Annotations for Communities: Black People

This is Latino USA, a radio journal of news and culture. I'm María Hinojosa. Today on Latino USA: Latinos in South Central Los Angeles.

This is Latino USA, a radio journal of news and culture. I'm María Hinojosa. Today on Latino USA: Latinos in South Central Los Angeles.

The realities are, we have a lot of Rodney Kings. We have a lot of Latinos who are being beat up. We have a lot of discrimination going on in the city.

The realities are, we have a lot of Rodney Kings. We have a lot of Latinos who are being beat up. We have a lot of discrimination going on in the city.

A report card for President Clinton.

A report card for President Clinton.

It's unfair in a way to say that the Clinton administration hasn't appointed too many Latinos, hasn't appointed too many of anything.

It's unfair in a way to say that the Clinton administration hasn't appointed too many Latinos, hasn't appointed too many of anything.

Also, una celebración del Cinco de Mayo y Sesame Street goes Latino.

Also, una celebración del Cinco de Mayo y Sesame Street goes Latino.

¿Abierto?

¿Abierto?

Yes, certainly! Abierto is the Spanish word for open! Abierto.

Yes, certainly! Abierto is the Spanish word for open! Abierto.

All this here on Latino USA, but first: las noticias.

All this here on Latino USA, but first: las noticias.

Long before the word “multicultural” came into popular usage, it was reflected on the public television's children's program, Sesame Street. Now the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

Long before the word “multicultural” came into popular usage, it was reflected on the public television's children's program, Sesame Street. Now the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

[Cheerful Sesame Street Music]

[Cheerful Sesame Street Music]

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a Mariachi band, and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks and visit a community center known as a Casita. This year, the spotlight will also be on the new fluffy blue bilingual muppet, Rosita.

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a Mariachi band, and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks and visit a community center known as a Casita. This year, the spotlight will also be on the new fluffy blue bilingual muppet, Rosita.

¡Hola Amigos! ¿Cómo están?

¡Hola Amigos! ¿Cómo están?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Sí, sí…yes, yeah I'm trying to help my friends to speak Spanish and all of my other friends that they're watching us. I'm trying to let them know that if they speak Spanish like me and English, they have to feel proud because they're very lucky to speak two languages.

Sí, sí…yes, yeah I'm trying to help my friends to speak Spanish and all of my other friends that they're watching us. I'm trying to let them know that if they speak Spanish like me and English, they have to feel proud because they're very lucky to speak two languages.

¿Abierto?

¿Abierto?

Yes, certainly! Abierto is the Spanish word for open! Abierto.

Yes, certainly! Abierto is the Spanish word for open! Abierto.

For many years now, Sesame Street has been teaching kids a few words in Spanish, like “hola” and “adios”, but what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

For many years now, Sesame Street has been teaching kids a few words in Spanish, like “hola” and “adios”, but what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

El mundo.

El mundo.

That's the world all right, and we are moving into...

That's the world all right, and we are moving into...

Puerto Rico!

Puerto Rico!

Puerto Rico it is! But look...

Puerto Rico it is! But look...

¡Cotorra!

¡Cotorra!

In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self-images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character María on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self-images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character María on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

I had the opportunity to write a show where María's family comes to visit, and I wanted everyone in María's family to be a different skin color because that occurs in a lot of Hispanic families. Puerto Ricans especially, is that, there are people of different skin colors in the same family so…and actually have a puppet say, "Wow! But he's darker than you. How could he be related?" or "She's lighter than you. How could she be related to you?"

I had the opportunity to write a show where María's family comes to visit, and I wanted everyone in María's family to be a different skin color because that occurs in a lot of Hispanic families. Puerto Ricans especially, is that, there are people of different skin colors in the same family so…and actually have a puppet say, "Wow! But he's darker than you. How could he be related?" or "She's lighter than you. How could she be related to you?"

For the last 20 years, María and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's Fix It Shop.

For the last 20 years, María and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's Fix It Shop.

Here, Luis and María, who are both Latinos, are regular people. I mean… they own a business; they have a family. You know… they're just regular people. They work like everybody else… you know. They brush their teeth, they comb their hair, you know…. whatever. The role model is, "Hey, they're just like everybody else.” You know… and that's important to show.

Here, Luis and María, who are both Latinos, are regular people. I mean… they own a business; they have a family. You know… they're just regular people. They work like everybody else… you know. They brush their teeth, they comb their hair, you know…. whatever. The role model is, "Hey, they're just like everybody else.” You know… and that's important to show.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

20 years ago when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either.

20 years ago when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either.

[Kid singing about his cultural roots]

[Kid singing about his cultural roots]

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Oh, that was great! Well, this is Big Bird leaving you with one final word: "¡Viva!"

Oh, that was great! Well, this is Big Bird leaving you with one final word: "¡Viva!"

This is Latino USA, a radio journal of news and culture. I'm María Hinojosa. Today on Latino USA: two years after the Mount Pleasant riots in the nation's capital.

Overnight, Latinos were an issue in Washington DC.

Where US Latinos stand on the Free Trade Agreement with Canada and Mexico.

The jobs that are expected to be lost are the low-skilled, low-paying jobs that so many Latinos in this country hold.

Also, Afro-Cuban jazz pioneer, Mario Bauzá, and some thoughts on what's really important.

Here on top of the earth, we have everything a man can need. What more can one ask for?

All this here on Latino USA, but first: las noticias.

A case which challenges minority-based redistricting is now before the US Supreme Court. The case involves a majority African American district in North Carolina, which was redrawn to ensure a Black majority. Five white voters in the district challenged the redistricting plan, arguing it goes against the principle of a colorblind constitution.

Without the [unintelligible], we would not see the progress we've seen in minority voter participation. What this would do if it were to prevail, it would be a major step backward. It would shut people out again.

Minority voter advocates like Andrew Hernández of the Southwest Voter Education and Registration Project, say districts like the one challenged in this case only came about after a long-time pattern of racially polarized voting was established, preventing the election of minority representatives. 26 new Black or Latino majority districts created under the Voting Rights Act could be in jeopardy if the high court accepts that North Carolina's redistricting plan established a racial quota. An announcement of President Clinton's healthcare plan is expected soon. Among the many questions surfacing about the plan is whether it will include coverage for undocumented immigrants. Reportedly, many members of the President's Health Care Task Force do favor undocumented healthcare coverage for public health reasons. But First Lady Hillary Rodham Clinton has been quoted as saying undocumented immigrants would not be covered. I'm María Martin. You're listening to Latino USA.

It's been two years since disturbances broke out in Washington DC's Mount Pleasant neighborhood, where most of the city's Latino population lives. At the time, Latino leaders blamed the violent outburst on neglect by the local city government of Hispanic residents. In the past 10 years, Washington DC's Latino community, mostly Central American, has grown rapidly. Since the violence of two years ago, the DC government has taken action to address community concerns, but Latino leaders say there's still much more to be done. From Washington, William Troop prepared this report.

[Transitional music]

A music vendor sets up shop at the corner of Mount Pleasant and Lamont Street, the heart of Washington's Latino community. He's one of at least a dozen Latino merchants doing business near Parque de las Palomas, a small triangular park at the end of a city bus line.

[Transitional music]

[Helicopter sounds]

Just two years ago, the worst riots the nation's capital had seen in over 20 years started right here. On May 4th, 1991, Daniel Gómez, a Salvadoran immigrant, was stopped by an African American police officer for drinking in public. There are differing accounts about what happened next. Police say Gómez launched at the rookie officer who shot him in self-defense, but many Latinos heard a different version, one that said Gómez was shot after being harassed and handcuffed by the officer. Gómez was seriously wounded and as news of the incident spread, outrage poured from the community.

…sangre fría frente a demasiados latinos. Eso no lo llevan todos porque en realidad esta es una comunidad latina. ¿Me entienden? y la discriminación ha ido tan lejos de que si alguien…

During the riots, these men looted a 7-Eleven store because they were angry at police for mistreating Latinos. The looting and burning in Mount Pleasant lasted three days. To calm people down, DC Mayor Sharon Pratt Kelly arrived on the scene and promised to address Latino concerns as soon as the violence ended. It was a victory of sorts. Latino leaders had long complained that city officials ignored charges of discrimination and police brutality. The riots changed that.

To a certain degree, we had the best disturbance that we could have ever had. Although you had the destruction of public property, you had the destruction of private property, you had some injuries, nobody was killed. And overnight…Latinos were an issue in Washington DC.

Juan Milanés was a law student at the time. Today, he is legal counsel for the Latino Civil Rights Task Force, an organization created after the disturbances in Mount Pleasant.

Prior to May 5th, 1991, the Latino population of Washington DC, although it was 10% of the population, was unrecognized…just invisible…just a bunch of people who get on the bus in the evening to go clean buildings, but you know... There are just a few people here and there. Most of them are illegal anyway. Suddenly, we're there and there was now this group of people that were demanding that they be there.

A few months after the riots, the Latino Civil Rights Task Force issued a blueprint for action, detailing 200 specific steps the city could take to address Latino concerns. Task Force executive director Pedro Aviles says the city has not done enough to stop discrimination and police insensitivity.

The problems have not been solved yet. The police brutality cases, they continue. Certainly, the fact that we've been complaining, and we've been shaking the tree kind of thing…it's brought about little change, but I would say that it's a lot of stuff that needs to be done.

What has been done has been done slowly according to task force officials. One example, the city hired bilingual 911 operators a year and a half after the task force recommended it and only after a Latina who had been raped had to wait two hours for assistance in Spanish. Carmen Ramírez, director of the Mayor's Office on Latino Affairs, says the city has taken significant steps to address community concerns.

The recommendations, in many instances, are not recommendations that can just be met by one concrete action, although some of them are, but rather, it's a matter of putting into place policies and in many instances, mechanisms by which problems can continue to be addressed.

To do that, the city has created bilingual positions in almost all departments of DC government. Ramírez adds that DC's police department has hired more bilingual personnel and sent hundreds of police officers to Spanish classes and sensitivity training. But last year, Latino leaders complained they were excluded from developing the initial sensitivity training program and they say there are still plenty of police brutality cases. In January, the US Commission on Civil Rights agreed when it issued its report on the Mount Pleasant disturbances. Commission Chair Arthur Fletcher called the plight of Latinos in DC appalling.

Many Latinos in the third district have been subjected to arbitrary harassments, unwarranted arrests, and even physical abuse by DC police officers.

The commission also found that the District of Columbia still shuts off Latinos from basic services because it lacks bilingual personnel. Many DC Latinos feel that in a city dominated by African Americans, it's often hard to get a fair distribution of resources. BB Otero is chair of the Latino Civil Rights Task Force.

There is a prevalent feeling among the African American community, not just the leadership but the community at large that says, “we've struggled hard to get where we are, to have control of some resources in the city to begin to play a powerful role in the community.” And its um…“if we open it up to someone else, we may be giving something up.”

