An American Abroad

El Museo del Mar

I’ve always been interested in sailing, boats, and life at sea, even though I have very little experience with any of it. Part of this interest comes from my wanderlusting soul, but there’s a geekier element to it too: I like the stuff of sailing. Compasses, sextants, radios, engines, radar displays, and the whole host of related instruments speak to my gearhead side.

I found a lot of that kind of stuff at El Museo del Mar, Old San Juan’s Museum of the Sea. It’s a one-room affair, tucked in amid a row of shops on Calle San Francisco. It’s somewhat misnamed, being a museum of ships and boats rather than of the sea itself.

There were many antique compasses on display. These have a special place in my personal iconography. My one and only tattoo (so far) is a compass rose. I got it in China after I’d lived there a year. It symbolizes a new direction in my life, the plotting of a new course.

These next two instruments were manufactured by the Chelsea Clock Company. I used to live in Chelsea, Massachusetts where they were made. The firm was founded under a different name in the 1880s and has operated under its current name since 1897. In the early 20th century, it made maritime clocks for the US government and automobile clocks for Rolls Royce.

The photo immediately below is a radio room clock. A plaque on the wall by the display reads as follows:

The sinking of the Titanic resulted in the Radio Act of 1912 that required 24-hour radio watches. The disaster also led to clocks in the newer radio rooms featuring three-minute periods marked in red. Those three minutes provided a silent period when only emergency radio messages could be transmitted.

In the US Government specifications for the Chelsea clock, it notes ‘the dial has accurate 4 second marks in red around the outside edge, over which the sweep seconds hand passes, enabling the radio operator to accurately transmit the 4-second alarm signal provided by the International Telecommunication Convention and the International Conference on Safety of Life at Sea.’

The combination barometer/thermometer below is unusual for its curved bulb.

The model ships were awesome — and I use that word in its original sense. The level of detail, patience, and skill their construction requires is astonishing.

And building a ship inside a bottle is an extravagant demonstration of genius.

There’s a display dedicated to the Titanic. I didn’t see much connection to Puerto Rico there, but I understand how the exhibit could be a crowd-pleaser.

Though I haven’t sailed since I was a kid, I would someday like to learn celestial navigation. That might be my own ship-in-a-bottle endeavor: something to do purely for the satisfaction of mastering it that has no tangible benefit whatsoever. Maybe I could learn to use a sextant like this.

I learned something about the gizmo in the photo below. I’d always assumed it was something like a throttle, whereby the captain or the helmsman on the bridge could directly adjust the speed and direction of the ship’s propellers. Not so.

This is actually an engine order telegraph, or Chadburn, after the Liverpool company that originally manufactured units like it. It’s a communications device, not a throttle. When the handle on it is moved, a bell rings in the engine room and causes a dial there to move to indicate the speed and direction ordered by the bridge.

The most unexpected feature of the museum was its display of life belts, which is certified by the Guinness Book of World Records as the largest such collection in the world. Well, it has to be somewhere, so why not in San Juan?

The San Juan Community Library

I hadn’t lived in Puerto Rico very long before I asked someone where the nearest public library was. I was met with a puzzled look. Well, there are libraries in universities, I was told. There’s the Puerto Rico National Library, which contains the island’s archives and some specialty collections. But for whatever reason, the idea of a public lending library never really took off here. I found this odd, because my sense is that Puerto Ricans show far more interest in literature and poetry than their stateside cousins.

But while there isn’t a grand public library of the size I’d expect in a city of 300,000, there is The San Juan Community Library. It’s located in a nondescript (OK, ugly) building on the outskirts of the city–almost in Guaynabo–but that made sense. A library in Old San Juan or somewhere downtown wouldn’t be near to the people who’d be likely to use it.

On the Saturday of my visit, Alice, a 77 year old retired teacher originally from Washington State, was the only person working there. She welcomed me and immediately asked me to sign the visitor log. “They want to know how many people come here,” she explained. “It affects our funding. There are so many cutbacks coming, and …” She sighed in a well-what-can-you-do way and gave me a smile.

