always Foreign,” the new album by his band, The World Is a Beautiful Place & I Am No Longer Afraid to Die, which has always taken an expansive view of how an emo song can unfold. “Gram” is a slightly oblique plaint about how marijuana dealers have been treated as criminals while drug stores profit from more addictive drugs. A cinematic pastorale swells around his earnestly nasal voice: a muffled tom-tom beat, a spaghetti-Western guitar line, a gathering horn section, all eventually subsiding back to patient resignation. J.P.

Yeah Yeah Yeahs, ‘Shake It’

Yeah Yeah Yeahs were at their most spindly and deliberate with “Shake It,” a song unearthed for the remastered reissue of the band’s 2003 debut album, “Fever to Tell.” There’s a hint of Latin music in the way Nick Zinner’s guitar hops around in syncopated arpeggios, while Brian Chase’s drums sketch a laconic backbeat. In the huge spaces they leave, Karen O’s voice moves from diffidence to bravado, daring a girl to dazzle everyone on the dance floor: “Take it to a place we’ve never been, out of sight,” she urges. And when the chorus arrives with power-chord blasts, it sounds like she was heeded. J.P.

Mark Guiliana, ‘Jersey’

Mr. Guiliana is a drummer now best known for playing on David Bowie’s final album, the darkly magnificent “Black Star.” That’s just one highlight in a wide-ranging career, but you’ll be forgiven for hearing echoes of Bowie’s warm-blooded elegiacs on Mr. Guiliana’s latest, “Jersey,” out today. He just released a video for the title track (this is a live version, captured at the Brooklyn space National Sawdust) with a speckled and dreamlike aesthetic — and an overlay of Doug Aitken-like abstract highway shots — that matches its windswept and soaring sound. On tenor saxophone, Jason Rigby dials up his solo even higher than on the record, fashioning arpeggios that bristle and heave, skimming energy from the chunky provocations of Fabian Almazan’s piano. GIOVANNI RUSSONELLO

Cecile McLorin Salvant, ‘If a Girl Isn’t Pretty’

On her new album, “Dreams and Daggers,” Ms. Salvant continues her mission of turning up America’s unseemly soil. Most often, she does it by combing through the expurgated pages of the Great American Songbook, singing tunes of bewildering political incorrectness, like this one. She’s always in on the joke, but does that remove the sting? “If a Girl Isn’t Pretty” — written in the midcentury by, you guessed it, two white male Broadway composers — is the sound of a paternalistic shrug, a headshake of gee-shucks empathy. But Ms. Salvant’s approach can change by the line, throwing light from all sorts of angles (hear her when she gets to “She just never gets to bat”). She’s matter-of-fact and conciliatory; sarcastic and well past caring; creased for a moment with chagrin. G.R.

Stormzy, ‘Gang Signs & Prayer’

The London grime rapper Stormzy visualizes his back story in a 15-minute video using songs from his album — brooding orchestral tracks with proud, rapid-fire rhymes — released earlier this year, “Gang Signs & Prayer.” A sensitive-looking boy in a rough Anglo-Caribbean neighborhood is bullied and then drawn into gang life with the “bad boys,” but there’s a happy ending: turning to music, eventually he can buy his mother a house. The action, and Stormzy’s muscular presence, could help translate his thickly accented rhymes for an American audience. J.P.

Wolf Alice, ‘Heavenward’

Rarely does an elegy sound as triumphant as Wolf Alice’s “Heavenward,” from this English rock band’s new album “Visions of a Life.” Ellie Rowsell sings, “I’m gonna celebrate you forever/And long to see you when it’s my turn,” amid countless layers of vocal harmony and vaporous shoegaze guitars. Wolf Alice has a raucous hard-rock side that’s not heard in the song; it’s shown, incongruously, in the quick-cutting “Heavenward” video clip that presents the band as a sweaty touring whirlwind. The song doesn’t need it. J.P.

Matt Mitchell, ‘Gluts’

Mr. Mitchell’s first album for Pi Recordings, in 2013, was a duet with the drummer Ches Smith. His second was a quartet date. The small-group approach made sense; Mr. Mitchell’s piano playing is a master class in density and overlay and multi-level thinking. But now we’ve got something else on our hands: “A Pouting Grimace,” out today, features 10 thronging compositions for a 13-piece ensemble. (It includes, for instance, Patricia Brennan’s marimba, Katie Andrews’ harp, and Scott Robinson’s bass saxophone.) Together the instrumentalists make a carefully sculpted cacophony, rich and tawny and dry. It often sounds as if Mr. Mitchell has pulled out individual elements of the piano’s acoustics — the impact of a hammer on a string, the shudder of low notes on the soundboard, the overtones of a dissonant cluster — and distributed them across a fleet of instruments. G.R.
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