They still wanted them to be citizens of their own country and not registered to vote in the United States and still have the same measure of power and the same measure of participation as somebody who was a citizen. That, in my view, is a naive expectation and certainly is not something that the civil rights movement ever talked about.

African American council member Frank Smith represents Ward 1, the area where most DC Latinos live. He says, the struggle for civil rights is about citizenship and voting.

I think that the Hispanic community has got to work harder at getting their people registered to vote. If they want to win elections, they're going to have to get people registered to vote and get them out to the ballot boxes on election day in order to win. Nobody's going to roll over and give up one of these seats.

Civic activity comes once you have gained some sense of security of where you are or where you live. You still have a community that doesn't have that sense of security.

Over half of Washington's estimated 60,000 Latinos are undocumented, many of whom have fled war and unrest in El Salvador and most recently, Guatemala. BB Otero who ran unsuccessfully for a school board seat last fall says she's hopeful a Latino political base will develop as time goes by and as the community matures.

If they can survive the struggle that it is to be able to fight the odds basically and build that political base, then we will see, I think by '96, some other candidates in other areas beyond myself.

[Transitional music]

Change, however slow some may consider it, seems to be happening at Parque de las Palomas, where the disturbances erupted two years ago. There are now more Latino officers walking the beat. Merchant José Valdezar says, even those stopped for drinking in public are now treated with respect by police.

First, they say hello to you, and I start to speak and they explain to you what's going on. Sometime, the person who own any store around here say, you know, they don't like drunk people around here. You know, that's why they say no. Just keep walking and everything will be okay.

[Transitional music]

Daniel Gómez, whose shooting sparked the disturbances in Mount Pleasant two years ago, recovered from his wounds and was later acquitted of assaulting the police officer who shot him. For Latino USA. I'm William Troop reporting from Washington DC.

[Change in transitional music]

The roots of Latin jazz go back at least five decades to such artists as Machito, Chano Pozo, and Dizzy Gillespie. Latin jazz has lost many of its originators in recent years, but one of them, 81-year-old Mario Bauzá keeps going strong. From Miami, Emilio San Pedro prepared this profile of the legendary co-founder of the band Machito and his Afro-Cubans.

Mario Bauzá left his native Havana for New York in 1930. When he got to this country, Bauzá became one of those responsible for making Afro-Cuban music popular in the United States and around the world.

Had to happen outside of Cuba before the Cuban people convince themself what they had themself over there. When they got big in United States, Cuba begin to move into that line of music.

[Afro-Cuban jazz music]

Bauzá remembers his days at the Apollo Theater in Harlem where he helped to launch the career of Ella Fitzgerald. He recalls his days with the Cab Calloway Orchestra and the time that he and his friends, Dizzy Gillespie and Cozy Cole, played around with Afro-Cuban rhythm and jazz arrangements and created something new: Afro-Cuban Jazz.

[Afro-Cuban jazz music]

In the early 1940s, Bauzá formed the legendary band Machito and his Afro-Cubans, along with his brother-in-law, Frank Grillo, who was called Machito. Bauzá was the musical director of the band and he composed some of the group's most memorable songs.

[Afro-Cuban jazz music]

The sensation caused by Machito and his Afro-Cubans and by other Latin musicians in the '40s made New York the focal point of a vibrant Latin music scene.

[Afro-Cuban jazz music]

It's the scene of The Mambo Kings, you know, and that's why a lot of people will say Mambo is not Cuban music or is not Mexican music. Mambo is New York music.

Enrique Fernández writes about Latin music for the Village Voice. He's also the editor of the New York-based Más Magazine.

It was here that this kind of music became very hot…that it really galvanized a lot of people…that really attracted a lot of musicians from different genres that wanted to jam with it, and that created those great, you know, those great encounters between Latin music practitioners and the jazz practitioners, particularly Black American jazz practitioners. For that, you need to recognize that New York has been, since then, probably before then, but certainly since then, one of the great centers of Latin music.

Mario Bauzá takes great pride in the current popularity of Latin and Caribbean music, but he says people are wrong to call his music Latin jazz. He says that label doesn't give proper recognition to its musical roots.

Merengue, merengue from Santo Domingo. Cumbia is cumbia from Colombia. Afro-Cuban is Cuban. That's why I got to keep [unintelligible] Afro-Cuban rhythms, and Afro-Cuban rhythm…Danzón es cubano…la Danza es cubano…Bolero es cubano…el Cha-cha-cha es cubano…el Mambo es cubano…el Guaguancó es cubano y la Columbia es cubana. So, I got to call it Afro-Cuban Jazz.

[Afro-Cuban jazz music]

After seven decades in the music business, Mario Bauzá has come out of the shadows of the group Machito and his Afro-Cubans and is being recognized for his accomplishments as one of the creators of Afro-Cuban Jazz. This year, Bauzá plans to tour with his Afro-Cuban jazz orchestra featuring Graciela on vocals. The group also plans to release another album of Afro-Cuban jazz: Explosión 93. For Latino USA, I'm Emilio San Pedro.

[Afro-Cuban jazz music]

By now, Dr. Loco's Rockin' Jalapeño Band has a reputation up and down the California coast. Their fun-loving style is broad in its range, from cumbias like this…to Dixieland, the blues, or a mix of gospel and soca, with a little bit of Afro-Cuban percussion for spice. The members of this nine-piece band like to think of their work as Chicano world music. The band leader is Dr. Loco, also known as Professor José Cuéllar, PhD and chairman of La Raza studies department at San Francisco State University. Dr. Loco says his music is an example of what Chicano culture is all about, mixing and blending unlikely elements to create something entirely new.

We see Afro-Cuban rhythms that have been a part of our culture since the '20s. We see Germanic elements that have been part of our music since the late 1800s. We see indigenous rhythms and indigenous instruments and the reintegration and the influence of nueva canción of the '60s, the cha-chas and mambos of the '40s and '50s, the doo-wop of the '50s, and the rhythm and blues, and, more recently, the rap influence as well as influences from rhythms around the world: songo, soca, and et cetera. So we decided to call it Chicano world because we think it's Chicano music and it also represents the influences of the world on our music.

You know, you've also done something that is really somewhat daring. You've taken a term, “pocho,” which if it's used by a Mexican towards a Mexican, it can be taken as an insult that you're too pocho. That means you're too Americanized, but you've in fact taken this term, and you've said that you pocho-sized something.

Absolutely! We're very proud of being not only bilingual, actually multilingual, and not only bicultural but multicultural. And for the longest time, we were put down on the one side for being too Mexican and on the other side for being too anglicized or too Africanized. And uhh...we decided to, you know, take a cultural position in saying, “we're pochos and proud of it.” You know, somos bilingües. So what? In fact, we see that being bilingual, even when changing the lyrics, we're speaking to two different, actually, three different groups: monolingual English speakers who fill in the blanks, monolingual Spanish speakers who fill in the blanks, and bilingual razas, who trip off on how we can do this.

You mean they're the lucky ones out of…they're the luckiest ones because they can understand everything that's going on?

Well, they appreciate… you know, we appreciate it at a deeper level.

You can really hear the pocho-sizing of your music when you take a song, like "I Feel Chingon" from your album "Con Safos" or "Chile Pie" also from "Con Safos," both of these are like '50s remakes of Black songs, que no?

Absolutely, absolutely…those…I feel "Chingon" is our Jalapeño version of James Brown's "I Feel Good," and "Chile Pie" is the classic…a remake of the classic. It's always reverberated in the Chicano community…resonated. It's the "Cherry Pie."

[Dr. Loco's Rockin' Jalapeño Band music]

Black music is a very important part of the Chicano experience from the West Coast.

It's been an integral experience throughout. I mean, whether we're Chicanos in Tejas, we had the influence of the Louis Armstrongs and the Dixielands way back. I mean, Ernie Cáceres, Emilio Cáceres, the jazz musicians, were tremendous in the '30s, were influenced by Afro-Americans a lot from New Orleans, and then throughout the '40s and '50s, the blues had been strong. Some of our greatest blues singers, Chicano blues singers, have been tremendously influenced by the blues. Freddy Fender, you know, wrote "Wasted Days," the first Chicano blues.

Well, one of the themes that runs through most of your music is the idea of Chicano pride, and it's really especially apparent on your most recent CD called "Movimiento Music," but at some point, Dr. Loco, don't you feel like, for example, let's take "El Picket Sign." I mean, it sounded kind of predictable, kind of a throwback to the '70s or '80s, real staid, predictable, even like rhetorical kind of political music. I mean, at what point do you continue to talk, let's say, in music that is considered panfletária, really propagandistic, and, on the other hand, really wanting to do something that is communicating something else on a cultural level?

Well, you know, the reason we included that song…in fact, that song was the reason …the rest of the album grew out of that song, conceptually, for me, and that song was a song that we performed because the farm workers are still boycotting grapes and because we're so close to really having more and more people understand the dilemma of pesticides, you know, on our food and our jobs and how many people in Earlimart and in other communities are really suffering from these pesticides, and there's other…there has to be other ways of dealing with our food so that we have safe food and safe jobs.

Well, what do you say to people who believe that political music like this is really passé, that it's something of the past and that it's really from an old school, an old trend that's already gone?

Well, you know, I say to them, you know, the lyrics of "The Picket Sign," you know?

El picket sign. El picket sign. Boycott the Jolly Green Giant. El picket sign. El picket sign. Let's stop, run away in the street. El picket sign. El picket sign. Support the displaced workers. El picket sign. El picket sign. [unintelligible]. From San Antonio to San Francisco.

We were encouraged to produce the music because of the movement, not because of the other way around. We were encouraged by what seems to be conditions all around us.

The last piece on your CD is an interesting remake and an interesting version of "We Shall Overcome."

Nosotros venceremos. We shall overcome. Nosotros venceremos. Oh, deep in my heart, I do believe we shall overcome someday. ¡Soca, Loco!

We believe that this is the essential song for the movement of social justice. I mean, it has been…it's the one that's sung all over the world, from Tiananmen Square to Berlin to South Africa to the fields of California. So we decided to do a remake, our own remake blending something that would kind of reflect both its historical essence…and its rooted in the South and southern spirituals and the African American experience, but that has gone around the world and back, and with different and interesting influences. So, that's why we decided to do it in a blending of spiritual soca with Chicano Jalapeño flavor.

Speaking with us from KQED studios in San Francisco, Professor José Cuéllar, leader of Dr. Loco's Rockin' Jalapeño Band.

[Dr. Loco's Rockin' Jalapeño Band music]

In Kansas City, it was built as a peace and justice summit as African American and Latino gang members gathered to try to chart a new direction for urban youth. From Kansas City, Frank Morris reports.