After recording my visit, I walked through the stacks. The books are housed in one good-sized room and organized by section.

There’s a kids’ area, a young adult stack, a Puerto Rican authors corner, and so on. Books are available in English and Spanish and all the signs in the library are written in both languages.

The library has WiFi and loans out movies on DVD. In total, it has more than 29,000 items to lend. It also has a schedule of community events, including a regular chess camp, book sales, and classes in art, music, yoga, and languages.

I paid $25 for an individual one-year membership, received my library card, and went prowling through the stacks.

When I checked out, I was pleased to see Alice date-stamp the tag in the book I borrowed. I hadn’t seen one of those in years. There was something very personal and homey about it, a more intimate experience than scanning your books into a bar code reader. The whole experience — the modest scale of the library, the organized shelving with occasional pockets of clutter, the rubber stamps, and Alice herself — took me back to my youth. I remember spending scores hours in libraries like that.

It was drizzling a little when I left, but I grabbed this photo on the way out.

From the outside, it’s not much to look at, but inside the atmosphere is cheery, warm, and welcoming. I have to return the book I checked out within two weeks — so I’ll be back soon.

Small Art on Calle Cerra

Not all the artwork on Calle Cerra is of mammoth proportions. There are numerous smaller works too, ranging from signs and door decorations up to murals painted on single story houses and walls.

This little guy is standing right next to the gate that led me to Calle Cerra in the first place.

He shows up again here.

I liked this sign. Psycho Deli, qu’est-ce que c’est?

My mother taught me that unless your last name is Windsor, you have no business having big stone lions out in front of your house. But I think a small metal lion on a security gate would be OK with her.

The twisted street signs of Calle Cerra have become a much-photographed icon of Santurce. I’ve seen pictures of this in various publications. Which way is up and what the hell does it matter?

These portraits are by Boomone787, also known as Xavier Muñoz. He also painted some of the portraits on Calle Loíza, which I blogged about when I first moved to Puerto Rico.

I thought this was interesting: it seems to be a mural depicting a house that the owners would like to live in painted on the front wall of the house they actually live in.

I applaud the sentiment here: “Fight for an education that teaches us to think and not for an education that teaches us to obey.”

This one is just the right size: modestly proportioned so it doesn’t overwhelm the house it’s in front of.

Someone’s a big Spike Lee fan.

The painting below is by Shetrock, who has done a number of murals in the area. I think the piece below that is as well, though I don’t see his tag on it.

These next two are photos of Watusi, a small bar whose patrons sit in plastic chairs out on the sidewalk, chat with each other, and watch the world go by. The art here is once again by Boomone787.

While this isn’t artwork in the usual sense of it, the patio of this Mexican restaurant seemed so well designed and inviting that I had to photograph it.

Big Art on Calle Cerra

On March 29 of this year, a friend messaged me at 8:00 in the evening to say she was locked in at the Santurce Air BnB she’d rented. Literally locked in. She’d misunderstood her host’s key instructions and now found herself unable to open the gate that would allow her to leave. She needed rescuing and gave me the address: 809 Calle Cerra, Santurce.

Using Google Maps, I navigated through the Maria-darkened streets of San Juan. I thought I knew Santurce, but I’d never been to this part before. The apartment was at the top of a flight of outdoor stairs that was accessed from the sidewalk via a red gate to the right of the building. I retrieved the key from a lockbox and released Ang from her Air BnB incarceration. We had a good laugh about it.

I caught only a glimpse of the neighborhood that night. What I could make out looked to be one-third slum, one-third hip, one third light industrial/commercial. I mentally bookmarked it as a place to return to someday. And so four months to the day after I rescued Ang, I returned to check out the neighborhood by daylight. I was delighted to find the largest repository of street art I’ve seen in San Juan.

Some of the murals covered entire sides of buildings. They were clearly not the work of casual taggers.

The one below was done by NM Salgar.

This painting was the most intricate of any I saw. And it’s big; the photo here only shows half of it. I can’t imagine the amount of time it must have taken to work in all those little color dots. It was done by Shetrock, one of the most prolific and talented of the Calle Cerra artists.

