<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://digital.centerforknitandcrochet.org/items/show/37673">
    <dcterms:title><![CDATA[El Teatro Puerto Rico jacket]]></dcterms:title>
    <dcterms:subject><![CDATA[Theater]]></dcterms:subject>
    <dcterms:subject><![CDATA[Amusements]]></dcterms:subject>
    <dcterms:subject><![CDATA[Women's History]]></dcterms:subject>
    <dcterms:subject><![CDATA[Costume]]></dcterms:subject>
    <dcterms:subject><![CDATA[Authors]]></dcterms:subject>
    <dcterms:subject><![CDATA[Hispanics]]></dcterms:subject>
    <dcterms:subject><![CDATA[Spaniards]]></dcterms:subject>
    <dcterms:subject><![CDATA[Latin Americans]]></dcterms:subject>
    <dcterms:description><![CDATA[This ‚Äútheater jacket‚Äù is from El Teatro Puerto Rico, or Puerto Rico Theatre, a landmark performance center and music hall in the Puerto Rican community of the Bronx in New York City. The theater was active from the 1940s until its first closure in 1970. Performer, Gilda Mir√≥s received the jacket from Puerto Rican entrepreneur James S√°nchez, who had purchased the Teatro Puerto Rico. Mir√≥s also hosted radio shows from 1970s through the 1990s which attracted many top Latino artists. Many artists gave Mir√≥s souvenir pins, which became part of the jacket, and added their signatures. The garment became an autograph book and living document of her relationship with Puerto Rican artists and actors.]]></dcterms:description>
    <dcterms:description><![CDATA[In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.]]></dcterms:description>
    <dcterms:description><![CDATA[Esta ‚Äúchaqueta de teatro‚Äù es del Teatro Puerto Rico, un centro de espect√°culos y sal√≥n de m√∫sica emblem√°tico de la comunidad puertorrique√±a del Bronx en la ciudad de Nueva York. El teatro funcion√≥ desde la d√©cada de 1940 hasta su primer cierre en 1970. La int√©rprete Gilda Mir√≥s recibi√≥ la chaqueta del empresario puertorrique√±o James S√°nchez, quien hab√≠a comprado el Teatro Puerto Rico. Mir√≥s tambi√©n fue presentadora de programas radiales desde la d√©cada de 1970 hasta la de 1990, a los que atrajo a muchos de los mejores artistas latinos. Varios de ellos le obsequiaron broches de recuerdo que pasaron a formar parte de su chaqueta, junto con sus firmas. La prenda se convirti√≥ en libro de aut√≥grafos y documento su relaci√≥n con artistas y actores puertorrique√±os.]]></dcterms:description>
    <dcterms:description><![CDATA[En la d√©cada de 1950, los consumidores hicieron de la televisi√≥n un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programaci√≥n, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en espa√±ol centradas en audiencias hist√≥ricamente ignoradas. Establecido a principios de los sesenta, SIN uni√≥ a difusoras independentes y cre√≥ nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertir√≠a en Univisi√≥n en la d√©cada de 1980. Durante las pr√≥ximas d√©cadas, las opciones de programaci√≥n en espa√±ol crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducci√≥n de nuevas tecnolog√≠as de difusi√≥n, como el cable y la televisi√≥n digital.]]></dcterms:description>
    <dcterms:description><![CDATA[Currently not on view]]></dcterms:description>
    <dcterms:source><![CDATA[Smithsonian Institution]]></dcterms:source>
    <dcterms:date><![CDATA[ca 1970s-1990s]]></dcterms:date>
    <dcterms:relation><![CDATA[<div class="item-relation"><a href="http://collections.si.edu/search/results.htm?q=record_ID=nmah_1847925&amp;repo=DPLA" target="_blank"><img src="https://ids.si.edu/ids/deliveryService?id=NMAH-AHB2021q049667&amp;max=150" alt="https://ids.si.edu/ids/deliveryService?id=NMAH-AHB2021q049667&amp;max=150" height="200"></img></a></div>]]></dcterms:relation>
    <dcterms:references><![CDATA[http://collections.si.edu/search/results.htm?q=record_ID=nmah_1847925&amp;repo=DPLA]]></dcterms:references>
</rdf:Description></rdf:RDF>