The gang members, former gang members, and community activists who met at the Urban Peace and Justice Summit have announced goals to make their embattled neighborhoods and barrios safer and wealthier. They say a new generation of urban leaders has emerged from the summit and formed a coalition between African Americans and Latinos to stop gang violence. Nane Alejandrez is executive director of the National Coalition to End Barrio Warfare in Santa Cruz, California.

We're tired of seeing our mothers at the graveyard. I personally have lost 2 brothers, 7 relatives, 20 relatives to the penitentiary, and I am tired, and I come here as a peacemaker.

Summit participants have agreed to spread the urban peace movement to fight police brutality and to pressure President Clinton to create a half a million dollars’ worth of new inner-city youth jobs. For Latino USA, I'm Frank Morris.

In Orlando, proceedings are underway in the retrial of Miami policeman William Lozano, whose shooting of an African American in 1989 sparked three days of disturbances in Miami. Losano was convicted of two counts of manslaughter in an earlier trial, but that verdict was overturned when an appeals court ruled it may have been influenced by fears of inciting racial violence. The volatile case was moved from Miami to Orlando, then to Tallahassee and then back to Orlando, which has a larger percentage of Latinos than Tallahassee. A recent national survey says Hispanic parents differ from other ethnic groups in their support for the public schools. From Washington, Patricia Guadalupe reports.

According to a survey released May 11th in Washington DC by the National Parent Teachers Association, Hispanic parents are more confident than Anglo parents at the quality of public schools will improve. The survey, commissioned by Newsweek Magazine for the PTA, found that close to half of the Hispanic parents surveyed believe schools will improve over the next five years as compared to a third of Anglo parents. Carlos Sarsed, Director of News Stats in Austin, Texas compiled and analyzed the survey's Hispanic data.

Hispanic parents are feeling very responsible for the education of their kids, and interestingly, even Hispanic parents who were interviewed in Spanish who are primarily Spanish speakers, help their kids a lot in school. In many respects, the parents are learning themselves.

The survey also found that Hispanic parents, more than others, believe funding for schools is inadequate. For Latino USA. I'm Patricia Guadalupe in Washington.

According to the US census, more than 4 million Latinos voted in last year's presidential elections. Analysis of the data by NALEO, the National Association of Latino Elected and Appointed Officials, indicates Latino voter registration increased by 12%, nearly double the national average. Latino voter turnout is still well below the national average. I'm Maria Martin. You're listening to Latino USA.

This is news from Latino USA. I'm Maria Martin. According to the United Nations, US Latinos and African Americans enjoy a lower quality of life than people in many developing countries. Franc Contreras reports.

The report from the United Nations studied quality of life for people living in 137 countries around the globe. It's called the Quality of Life Index and it examines life expectancy, education, and purchasing power. The report found that, as a group, US Latinos fall way behind the US as a whole. The report says the non-minority population in the US has the best standard of living in the world, but Latinos ranked 35th worldwide. Life for Latinos in the US compares to people living in the former Soviet republics of Latvia and Estonia. And according to the report, US Latinos do just a little better than people living in Russia. The number one country in the world, according to the report, is Japan, but that country drops to number 17 when the treatment of Japanese women is taken into consideration. For Latino USA, I'm Franc Contreras in Washington.

We're doing a survey to find out how people feel about the repeal of the anti-bilingual ordinance, making Dade County bilingual again.

Estamos de acuerdo con esa ley de que sea bilingüe, no?

Why should we have to learn two languages where we stay here in America?

60% of the county speak Spanish, so yeah, I approve it.

Yo cuando comenzó la le ese estaba trabajando…

I remember when the law began and I was working, speaking Spanish with a coworker and some people came over and told me it was absolutely forbidden to speak Spanish.

From my understanding, is that I think it would probably better if anything because the government's going to be understood by more people.

And in case of a hurricane or something, these people got to know where to go, what to do.

I'm Maria Hinojosa. You've been listening to a sampling of opinions from Miami about the recent repeal of a 13-year-old English-only law, which prohibited the official use of Spanish in Dade County. The law was enacted in 1980 in the wake of the Maria boat lift from Cuba and the arrival of thousands of Haitian refugees. One observer said the repeal of the English-only amendment signals a new era of bilingualism and bi-culturalism in South Florida.

With us to speak about, if indeed this is a new era, and what it symbolizes, are Ivan Roman, a staff writer with El Nuevo Herald, Nancy San Martin, a general assignment reporter for the Sun-Sentinel, and Emilio San Pedro of WLRN Radio and a Miami correspondent for Latino USA. Welcome to all of you and muchos gracias, thank you for joining us. Many people are talking about this, in fact, as the dawn of a new political and cultural era in South Florida. Does this, in fact, set the stage for a whole new political reality in that area?

It's not so much the repeal of the ordinance that's going to foster that change. I think that a lot has happened in Miami and this is just a step in the right direction. It's the first concrete example of working together in unity, if you will, from the standpoint of politicians or leaders in the community taking a certain position with this issue. I think a lot will follow.

Well, the people were saying that in fact this could, in many of the reports there were questions of whether this was going to increase ethnic divisions. What is the reality there? Is this in fact going to divide more groups? Or has this brought together the minority groups in the Miami area to say, look, if we work together, we're not a minority, we're a majority and we have political clout and can do things?

I think we can look at a combination of factors there. If we look at the new composition of the county commission, we have six Hispanics and four Blacks on it. In addition, three non-Hispanic Whites, and the commission has made it clear, everyone on that commission, that they're looking towards change, they're looking towards working together. One of the ways to do it is with repealing this law.

Another thing that has happened in the last few weeks was the ending of the Black Boycott of Miami, the Black Convention Boycott. There are just a series of factors in which basically what's happening is a realization of the changes in Dade County and just getting rid of the vestiges to reflect the reality in Dade County that's been happening for the last 10 years, that it is a community with a bunch of different groups that need to work together and the leadership is finally saying, look, let's work together and let's deal with all these different vestiges that keep us apart.

Was there any one specific thing that really set the stage for these groups beginning to work together and as you say, Ivan, realizing that this is the reality in the Miami area?

I think the redistricting of the county commission and the way that the commission is set up and voted on, I think that was this very significant focal point and that was when things started to really perhaps change because of the way that the commission has changed and the diversity on the commission, as Ivan was mentioning, has made it possible for all these things to come up again, things that were had become law and were not discussed for quite a while.

People realize that to get anything done, you need a coalition. If you have six Hispanics and four Blacks and three Whites on a commission, you realize that you have to establish coalitions to get anything done. You just can't not do anything. I think another thing that happened, is the success of the boycott was finally making the leaders here realize that something needed to be done to ensure the economic health of the county, and at the same time, the hurricane I think was very helpful in making everybody realize here that everybody needed to work together to help.

What was interesting for me was that there was not only divisions on the issue of the English-only law between for example, Latinos and African Americans or Anglos, for example. We also saw heated confrontation between Latino groups. Not all Latinos wanted to repeal the English-only law.

Well, I think it's good that they can speak their own language, but I don't like to walk in a place where nobody speaks English even though I do speak Spanish and I'm Cuban.

I think you're right, that both sides had a combination of Latinos or Blacks and non-Hispanic Whites did speak on both sides of the issue, but I was at the meeting and the pro or anti-repeal folks were certainly a lot smaller. The interesting thing also was that just using Hispanics and Haitian as an example, in recent events, those two particular groups have been on opposing sides, and for the first time in recent months, you saw both facets fighting for the same thing, and that was to repeal the ordinance. I think it was clearly a demonstration of unity that had not been seen in recent months here, and I think it's a good sign.

I also think that younger generations of Hispanics here in Miami, because of increased immigration, daily immigration every day, and a strong identification of Hispanics in Dade County with their culture and with their ancestry, especially in the Cuban community, that it's much harder to have a particular Hispanic group that would be against a law that in essence attacks or sub-estimates Spanish, which is part of what they are. So, I think that, of that group that you're mentioning, I think is a very minor thing in this community.

However, in many cases, I think the discord in relation to the law that was just passed is because a lot of people don't really understand what the law really means. I mean, when you ask them, when you go out and interview them and you talk to them about it, to many people it's a matter of pride. It's a matter of defining your stake in this community. And I think for them when they talk about it, they say things like, I don't want to be forced to learn Spanish. That's one of the things I hear all the time, and I don't think the law is about forcing anyone to learn Spanish or Creole or any other languages spoken here. Also, among the Haitian community, they don't really know what role this will play in their language, Creole being also spoken or translated or, and used in county documents.

You know, it's not that the law is really going to change anything. It's not that the previous law really did anything that would change much that was of substance. It's largely symbolic. It's people trying to define what American culture is. We're still hearing all of these catchphrases about, well, people should adapt to what American culture is, and everybody's trying to define what that is. And in Dade County, people are saying, no American culture is not necessarily what you would define as American culture in the Midwest. It's reflective of different groups that are here and we all have something to contribute. So it's a redefinition of American culture, and people who don't want to define it that way and want to resist any change to what they understand as American culture, take this as a very symbolic and important issue when, in essence, practically, it really means nothing.

Thank you for joining us from Miami, Ivan Roman of El Nuevo Herald, Nancy San Martin, a general assignment reporter for the Sun-Sentinel, and Emilio San Pedro of WLRN Public Radio.

In the poverty-stricken South Bronx, a controversy has erupted over the alister of an activist Puerto Rican minister. Supporters of Episcopalian priest, Father Luis Barrios, who preaches liberation theology want him reinstated at St. Anne's Church. But his superiors say Father Barrios has gone beyond the boundaries of a good Episcopalian minister. From the South Bronx, Mandalit del Barco reports.

[Background--Sounds--Crowd chanting] Supporters of Reverend Luis Barrios have been rallying with protest songs and prayers in front of the city's episcopal cathedrals, St. John The Divine. On May 19th, the popular priest was suspended from his parish at St. Anne's Church without explanation by Episcopal Bishop Richard Green. Parishioners of the mostly working-class Puerto Rican parish are furious over Barrios's suspension from a church that's been politically active since the 1960s.

Es una injusticia y te lo que estan hacienda con el porque el padre barrio… [Translation--Dub--English]

Other priests have been doing exactly what Luis Barrios has been doing, and they have not been removed, they have not been taken out, they have not been suspended, and that's our concern that it's because he is the Puerto Rican priest at South Bronx that he's being removed.

Episcopal Bishop Richard Green, who notified Barrios of his suspension in the letter has been unavailable for comment and he reportedly refused to discuss his reasons with St. Anne's vestry, but his spokesman told the New York Times that Barrios had displayed vocational immaturity when he blessed the unions of gay couples and when he allowed a Roman Catholic priest and bishops from so-called schismatic churches to use St. Anne's. [Background--Sounds--Crowd chanting] On a recent Sunday, Barrios's supporters calling church leaders homophobic and racist rush the altar of St. Anne's Church chanting in solidarity and forcing a replacement priest to cancel mass. Meanwhile, this protest continued, Father Barrios has been waiting it out in another church, St. Mary's in Harlem. Looking back, Barrios says his troubles began in January after he delivered a sermon critical of the church.