I’m not wild about this particular piece, but I admire the ambition behind it.

This tree-shaded mural shows Puerto Rican baseball legend Roberto Clemente wearing his Santurce Cangrejeros uniform. Clemente was the first Latin American/Caribbean player to be enshrined in the National Baseball Hall of Fame. The size of this mural is a reflection of how big baseball is here.

Below is surely one of the most beautiful hardware stores to be found anywhere.

I’m not certain, but I think the sign in the photo below is part of the artwork. San Expedito (Saint Expeditus) is one of the sketchier Roman Catholic saints. According to the entry on him in Wikipedia,

Expeditus was a Roman centurion in Armenia who became a Christian and was beheaded during the Diocletian Persecution in AD 303. The day he decided to become a Christian, the Devil took the form of a crow … and told him to defer his conversion until the next day. Expeditus stamped on the bird and killed it, declaring, ‘I’ll be a Christian today!’

Many stories circulated about the origin of the cultus of Expeditus. … A case containing the relics of a saint, who was formerly buried in the Denfert-Rochereau catacombs of Paris, was delivered at a convent in the city. The senders had written expédit on the case, to ensure fast delivery of the remains. The nuns assumed that “Expédit” was the name of a martyr, and prayed for his intercession. When their prayers were answered, veneration spread rapidly through France and on to other Roman Catholic countries.

Perhaps the sign is a commentary of some sort about the artwork? Who knows? Well, Shetrock probably does.

The magic of the big bunny is that the artist has imagined a three-dimensional chrome rabbit and painted it showing a contorted reflection of a street scene. It’s a painting of a sculpture that both shows the subject and mirrors the environs.

This Lichtensteinesque comic strip enlargement was four stories tall and hard to photograph. The industrial fan at the woman’s lips will give an idea of its scale.

Three Spanish ships sailing away and leaving a trail of broken, anguished bodies it their wake? I detect allegory in this one.

But if there’s allegory in this mural, it’s lost on me. It’s whimsical and fantastical, but I keep trying without success to divine some larger meaning.

This must be the coolest bus stop in Santurce. I didn’t even notice the old man sitting there until I’d taken a couple photos of him.

This last one was one of my favorites. It’s the only mural I saw that was part of an industrial plant. The artist used the idea that this is a tank of some sort to maximum advantage. Don’t lose hope: the water angel boy is coming.

The Pulse Nightclub Massacre Memorial in San Juan, Puerto Rico

During a chance meeting with a survivor of the Pulse nightclub massacre of 2016, I learned that there was a monument to the victims here in San Juan. That made sense, since a 23 of the 49 people slain that night were Puerto Rican. I’ve been involved in the struggle for LGBT rights since the 1970s, so my curiosity was piqued. I set out to find it.

The memorial is located near the entrance to the Sixto Escobar Stadium in San Juan’s Third Millennium Park, not too far from Old San Juan.

The monument consists of seven right angle trapezoids covered with different colored tiles. There’s a small plaque in the center which says it was erected by the City of San Juan, Carmen Yulín Cruz, Mayor. Off to one side is a much bigger plaque that lists names of the people who died. The Puerto Ricans are listed prominently, while the other victims are listed in smaller print at the bottom. A translation of it reads:

Let this tribute to life reinforce our commitment to fight hatred – the product of homophobia – with love, product of respect. Our motto reverberates in all hearts: love is love, is love, is love …

To each side of the monument stand four boxes, on top of which are little containers of artificial flowers. Some of them have a rubber wristband around them commemorating the massacre. I don’t think these boxes and the flowers are a permanent part of the monument. At least I hope not. The boxes are made of painted wood and won’t last long.

The memorial is the first and only public monument in Puerto Rico that commemorates LGBT people. I was glad to find it. However, the monument itself is somewhat underwhelming. The abstraction of the plain, small geometric shapes doesn’t convey much to me. The different colors are no doubt a nod to the rainbow flag and the idea of diversity, but the overall effect lacks the profound emotional resonance that I’d expect of a memorial to the the deaths of 23 Puerto Ricans. To put that number in perspective, if the same percentage of people in the States had been killed relative to the overall population, 2,250 people would have lost their lives.