My concern in that a particular moment in that sermon was that we talking about justice and transforming this society and the church need to play a very important role in changing society and getting into something that we call justice, but we need to start doing some cleaning inside the church. So my biggest concern, and it's still my biggest concern, is that we are in a church that is racist and homophobic, and if we are not going to deal with this, how we going to deal with the society preaching what we are not really practicing.

As a black Puerto Rican, Barrios wonders of his work for independence of the island led to his suspension, or perhaps he says it was his support for gay and lesbian rights, but being politically active is something he's always believed in, even as a child in Santurce, Puerto Rico.

The whole point was that I grew up in a church where the priest was a member of the Puerto Rican Socialist Party and at the same time a very respectful priest in the denomination. And I never saw the contradiction between politic and religion. And of course he always told me that do not believe that there is a separation between politic and religion. So I grew up with that in my mind.

Barrios is still waiting for church superiors to communicate with him directly. He also believes church leaders underestimated the impact of their action on St. Anne's worshipers.

This is a Latino Black priest. Nobody's going to do nothing or sometimes is this racism that do not let you see that this person has some capacity or some organizational skill. So they took it for granted that nothing was going to happen and said, oh God, that's very dangerous to commit that kind of stupid mistakes.

Supporters say they plan to keep the pressure on until Father Barrios gets a public apology and is reinstated. Church officials, meanwhile, still decline to comment on the case. For Latino USA, I'm Mandalit del Barco in New York.

Four years after he was convicted in the shooting deaths of two African American men, Miami police officer William Lozano was acquitted of those same charges. After a second trial held in Orlando, Florida, the not guilty verdict in this racially charged case did not set off the widespread racial violence that many had predicted. In a round table of Latino reporters, Miami-based correspondent Ivan Roman, Nancy San Martin, and Emilio San Pedro say that's because many things have begun to change in Miami's minority communities.

The symbolic leader and the man who speaks for the African American boycott of tourism, HT Smith. He says that there have been a lot of changes in the last four years for African Americans, things that have made a difference, things that have made them feel that perhaps there is some hope, for example, that there are two Congress people representing African Americans from Florida, and that makes a statement for African Americans, the changes in the county commission. So, the situation he feels, and a lot of African Americans feel that the situation now in 1993 is not the same as it was in 1989. That's not to say that everything is fine and that everybody is, and that no one has any problems. But the point is that there is some sign that there can be some hope and that there isn't that feeling of despair that may lead people out into a riot-type situation, and that's the kind of thing that they were looking for with the boycott to bring up all these topics.

Let's talk a little bit about the background. What was at the heart of the tensions between Latinos and African Americans in the area? And in fact, there were many efforts by the local government there to ease those tensions. Have they been effective? Do the same problems still exist, and do the misunderstandings still abound, or is there, as you say, Emilio, there's a move now to say, well, things have really changed between African Americans and Latinos in the area?

There have been efforts, continuous efforts by community groups to get together to discuss their differences, and the key issue really is economic empowerment. The key issue is hopelessness because of economics, because Blacks many times are stuck in communities in day county that are basically the communities that are deprived economically and socially. They're the first communities that they want to get the schools out of. They're the first communities that they don't pick up the garbage. They're all these things that are starting to get addressed, and so people feel, okay, well let's give it another chance. Let's see what happens. Let's figure out ways to try to diminish these tensions. And they have worked a lot on it since 1989. I'm not telling you they're all the way there, but at least they've made some efforts and they're definitely trying to get rid of or quell the opportunists who will go out and riot anyway because they always are, but at least they've made some effort and people see that.

I was going to say that I think the biggest change since the riots has been that there's been a lot of communication, and I think that's the key factor. The county has a board called the Community Relations Board, and it consists of community leaders from all facets of the community who meet periodically to discuss precisely that and vent out frustrations that the community may be feeling. Since the beginning of the Lozano trial, that group has been meeting monthly to discuss ways to prevent violence and create a understanding between the various communities. And I think that's been real effective because people have been able to say what's on their mind and get the anger out before it's too late.

What's interesting is that, I don't think that across the country people necessarily look to the Miami area as one that was breeding this new kind of multicultural acceptance and living together. Do you guys sense that there's a possibility that Miami and what's happening there may in fact, have some kind of a national impact?

People tend to put Miami in a certain perspective and they don't think that maybe there is a whole sector of people that are starting to learn and appreciate each other's cultures, and I think that is something that's starting to happen in Miami. It took a while, but I think that there are Latinos who attend events in the Haitian community cultural events. There are Haitians that go to Miami Beach and take part in the South Beach environment. That's not to say that everything is coming together rapidly, but I think that there's an appreciation of other cultures in Miami that perhaps does not exist around the United States. And I think yes, in some ways Miami can become a model for people getting along.

Thank you all very much, Ivan Roman of El Nuevo Herald, Nancy San Martin, general assignment reporter for the Sun Sentinel, and Emilio San Pedro of WLRN Public Radio.

75 year 75-year-old Rosada Vaquerano calls Barrios's suspension an injustice, saying his work has empowered the South Bronx, one of the poorest communities in the country. As a proponent of liberation theology, Barrios believes it's a church's duty to work for social justice. Besides establishing a gay and lesbian ministry, Barrios created programs for Puerto Rican political prisoners and immigrants. He helped start a needle exchange program to fight AIDS and protested a medical waste incinerator in the neighborhood. St. Anne's church runs the only soup kitchen in the South Bronx and it's the home of the Pregones Theater Company. United Methodist Reverend Eddie Lopez is one of many clergy supporting Barrios.

The new Cesar Center for Chicano Studies will be part of UCLA Center for Interdisciplinary Instruction, which the university says has been in the works now for several years.

In New York City, a group of Dominicans, Puerto Ricans and Panamanians is forming the first ever Latino chapter of the NAACP, the National Association for the Advancement of Colored People. From New York, Mandalit Del Barco has more. [nat sound, music]

Discrimination was not the first worry of the Latinos who joined to form the first Hispanic chapter of the Civil Rights Organization, crime was. Reverend John Flynn, who is part of the group, says since 1989 he's presided at the funerals of more than 30 young people who have been killed in the streets of Crotona, one of the poorest communities in the country. The young people there live in despair, he says. There are no jobs and the only money they can get is in the streets selling drugs.

It was the perception that no one in high places listens to the problems of people in the Bronx that led area resident Austin Jacobs to call on his brother-in-law, Ben Chavis, the NAACP's executive director. Chavis cheered the efforts of the first Latino NAACP chapter and said he would like to expand the organization even farther into Latin American and Africa. The NAACP was founded in 1909 to fight discrimination and to empower people on a grassroots level. For Latino USA, I'm Mandalit del Barco in New York.

From Austin, Texas. You're listening to Latino USA. Los Angeles, California, has elected its first Republican mayor in over 30 years. While most of the city's political establishment had supported the defeated candidate, Chinese American city council member Michael Woo, some analysts predict Latinos may stand to benefit politically under the new mayor Richard Riordan. Alberto Aguilar has this report.

Latinos took a keen interest in the mayoral campaign, with most of the political leadership, including a state assemblyman Richard Polanco, county supervisor of Gloria Molina, state Senator Art Torres supporting the defeated candidate Michael Woo. Only Councilman Richard Alatorre broke with fellow Democrats to yearn Republican, Richard Riordan. Loyola University political science professor Fernando Guerra believes having a Latino political operator inside the Riordan organization might be advantageous.

If Richard Alatorre had not gone over to Riordan's campaign, that means that every single Latino elected official who did endorse one of the two candidates would've endorsed Michael Woo. This way you have somewhat of an entree to the Riordan mayoral team.

Guerra believes the costliest race in the city's history may have helped Latinos come closer to the mayor's office.

With Mayor Bradley's leadership, Blacks have been at the forefront. At the congressional level, there are now more Latinos than Blacks from LA County. At the state level, there are now more Latinos than Blacks in LA County. So that Latinos have actually surpassed, in terms of absolute numbers, Blacks. And they are now, I would say, the dominant minority group in Los Angeles politics.

Whether the new mayor will help promote Latinos, still unclear. What is obvious, according to local observers, is that allegiances were clearly visible, especially on issues of interest to Latinos, something not seen around here in a long time. For Latino USA from Los Angeles, this is Alberto Aguilar reporting.

This is Maria Hinojosa. It's estimated that in the United States alone, there may be as many as a million practitioners of the religious tradition known as Santería. The Afro-Cuban religion, whose followers turn for guidance to deities called Orishas, recently came into the spotlight when the US Supreme Court ruled that Santería's practice of sacrificing animals, such as roosters, is protected by the freedom of religion clause of the First Amendment of the US Constitution. With us from Miami to speak about that ruling and what it means to practitioners of Santería is anthropologist Mercedes Sandoval, author of several books on Santería and an expert on Afro-Cuban religions. Welcome to Latino USA, Mercedes.

Thank you very much.

Now the ritual sacrifice of animals for the Orishas or the saints was banned in the Florida city of Hialeah in 1987. What was the impact of that ban, and how do you think things are going to change with this Supreme Court ruling?

Since the very moment that the Supreme Court, for instance, has lifted that ban, it means that santerians are not going to be persecuted for sacrificing animals, and it takes that stigma out, and I hope that the authority will be more interested in persecuting real criminals than people that are practicing a religion that doesn't have to have any connotation of antisocial behavior.

Were people in fact persecuted because of practicing animal sacrifice?

Not really, but they could have. Sometimes they were arrested not only because of that ban, but because of complaints that the authorities received from different association for the defense of animals, and so, or for neighbors that were nervous. You have to have in mind that there is a lot of other repercussions outside of the actual sacrificing of animals.

Now in Spanish, the word Santería means the way of the saints, and in fact, the religion has a very holistic spiritual interpretation of human beings and their environment, their surroundings. But in fact, many misconceptions exist about Santería, that it's like a black magic or it's voodoo. How much do you think those misconceptions played into the original banning of animal sacrifice in Hialeah, and how much do those misconceptions still exist?

Well, first of all, Santería, does have a reputation. It is an African religion. A lot of the rituals are carried out in a way that is practically secret. Then, there is some reliance in magical practice, much more so than other more European type of religious systems, and therefore a lot of people go to this religious system looking for protection. And in some instances magical practices are, try to be used to protect yourself and even to attack an enemy. This is actually true. However, I believe that because it is an unknown religion, because it has an African origin, they have been misunderstood and suffered a lot of discrimination.

Do you think that the Supreme Court ruling, which basically is now protecting the sacrifice of animals under the First Amendment, the freedom of religion clause, do you think that this is going to have an impact on how people see Santería and how people see the issue of animal sacrifice in this country?