I also found the location of the memorial puzzling. Sixto Escobar Stadium is a decaying and partially-disused athletic complex that as far as I know has no particular relationship to either the gay and lesbian community or the Puerto Rican government.

The monument isn’t located in an area where people are likely to notice it. During the time it took me to take ten photos of it, I saw no other people pass by, even a crowded nearby beach, Playa El Escambrón, is just a few hundred meters away.

These observations aside, the most significant aspect of the monument is that it exists at all. Full props to Mayor Carmen Yulín Cruz and the municipal government for erecting it. And though I found the overall design and siting disappointing, the memorial had its intended effect on me. I found myself thinking of the massacre, of the victims and their families, and of the vigil in Toledo, Ohio that Lori Seubert and I attended for the victims. The photo below shows us afterward. It also reminded me of the many people who’ve been persecuted–and even killed–simply because of who they love.

There should be more monuments to the Pulse victims and to the other mass shootings that now happen with such depressing frequency. Horrific as it is, the past should not be forgotten.

El Batey: The Rolling Stones’ Bar of Choice in San Juan

There’s no neon sign outside of El Batey. No neon signs inside either. And praise be, no TV. The windows have bars, not glass. The floor is uneven and rank. The place is open late til 3:00 or 6:00 or whenever. The bartenders will play Iggy Pop on the sound system on request. It’s a punky-junky dive bar located on a less-touristed street of Old San Juan.

I loved it. I could see myself going there night after night, quietly killing off brain cells with cheap rum as I sat at the bar reading and thinking deep thoughts.

It gave me a strange feeling, and the rest of that night I didn’t say much, but merely sat there and drank, trying to decide if I was getting older and wiser, or just plain old.
― Hunter S. Thompson, The Rum Diary

There’s a lot of legend attached to the place. The Rolling Stones drank there when they were on the island. Some claim it was Hunter S. Thomson’s watering hole when he lived in San Juan, the place he’d go to gather the experiences he would later thinly fictionalize in The Rum Diary. Maybe. In any event, it’s the kind of place where you COULD have seen him back in the day.

The word “louche” doesn’t even begin to describe it. Inside, the walls appeared to be sweating. (No, I hadn’t dropped acid.) Scribbled signatures covered the smudged wall space like a net of black words, an effect that felt strangely cozy, but also kind of insane. The floor looked sticky from spilled drinks. The fragrance, a musty eau-de-ashtray combined with damp, ancient stone. In the dim, amber light our fellow customers all looked a little unwashed. You immediately got the message: this was not a frozen cocktail with umbrella kind of place.
― Laura Albritton, Uncommon Caribbean

It’s not a place for the rule-bound or the asthmatic. Despite a citywide smoking ban in restaurants and bars, people puff away in El Batey as if it were 1966. And the bathrooms are not for the squeamish or the dainty.

A notice scrawled on the men’s room door reminds people that access is limited to “1 (one) @ a time!”

The bar pulls off the trick of being simultaneously homey and deeply alien. Palimpsests of graffiti cover every square inch of every wall and part of the the high ceilings. How drunk would you have to be to stand on someone’s shoulders or climb a rickety ladder to write on the fifteen foot high ceilings? The writing is so multilayered as to defy reading and much of it seems to be in the Drunkish language, contributing to the strangeness of the place. But knowing that 50 years worth of earlier patrons appreciated the place enough to leave their mark makes the place seem intimate and human.

There are only two actual signs in El Batey. One reminds you of where you are. And the other reminds you that the president is a wanker — as if you might forget either of those things.

Business cards and other ephemera make up the lamp shades that surround the dim lights above the bar. A couple of clamp lamps light the corners of the other rooms. It’s dark, the vibe is chill, and the promise is anything goes.

And over in the corner, an old jukebox awaits quarters, hoping that someone will play “Paint It Black.”

Old God sure was in a good mood when he made this place.
― Hunter S. Thompson, The Rum Diary

(Some of the photos in this post were taken by Josh Trumm)