Yes, I believe that. I believe that first of all, it has a practical impact. It gets the authorities off the back of the santeros. All right? That's very important. I think it legitimizes their practices. That's what it's doing. If the supreme law of the land takes off the ban, it's legitimizing these religious practices, and then Santería will not be in any way associated with satanism. That has nothing to do with Santería.

Thank you very much, Mercedes Sandoval, who is an anthropologist and an author of several books on Santería and is an expert on Afro-Cuban religions.

And finally, to get a poet's perspective on this year's National Association of Hispanic Journalist Conference, we turned to José Burciaga. He watched and listened as journalists mingled. Burciaga found a feisty network of Latino media professionals and evidence in the form of a fruit that there is still much more work to be done in consciousness raising.

It was a study of appreciation and diversity. Latino journalists could not take each other at face value. Blonde, blue-eyed, or African-American journalists could have easily been of Mexicano, Puerto Rican, or Colombian descent. The presence of women was strong, beginning with association president, Diane Alverio, who did express a lack of diversity in news media management. Only 3% of Latino journalists are managers.

At a noontime luncheon, Leonard Downie, executive editor of "The Washington Post," lamented the lack of training among all journalists. Despite the diversity of the term "all," he was taken to task for something Latinos hear a little too often: "You are ill prepared."

There was networking, interviewing for new jobs, old jobs, and workshops on everything from covering the Supreme Court to how to write a book. The conference was dedicated to the memory of Cesar Chavez with United Farm Worker Vice President Dolores Huerta giving a plenary session speech. Organizers had made sure no grapes would be served at the hotel, this to honor the United Farm Worker grape boycott. Nevertheless, an evening reception hosted by the "Chicago Tribune" featured the typical hors d'oeuvre fare crowned with a pineapple surrounded by two luscious mounds of forbidden grapes. Bothered by the hypocrisy and insensitivity, I placed the grapes on a silver tray, covered them with a napkin, laid the tray on the floor, and applied gentle foot pressure on the plump, juicy grapes. With a boycott sign over the squashed grapes, I placed the tray at the floor entrance, but this was not the end.

The word spread, and grapes were spotted at another reception on the terrace of the Freedom Forum office building. Hispanic Link News Service publisher Charlie Ericksen, carefully dumped them over the side of the 25th-floor terrace. No grapes were reported to have survived. And still, this was not the end. At another reception given by the Organization of American States, grapes were again served. This time I gave them a gentle warning, and the grapes were removed.

The OAS reception and grape boycott were a fitting end to the NAHJ conference. As I looked across the Grand Halls bedecked with the many colorful flags representing our mother countries, we invoked the memory of Cesar Chavez.

Poet José Antonio Burciaga lives, writes, and paints in the San Francisco Bay Area.

In a narrow five-to-four decision in a case challenging the North Carolina Congressional District, which for the first time since Reconstruction has selected an African American, the US Supreme Court has ruled that minority districts drawn with widely separated boundaries may violate the rights of white voters. Reaction to the ruling by minority voting rights organizations was universally negative. Patricia Guadalupe has this report.

In a narrow five-to-four decision in a case challenging the North Carolina Congressional District, which for the first time since Reconstruction has selected an African American, the US Supreme Court has ruled that minority districts drawn with widely separated boundaries may violate the rights of white voters. Reaction to the ruling by minority voting rights organizations was universally negative. Patricia Guadalupe has this report.

Latino reaction was highly critical of the Supreme Court decision, allowing challenges to congressional districts that were specifically drawn to increase Black and Hispanic representation in Congress. Steven Carbo of the Mexican-American Legal Defense and Educational Fund in Washington DC.

Latino reaction was highly critical of the Supreme Court decision, allowing challenges to congressional districts that were specifically drawn to increase Black and Hispanic representation in Congress. Steven Carbo of the Mexican-American Legal Defense and Educational Fund in Washington DC.

It's been recognized that in order to overturn what historically has happened, that legislatures would have to be race-conscious and maximize political opportunities by creating majority-minority districts. The decision by the Supreme Court seems to question that whole framework. Frankly, if we can't be race-conscious in things like drawing majority-minority districts, then how do we make the Voting Rights Act a reality?

It's been recognized that in order to overturn what historically has happened, that legislatures would have to be race-conscious and maximize political opportunities by creating majority-minority districts. The decision by the Supreme Court seems to question that whole framework. Frankly, if we can't be race-conscious in things like drawing majority-minority districts, then how do we make the Voting Rights Act a reality?

Two of the congressional districts that could be affected by the Supreme Court decision, one in New York and one in Illinois, have a majority population of Latinos and were created only recently to represent that majority. Democratic Congressman Luis Gutierrez of Chicago represents one of the districts.

Two of the congressional districts that could be affected by the Supreme Court decision, one in New York and one in Illinois, have a majority population of Latinos and were created only recently to represent that majority. Democratic Congressman Luis Gutierrez of Chicago represents one of the districts.

It's 65% Hispanic, but only 40% of the voters are Hispanic so that non-Hispanics make up the vast majority and indeed are the single largest group. I never believe in an electoral process that you guarantee any ethnic or racial group a seat in the Congress of the United States. But you do have to guarantee us a fair and equitable opportunity.

It's 65% Hispanic, but only 40% of the voters are Hispanic so that non-Hispanics make up the vast majority and indeed are the single largest group. I never believe in an electoral process that you guarantee any ethnic or racial group a seat in the Congress of the United States. But you do have to guarantee us a fair and equitable opportunity.

Even though Latino groups said they were surprised and caught off guard, all are mounting legal fights around the country to challenge the Supreme Court decision. For Latino USA, I'm Patricia Guadalupe in Washington.

Even though Latino groups said they were surprised and caught off guard, all are mounting legal fights around the country to challenge the Supreme Court decision. For Latino USA, I'm Patricia Guadalupe in Washington.

Long before the word ‘multicultural’ came into popular usage, it was reflected on the public television children's program, Sesame Street. Now, the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

Long before the word ‘multicultural’ came into popular usage, it was reflected on the public television children's program, Sesame Street. Now, the program is making an extra effort targeting minority children with special cultural curricula. This year, the Emmy award-winning show is placing an emphasis on Latino culture as Mandalit del Barco reports from New York.

[Latino Sesame Street Music]

[Latino Sesame Street Music]

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. [Latino Sesame Street Music Highlight] With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a mariachi band and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks, and visit a community center known as La Casita. This year, the spotlight will also be on the new fluffy blue bilingual Muppet, Rosita.

As Sesame Street becomes more bilingual, even the theme song incorporates Latino rhythms. [Latino Sesame Street Music Highlight] With this season's emphasis on Latino cultures, viewers can watch Big Bird leading a mariachi band and Oscar the Grouch dancing the Mambo with Tito Puente. Sesame Street is visited by Chicano rock band Los Lobos and New York's Puerto Rican folk music group, Los Pleneros de la 21. The show goes on location to barrios in Los Angeles where kids paint a Mexican mural, and in New York where they make Puerto Rican masks, and visit a community center known as La Casita. This year, the spotlight will also be on the new fluffy blue bilingual Muppet, Rosita.

Hola amigos como estan?

Hola amigos como estan?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Si, si. Yes. Yeah. I'm trying to help my friends to speak Spanish. And all my other friends that they're watching us, I'm trying to let them know that if they speak Spanish like me, and English, they have to feel proud because they're very lucky to speak two languages.

Si, si. Yes. Yeah. I'm trying to help my friends to speak Spanish. And all my other friends that they're watching us, I'm trying to let them know that if they speak Spanish like me, and English, they have to feel proud because they're very lucky to speak two languages.

[Clip of Sesame Street] Abierto? Yes, certainly. Abierto is the Spanish word for open. Abierto!

[Clip of Sesame Street] Abierto? Yes, certainly. Abierto is the Spanish word for open. Abierto!

For many years now, Sesame Street has been teaching kids a few words in Spanish like hola and adios. But what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

For many years now, Sesame Street has been teaching kids a few words in Spanish like hola and adios. But what's different is that with its new Latino curriculum, preschool viewers will also be taught an appreciation of the diversity of Latino cultures.

El Mundo.

El Mundo.

[Clip of Sesame Street] That's the word, all right? And we are moving into...

[Clip of Sesame Street] That's the word, all right? And we are moving into...

[Background music] Puerto Rico.

[Background music] Puerto Rico.

[Background music] Puerto Rico, it is, but look.

[Background music] Puerto Rico, it is, but look.

Cotorra!

Cotorra!

[Background sounds of Sesame Street]In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character Maria on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

[Background sounds of Sesame Street]In studies of preschoolers, researchers for Sesame Street found Puerto Rican children have poorer self images than white or African-American children. The Latino kids had negative feelings about their hair and skin color, and the majority of white and African-American children in this study said their mothers would be angry or sad if they were friends with a Puerto Rican child. Actress Sonia Manzano, who plays the character Maria on the show says that's why the Sesame Street producers decided to devote the season to addressing issues of self-esteem and pride among Latinos.

I had the opportunity to write a show where Maria's family comes to visit. And I wanted everyone in Maria's family to be a different skin color because that occurs in a lot of Hispanic families, Puerto Rican especially, is that there are people of different skin colors in the same family. And actually have a puppet say, "Wow, but he's darker than you. How could he be related? Or she's lighter than you. How could she be related to you?"

I had the opportunity to write a show where Maria's family comes to visit. And I wanted everyone in Maria's family to be a different skin color because that occurs in a lot of Hispanic families, Puerto Rican especially, is that there are people of different skin colors in the same family. And actually have a puppet say, "Wow, but he's darker than you. How could he be related? Or she's lighter than you. How could she be related to you?"

For the last 20 years, Maria and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's fix-it shop

For the last 20 years, Maria and Luis have been two of the human characters on the show. In that time, they got married, had a child, and are partners in Sesame Street's fix-it shop

Here, Luis and Maria, who are both Latinos are regular people. I mean, they own a business, they have a family, they're just regular people. They work like everybody else. They brush their teeth, they comb their hair, whatever. It's the role model is, hey, they're just like everybody else. And that's important to show.

Here, Luis and Maria, who are both Latinos are regular people. I mean, they own a business, they have a family, they're just regular people. They work like everybody else. They brush their teeth, they comb their hair, whatever. It's the role model is, hey, they're just like everybody else. And that's important to show.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

Actor Emilio Delgado, who plays Luis, says, since its beginning, Sesame Street was way ahead of most US television shows in realistically portraying Latinos.

20 years ago, when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either. [Background sounds of Sesame Street music]

20 years ago, when we first started doing this, I don't remember any Latinos on a regular basis on television. As a matter of fact, I can't think of any right now either. [Background sounds of Sesame Street music]

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Sesame Street is now in its 24th season. For Latino USA, I'm Mandalit del Barco in New York.

Oh, that was great. Well, this is big bird leaving you with one final word, Viva! [laughter] [Children yelling] [Wooshing sound]

Oh, that was great. Well, this is big bird leaving you with one final word, Viva! [laughter] [Children yelling] [Wooshing sound]

Hollywood movies and television commercials often give us quick, concise images of people and places along the US-Mexico border. Going beyond those media-made notions towards real understanding is difficult, even impossible. Without firsthand contact. In the nation's capital, there was an attempt to go beyond those media images of the border. It was part of the Smithsonian Institution's annual Festival of American Folklife. But as Franc Contreras reports from Washington, real, cultural understanding required more than a taste of border foods or the sounds of border music.

[Natural sounds of Washington D.C.] Some young guys from Mexicali were standing in a crowd between the Capitol building and the Washington Monument. They wore baggy pants, some had dark glasses, and others' headbands pulled way down low. To some people, they looked like gangsters, but they're not. They're cholos with a distinctive style of dress that comes straight from the border. Suddenly, they started speaking Spanish out loud.

Bueno, aqui pasa todo los dias la patrulla fronteriza. Que tal si sacamos la lengua?

Border patrol goes through here every day. Let's stick our tongues out at them.

[Natural sounds of Folklife Festival] Then from behind a food stamp where some beans were cooking, A guy came out wearing all white with a pointed hood clan style. [Highlight, natural sounds of Folklife Festival] It was the border patrol chasing down one of the Cholos people watching realized it was a play by a theater group from Mexicali, a border town south of California. The actors were hitting one of the main issues on the border, immigration. Their translator is Quique Aviles.

A lot of people complain that they don't understand because the show is being done in Spanish, but at the same time, that's what life is. When Latinos come here, we don't understand either. So, we were talking about that last night. It's sort of like returning the favor.

A woman walked past us, dressed like the Virgin of Guadalupe, the patron saint of Mexico. She went past a display where a man was making guitars by hand, past a group of muralists from El Paso who were painting an eagle, and over to a food stand where a Black woman who speaks only Spanish was serving tamales and Tecate beer, and next to her was a woman from Texas.

We're breaking a lot of preconceived ideas, a lot of biases that perhaps have been most influenced by the media.

Cynthia Vidaurri teaches at the Southwestern Borderlands Cultural Studies and Research Center in Kingsville, Texas. She says, the American Folk Life Festival in Washington is an opportunity not only for people who've never seen the border, but also for people who've come here from the border to share their cultures.

The rest of the world perceives us as what the media makes us out to be, the movies, the news, and they're really thrilled to have a chance to say, this is who we are. We are living, breathing human beings that have the same needs as you do. We just take care of those needs in a slightly different fashion.

That sounds fairly straightforward, and some people walked away from here with more understanding about the people of the borderlands, but not without some effort. At one display, Romi Frias of El Paso was trying to explain to some people from Delaware, what a low rider is, you know, a highly stylized car, usually an older model with small thin tires, maybe a mural painted on the hood and lowered about an inch from the pavement.

[Laughter] I tell people that it's really going to mess you up. You're doing about 55 and there's this monster pothole and you've got about an inch clearance. I've got a lot of friends that face that situation and unfortunately hadn't learned the hard way.

Later under a shaded area, there was a storytelling session. It was supposed to be about women on the border. An Indian woman from the Mexican side sat on the left. On the right was a white woman who works for the US Border Patrol in the middle of the two women sat a university professor. He was monopolizing the discussion. Then at another storytelling session about immigration, the professor was taking over again. Some people in the back were saying it was typical. Here's this white male, the expert, not letting the others talk. After the session, I went over to him and learned his name is Enrique Lamadrid, a man of mixed races whose family migrated to the Americas from France and Spain like many others along the border. His family goes back generations. Lamadrid says he saw many surprised people at the folk fest who learned of the amazing cultural diversity along the border.

I mean, just the amazement that you can see in people's faces when they encounter these two black women over here from the black Seminole community. They're Mexicans. So these are really complex cultural entities.

Complex, like the land where they live. The border is often characterized by clashing cultural forces. Lamadrid says People living on the border cross the international boundary daily, but it's no big deal because it's part of their daily life. And he said the people living along the 2000-mile separating line did not come to the border. It came to them. Then he mentioned a series of treaties between the US and Mexico dating back to the late 18 hundreds. It's a complex history, a balancing act, he says, because the needs of border people compete with the national needs of Washington and Mexico City, and the result of that struggle is border culture.

But culture isn't in your blood. Culture is something that you learn. Culture and identities are things that are negotiated and forged every day of our lives as we live our lives out in specific areas of the country.

Lamadrid told me about a sewer line that broke during the festival Sunday morning. Smelly dark sewer water flooded a small area around some of the exhibits. He and the other said it reminded them of some border towns where pollution has become a major problem. But on the day the sewer broke, people taking part in the American Folk life Festival this year continued their efforts to share their life's experiences as the smell and humidity surrounded them. For Latino USA, I'm Franc Contreras in Washington.

Today on "Latino USA," Puerto Rico's political future discussed in the U.S. Congress.

We're trying to put once again on the congressional agenda the fact that the United States is a colonial power, that there is a unique and sad relationship between Puerto Rico and the United States.

And baseball goes bilingual.

[Sports Broadcast Recording] Y le muestra la señal, la manda, viene- strike!

Also, a farewell to Afro-Cuban jazz great Mario Bauzá.

Afro-Cuban is Cuban. That's why. I've got to keep a bunch of these Afro-Cuban rhythms.

That and more on "Latino USA." But first, Las Noticias.

[Transition--Afro-Cuban jazz]

Latin jazz great Mario Bauzá died July 11 of cancer in his Manhattan home, just blocks from where I live. Mario Bauzá, an integral part of New York's Latin jazz scene, was 82 years old.

I remember this great musician sitting on a milk crate outside a bodega, surrounded by friends, drinking coffee, and enjoying the simple things of life. You would've never known it by seeing him that this small, tender, smiley man had totally revolutionized American music.

In the 1940s, he influenced popular music by innovating a new musical style which mixed popular Afro-Cuban rhythms with American jazz.

Emilio San Pedro prepared this remembrance of Latin jazz legend Mario Bauzá.

[Afro-Cuban jazz]

Mario Bauzá was first exposed to American jazz in 1926, when he visited New York. In 1930, anxious to become a part of that scene, Bauzá left his native Havana for New York, frustrated that in Cuba, Afro-Cuban music was considered merely the music of the streets, not the music of the sophisticated nightclubs, country clubs, and hotels of pre-revolutionary Havana.

Had to happen outside of Cuba before the Cuban people convinced themself what they had, themself over there. They didn't pay no attention to that. When I got big in United States, Cuba begin to move into that line of music.

[Afro-Cuban jazz]

In the 1930s, Bauzá performed with some of New York's best-known jazz musicians, like Chick Webb and Cab Calloway. In fact, in those days, Bauzá was responsible for introducing singer Ella Fitzgerald to Chick Webb, thus helping to launch her career. It was also Bauzá who gave Dizzy Gillespie his first break, with the Cab Calloway Orchestra.

During their time touring and working with Cab Calloway, Mario Bauzá and Dizzy Gillespie, along with the Afro-Cuban percussionist Chano Pozo, played around with Afro-Cuban rhythm and jazz arrangements and created something entirely new: Afro-Cuban jazz.

[Machito--Sopa de pichon]

In the early 1940s, Mario Bauzá formed the legendary band Machito and his Afro-Cubans, along with his brother-in-law, Francisco Perez, who was called Machito. Bauzá was the musical director of the band, and he composed and arranged some of the group's most memorable songs.

[Machito--Sopa de pichon]

The sensation caused by Machito and his Afro-Cubans and by other Latin musicians in the 1940s made New York the focal point of a vibrant Latin music scene.

It's the scene of the Mambo kings you know, and that's why a lot of people will say Mambo is not Cuban music or it's not Mexican music. Mambo is New York music.

Enrique Fernandez writes about Latin music for the Village Voice.

It was here that this kind of music became very hot, that it really galvanized a lot of people, that had really attracted a lot of musicians from different genres that wanted to jam with it, and that created those great encounters between Latin music practitioners and jazz practitioners, particularly Black American jazz practitioners, that brought all this stuff together that later on, generated salsa and it generated Latin jazz and a lot of other things.

[Machito--Si si no no]

Groups like Machito and his Afro-Cubans were responsible for sparking a Latin dance craze in the United States, from New York to Hollywood. Mario Bauzá's sister-in-law, Graciela Pérez, began singing with Bauzá's orchestra in 1943.

Pero jurate que la música de esta…[transition to English dub] The music made by Machito's orchestra created such a revolution that you could say people began to enjoy because dance schools sprang up to teach the mamba and the guaguanco and all that [transition back to original audio]…el guaguanco todo todo.

Graciela and Mario left Machito's band in 1976 to form their own group, Mario Bauzá and his Afro-Cuban jazz Orchestra. Achieving recognition came slowly for the new band as general audiences lost interest in the traditional Afro-Cuban jazz sounds.

But in the late 1980s, Bauzá's music experienced a resurgence in popularity. His orchestra played to packed houses in the United States, Canada, and Europe. And in the last two years, Bauzá still active and passionate about his music, recorded three albums worth of material.

Meringue, meringue from San Domingo. Cumbia's cumbia from Colombia. Afro-Cuban is Cuban. That's why I've got to keep a bunch of these Afro-Cuban rhythms. Danzón Cubano, la danza Cubano, el bolero Cubano, el cha-cha-cha Cubano, el mambo es Cubano, guaguanco Cubano, la Colombia es Cubana.So I've got to call it Afro-Cuban, yeah.

In a 1991 interview, I spoke with Mario Bauzá about his extraordinary musical output.

You've brought out these great musicians, you've helped create or created Afro-Cuban jazz, brought Latin music and Latins to Broadway.

That's it.

And you're 80 years old.

Yes.

Many people at 80 years old are sitting by the pool or in the rocking chair and whatever. You don't look like it.

You know me. It ain't going to be like that.

What else could you do at this point, what more?

I don't know. I ain't through, I ain't through. I just wanted my music to be elevated. That's why I want to record this suite now. I want to see the word, music is music. You tell me what kind of music. I like any kind of music that we're playing. And that's what I tried to do, present my music different way. Some people might don't like this, don't like that, but when they hear that, they have a right to choose for. That's what I want them to do.

[Mario Bauza--Carnegie Hall 100]

Mario Bauzá worked steadily until his death. He recently released a compact disc on the German record label Messidor called My Time is Now.

For "Latino USA," I'm Emilio San Pedro.

[Mario Bauza--Carnegie Hall 100]

My friends, today, on the 25th anniversary of our birth, I pledge to you that the National Council of La Raza will carry on the struggle.

That's Raul Yzaguirre, president of the National Council of La Raza, the nation's largest community-based Hispanic organization. At its recent national conference in Detroit, NCLR celebrated its 25th anniversary, and as Latino USA's Vidal Guzman reports, "While many of its members believe great strides have been made for Latinos over the past 25 years, they also see challenges and struggles ahead."

The 25th annual conference of the National Council of La Raza opened with a retrospective hosted by actor Edward James Olmos.

The year is 1968, and it is a year of tragedy. First, Martin Luther King, then Bobby Kennedy are killed by assassin's bullets. For those neither black nor white, but brown. It is a momentous year. In that year, a great organization is born in Phoenix, Arizona. It was then called the Southwest County...

As I look back, and I saw the photos of the marches we were doing, we were fighting discrimination.

Ed Pastor, a founding member, went on to become the first Latino congressman from the state of Arizona.

I look back, there's a lot of stories of success that people have empowered themselves and there has been movement forward, but the irony of the whole thing is that we have a long way to go.

This was made clear with a release during the conference of a report called the State of Hispanic America. According to the survey, Latinos are more likely to be among the working poor than other Americans. In 1991, one third of Latino families living below the poverty line had at least one full-time worker. The authors say this challenges the stereotype of poor Latinos, as well for recipients. Another study released at the conference focuses on Latinos in the Midwest; up to now, a largely invisible population. John Fierro, one of the authors of the report is Director of Community Affairs at the Guadalupe Center in Kansas City, Missouri.

Well, I think overall what we've seen was Hispanics in the Midwest resemble the national scene as far as educational attainment. Both areas suffer from high dropout rates. Poverty is high, the income is basically similar, but a couple things that stand out to me is definitely the labor force participation among Hispanic females, that when you look nationally, Hispanic females rank third among blacks, whites and Hispanics. Whereas in the Midwest, they're leaders.

Everyone in attendance at this 25-year retrospective agreed great accomplishments and great strides have been achieved. However, they also felt that many of the original problems that the council began to tackle in the sixties have still not disappeared, but they left the conference feeling the 90s will provide many opportunities for continued progress. NCRL president Raul Yzaguirre, echoed that sentiment.

We will win because our issues are America's issues, because ending poverty and discrimination is not only the right thing to do, it's the smart thing to do.

For Latino USA, covering the National Council of La Raza's 25th anniversary in Detroit, Michigan, I'm Vidal Guzman.

The musical style known as La Nueva Canción, the new song movement, was beginning in the mid sixties and for 20 years, the signature sound of Latin American music. Founded by singers Violeta Parra and Víctor Jara of Chile and Atahualpa Yupanqui in Argentina. La Nueva Canción sought to create an awareness of Latin America's Indigenous musical heritage while addressing the region's political situation. Today, as younger generations identify more with the Rock in español, or Rock in Spanish movement, La Nueva Canción has lost some of its popularity. But a group of Latin American musicians living in Madison Wisconsin, believes strongly that La Nueva Canción is still alive and well. Even as they strive for a new sound fusing musical styles. Betto Arcos prepared this profile of the musical group called Sotavento.

[Transition Music]

Founded in 1981 by a group of Latin Americans living in Madison, Wisconsin. Sotavento's early recordings focused on the legacy of the Nueva canción movement. Traditional music primarily from South American regions played on over 30 instruments, but as the group grew musically and new members replaced the old ones, their approach to music making also changed.

[Un Siete--Sotavento]

For percussionist. Orlando Cabrera, a native of Puerto Rico, the band search for a new sound helps each member bring his or her own musical background.

We get together and someone starts playing a rhythm based on some traditional music, let's say from Mexico, from Peru. This person might ask, why do you play something there? Some percussion, for example, and at least in my case, my first approach will be to play what I grew up with. The things I feel more comfortable with. So if it fits and it sounds good, then we'll just go ahead and do something.

We are a hybrid. I mean we're all kind of different flowers that are being sort of sewn together and planted together, and what comes out is a very, very different kind of flower.

[Flute music] The hybrid group always searching for its own sound is how founding member Anne Fraioli defines the music of Sotavento and in their last recording, mostly original compositions. Sotavento takes Latin American music one step ahead by blending instruments and styles to form a new one.

[Amacord--Sotavento]

Sotavento's approach to composing and playing music is the group's artistic response to a top 40 music industry that overlooks creativity and experimentation. For Francisco López, a native of Mexico, this commercial environment and the group's principles of Nueva Canción have a lot to do with Sotavento's search for a new sound.

Nueva Canción has always been alive and always been alive because there's always somebody out there that is trying to produce new stuff, and that's what Nueva Canción is all about. Somebody that is uncomfortable with situations. Say for example, the commercialization of music.

According to lead vocalist, Laura Fuentes. The fact that the group's music may be heard on a light jazz or new age radio station proves that Sotavento's music is what is happening right now and that it is not completely folkloric or passe.

[Esto Es Sencillo--Sotavento]

However, Laura Fuentes believes that Sotavento's music is not specifically designed to sell. Sharing what they feel as artists is hard.

But it's worth it. I can't see us putting on shiny clothes and high heels trying to sell somebody something that we are not, something that people seem to be more willing to buy. I'd rather challenge people to hear the beauty in something different, something new.

[El Destajo--Sotavento]

For Fuentes, a native of Chile, Sotavento is also a way of establishing a connection between an artistic musical expression and its historical background.

[El Destajo--Sotavento]

An example of this connection is a Afro Peruvian style, known as Festejo, a musical style created by a small black community in Peru as a result of the living conditions they experienced during slavery.

[El Destajo--Sotavento]

In keeping with the tradition of the new song movement, Sotavento arranged music for a poem by Cuba's Poet Laureate, Nicolás Guillén. The poem called, Guitarra is for Sotavento's and Farioli a symbol of the voice of the people.

[Guitarra--Sotavento]

Wherever people are, there's going to be a voice, and I think my guitarra represents that voice, that's music, and I think it's also saying that people have to hold on to their roots. They have to hold on to their musical traditions, because it's those traditions that are really going to allow them to express who they really are, where they really come from.

[Guitarra--Sotavento]

This summer Sotavento will perform in Milwaukee and Madison, and in the fall there will begin a tour of Spain. The recording called El Siete was released on Redwood records. For Latino USA, this is Betto Arcos, Colorado.

I'm Maria Hinojosa. Today on Latino USA, remembering a 20-year-old case of police misconduct.

Santos is a symbol of what was happening to the Mexican-American community and the African-American community back in 1973. It can never happen again. It's like those bumper stickers: Remember Santos, nunca mas. Because there were a lot of other Santos' all throughout the United States. There's a lot of other Rodney Kings.

And the musical legacy of Cachao, the creator of the Mambo.

Cachao has been, in a sense, overlooked for his contributions musically to the world of music. Musicians know of him and anyone would say, "Oh, he's the master," but in terms of the general public, he's been really ignored.

That's all coming up on Latino USA. But first, las noticias.

The incident that happened 20 years ago with Santos Rodriguez certainly cast a shadow or a cloud over the city of Dallas.

Santos is a symbol, a symbol of what was happening to the Mexican-American community and the African-American community back in 1973.

20 years ago this summer, a 12-year-old boy named Santos Rodriguez was killed by Dallas police officer Darrell Cain. The incident occurred after the boy and his brother were pulled from their beds in the middle of the night, accused of breaking into a soda machine at a gas station. The boys denied taking part in the robbery. Santos was killed when Officer Cain attempted to wring a confession from him by playing Russian Roulette with a loaded gun. The incident ignited protests in Chicano communities throughout the country, and recently members of the Latino community in Dallas held a full day of events to commemorate Santos' life and death.

[Background--Hymns]

A memorial service for Santos Rodriguez was held at the Santuario de Guadalupe in downtown Dallas, just south of the neighborhood called Little Mexico. Now mostly an African-American neighborhood, back in 1973 it was the heart of the Mexican barrio.

In 1973 I was 14 years old and I didn't know Santos even though I lived about three blocks from his house.

Now, a member of the Dallas City Council, Domingo Garcia recalls the early seventies when Santos was killed, as a time when minorities had absolutely no political clout in Dallas. "We were invisible Dallasites," he says. "Vulnerable to mistreatment by authorities." He himself remembers being stopped often by the police.

Being put up against the wall and pressed. What was my crime? Happened to be brown, happened to be young, happened to be on the streets, especially if it was after dark. And it wasn't like just one time, it was just common, and it wasn't just common to me, it was common to most of my friends. And so, in that type of environment, the police were seen not as the people who protected you, who were there to serve and to protect, but in essence as an occupying force. And when you see that type of relationship between a community and a police department and in a political establishment, then you see the tragic consequences of what happened to Santos Rodriguez.

We're trying to make correction within the police department. That's the reason the Latino Police Officers Association formed nearly two years ago.

Dallas Police Officer Gil Cerda, President of the Dallas Latino Police Officers Association, says that, "20 years after the death of Santos Rodriguez, there are still problems with the city police department."

20 years ago it was more blunt. Hispanic police officers would face discrimination on a daily basis. Today it's faced covert. In other words, they're not going to come out flat outright and tell you, "Hey, you know what? I don't like Hispanic officers being on the police department," but it's out there.

Dallas police spokesperson, Sandra Ortega de King says, despite two shootings of Mexican men by Dallas police officers in recent years, the relationship between the city's police department and the Latino community is better, more lenient, she says than ever before.

They are listening a little bit more to the community because the community within the Dallas area has grown. Population of the Hispanics has grown so dramatically. Just the city of Dallas is 20% Hispanic.

Councilman Garcia believes relations between the police and the Hispanic community of Dallas have come a long way since the death of Santos Rodriguez, as the Latino community has grown and slowly become a part of the city's political structure.

As a police department is diversified, we've seen that now the police department is looked on on a more favorable light. Crime has gone down and the amount of police abuses has gone down. Before Santos, police abuse was institutional and systematic. After Santos it became more sort of haphazard. What we need to learn about Santos Rodriguez's death, is that it can never happen again. It's like those bumper stickers. Remember Santos, nunca mas, because there were a lot of other Santos' all throughout the United States, there's a lot of other Rodney Kings.

City council member Domingo Garcia of Dallas, Texas.

We've just heard a report about relations between the police and Latino community in the city of Dallas, Texas. With us on the phone to address the issue from the perspective of other communities, our attorney, Juan Milanes, legal counsel for Washington DC's Latino Civil Rights task force, and from California, professor Gloria Romero, chair of the Hispanic Advisory Council for the Los Angeles Police Commission. Welcome to both of you. Is there a problem, a historical problem between the Latino community and police departments across this country, or is it just a question of isolated incidents in certain areas?

In my mind, there's no doubt that it's a national issue, and I think that if we look at Washington D.C., if we look at Miami, Florida, if we take a look at Houston or Dallas or Albuquerque, Denver, LA, San Jose; in every community, historically, the issues of tensions between police and community have arisen. And that's not only in the contemporary period, but historically within the last 50 years. We can even go back to the Zoot Suit Riots in Los Angeles. So there is a legacy I think that's present.

Why is that legacy there? What is the root of the tension between police departments and the Latino community?

I think if you want to take a look at the underlying issues of police community tensions, you're looking at not simply the police, but what police symbolize. And to me, that comes down to taking a look at perhaps an institution of society that is there to maintain what people perceive to be an unjust order. And over the last 50 years, we have seen movements to raise the quality of life, to equalize conditions between Latinos and others in this society, and in that sense, as long as you're going to find inequity in just the day-to-day living standards of people, it's not surprising to find challenges to that order, which is there to maintain.

In Washington D.C. you saw a very large influx of new immigrants, which is the predominant group of Latinos here in Washington, that the city truly just wasn't prepared to deal with because the increase in the population has been exponential when compared to any other group. So that in the last 10 years, Hispanics have doubled in size here, especially with regard to the police department. So few Hispanics and so few bilingual police officers has led to the problem of cultural clashes as well as a language barrier.

In both of your communities, there have been studies and recommendations made about how to deal with the issue of police and Latino community relations. In the aftermath what has been done to address those issues?

Well, I think on one hand we still have to look at quote, unquote the aftermath. The aftermath is more immigrant bashing than ever. In Los Angeles you're looking at the picking up just recently of skinheads accu- basically ready to bomb. It was focused on the south central African-American community, but the issues around which this aroused the greatest sentiment was around issues of Rodney King police brutality. So I think we have to look at the aftermath. There is the criminalization of the Latino that is not new. We can go back 50 years again and it's still the Frito Bandito. You still have the Latino, the Mexican, the Salvadorian as the criminal illegal alien. That's the language that's being used. So I believe that yes, in Los Angeles and nationally we had the Christopher Commission report. We've had the Colts report, we've had the Webster's report and decades before we had the McCone Commission and the Kerner reports. We have had study after study after study, and these are significant and important, but the bottom line is I will continue to take a look at, until we as a society at all levels, federal and state and local, take a look at some of the underlying complications of economic, social, political, racial inequity. We can put all the reports we want in impressive array in our library shelves, but we're not getting to the root causes and consequences of tensions in the community into which police immerse themselves.

And in Washington D.C., Juan.

Not that different. One of the things that we found when we did our investigation was that officers would compete in the third and fourth police districts, which are the police districts with the largest Hispanic populations in the District of Columbia, would compete for what was known, Officer of the Month Award. The Officer of the Month Award is based on a number of different factors, one of which is number of arrests, and one practice would be that officers would routinely go into the poorer, most immigrant sections of the Latino community and pick up individuals on disorderly conduct arrests to basically hike up their own arrest records to be able to compete for that Officer of the Month Award, and would ultimately trump up charges against anyone for anything.

Well, thank you very much for joining us on Latino USA. Attorney Juan Milanes, legal counsel for Washington D.C.'s, Latino Civil Rights Task Force, and Professor Gloria Romero, chair of the Hispanic Advisory Council for the Los Angeles Police Commission. Thanks again, for Latino USA.

One of the featured musicians on Gloria Estefan's recent recording of traditional Cuban music, "Mi Tierra", is Israel Lopez. Also known as Cachao, Lopez now in his seventies, is just beginning to gain recognition for creating many of the familiar rhythms associated with styles like the mambo and el cha-cha-cha. From Miami, Emilio San Pedro prepared this musical profile.

[Transition--Cuban Music]

(Background music) In his younger days, Israel Lopez was known for his interpretation of traditional Cuban musical styles, like el son and danzón. Lopez comes from one of Cuba's oldest musical families and got his nickname, Cachao, from his grandfather, a one-time director of Havana's municipal band. Cachao recalls how after a while he and his brother, Orestes, became bored with playing the same old traditional danzónes, and created a new dance music called the mambo.

[Descarga Mambo--Israel “Cachao” Lopez]

Entonces en el año 37 entre mi Hermano y yo nos… [transition to English dub] In 1937, between my brother and I, we took care of this mambo business. We gave our traditional music, our danzón, a 180-degree turn. What we did was modernize it… [transition back to original audio] …lo que hicimos fue modernizarlo.

In the late 1950s, Cachao got a group of Cuba's top musical artists together for a set of 4:00 AM recording sessions that started after the musicians got off work at Havana's hotels and nightclubs. The group included Cachao's brother, Orestes, El Negro Vivar, Guillermo Barreto, and Alfredo León of Cuba's legendary Septeto Nacional. Cachao says he called those jam sessions descargas, literally discharges, because of the uninhibited atmosphere that surrounded those recordings.

En la descarga se presa uno libremente, cuando uno esta leyendo música no es los mismo… [transition to English dub] In the descarga you express yourself freely. When you are reading music it's just not the same. You are reading the music and so your heart can't really feel it. That's why that rhythm is so strong and everyone likes it so much… [transition to original audio] Fuerte! Y muy bien, todo el mundo encantado.

[Descarga Mambo--Israel “Cachao” Lopez]

Cachao left Cuba in 1962, but his association with the descarga, el mambo, and el danzón kept him busy in this country playing everything from small parties and weddings to concerts with top musicians like Mongo Santamaria, and Tito Puente. For young Cubans growing up in the United States, the music of Cachao and other artists has served as a link to their cultural roots.

His music has inspired me over the years and has brought solace to me and many times and has been a companion for me. Anybody who knows me will know that I carry tapes of Cachao with me in my pocket.

Actor Andy Garcia is one of those young Cubans on whom Cachao's music made a lasting impact. Garcia recently directed a documentary on the musician's life titled "Cachao...Como Su Ritmo No Hay Dos." "Like His Rhythm, There's No Other."

Cachao has been, in a sense, overlooked for his contributions musically to the world of music, world internationally. Musicians know of him and anyone say, "Oh, he's the master," but in terms of the general public, he's been really ignored. So it's important to document something, so somehow that would help bring attention to his contributions to music.

The documentary mixes concert footage with the conversation with Cachao. The concert took place last September in Miami, bringing together young and older interpreters of Cuban and Latin music in a tribute to Cachao and his descarga.

Very modest, extremely modest man. Quiet, shy.

One of the musicians who played with Cachao in that concert is violinist Alfredo Triff. He says, "The 74 year old maestro has lessons to teach young musicians that go beyond music."

He's such a modest person that in fact, I realized that he was the creator of this thing, this mambo thing. And I'll tell you what, not only me, I remember Paquito once in Brooklyn, we were playing, or in the Bronx, we were playing the Lehman College. And Paquito comes to the room and he says, Alfredo, you know that mambos, Cachao invented this thing.

Andy Garcia's documentary, "Como Su Ritmo No Hay Dos", is bringing Cachao some long-delayed recognition. And these days, Cachao is quite busy promoting the film, working on a new album, and collaborating with Gloria Estefan on her latest effort, "Mi Tierra", "My Homeland," a tribute to the popular Cuban music of the 1930s and '40s.

[No Hay Mal Que Por Bien No Venga--Gloria Estefan]

The album "Mi Tierra" has become an international hit in the few weeks since its release. The documentary, "Cachao, Como Su Ritmo No Hay Dos", has been shown at the Miami and San Francisco film festivals. Cachao also plans to go into the recording studio later this year to put together an album of danzónes.

Es baile de verdad Cubano, y se ha ido olvidado… [transition to English dub] It's the traditional Cuban dance, and it's being forgotten. Here you almost never hear a danzón. I wish the Cubans would realize that this is like the mariachi. The Mexican never forgets his mariachi. Wherever it may be, whatever star may be performing, the mariachi is there. It's a national patrimony, as the danzón should be for us and we should preserve it... [transition to original audio] …danzón…y debemos preservarlo también.

Cachao strongly believes in preserving Afro-Cuban culture and its musical traditions. He hopes to keep those traditions alive with his music. For Latino USA, I'm Emilio San Pedro.

[No Hay Mal Que Por Bien No Venga--Gloria Estefan]

[Highlight--Music--El Vez] You're pretty el vez, stand in line, make love to you baby, till next time. Cuz I'm El Vez. I spell 'H' hombre, hombre...(Cover of I'm a Man--Bo Diddley)

16 years after the death of Elvis Presley. Elvis lives in many forms. For instance, the dozens of Elvis impersonators out there, the teen Elvis, the Black Elvis, the Jewish Elvis, flying Elvis's galore. Pues, what do you think of an Elvis con salsa, or the Elvis for Aztecs? With us on Latino USA is someone who's been called, not an Elvis impersonator, but an Elvis translator. He's Robert Lopez of East Los Angeles, also known as El Vez, the Mexican Elvis. So tell me about it, Robert Lopez. Why Elvis for the Latino community?

Well, I'll tell you, there are more than dozens. There's actually thousands of Elvis impersonators. There are more Elvis impersonators than people realize. Elvis impersonators in all United States and all over different countries. So, it's like we're our own minority.

[Está Bien Mamacita--El Vez]

I would say about 15% of Elvis's impersonators are Latino. You'd be surprised because all over California and all in Illinois, there are many other Latino Elvis impersonators. But I'm the first Mexican Elvis, I take my heritage and make it part of my show.

So when and how did el espíritu, the spirit, of Elvis possess you?

[Laughter] Well, I used to curate a art gallery in Los Angeles called La Luz de Jesus we were a folk art gallery. And I curated a show all on Elvis Presley. And I had always been an Elvis fan, but all this Elvis exposure just kind of made me go over the edge. And I had met some friends and they were saying, "Well, Robert, you should go to Memphis because every year they have this Elvis tribute," which is kind of like Dia de los Muertos for Elvis. It's like a big festival of swap meets, fan clubs, Elvis impersonators galore. And so I said, "Okay, I'm going to go." I had dared myself to go to Memphis and do the show. I would say, "Okay, I'll do El Vez, the Mexican Elvis." And I wrote the songs on ... Rewrote the songs on the plane, and my main idea was to play with the boombox in front of the people waiting in front of Graceland. But as luck would have it, I got on a Elvis impersonator show, and the showrunner was so big, by the time I got back in LA it was already in the LA Times. So, El Vez, the Mexican Elvis had been born.

[Transition--Music--El Vez]

Some people have called you a cross-cultural caped crusader singing for truth, justice and the Mexican-American way. So for you, it's more than just musical entertainment, you've got a message here in the music that you're bringing.

Yeah, well, first of all, I do love Elvis and I'm the biggest Elvis fan, and you can see that when you see the show. But it's like I do try to show the cross-culture. Elvis is the American dream or part of the American dream. I mean, there's many American dreams, but Elvis was part of the American dream. But I feel that American dream, poor man, start really with nothing to become the most famous, biggest entertainment tour of all the world is not just a job for a white man. It's for a Black man. It's for a Chinese man. It's for an immigrant. It's for a Mexican. It's for a woman. It can happen to anyone. And so rather than just say, "Okay, this is a white man's dream in a white United States," I change it and I show everyone they can make it fit to their story too.

[Singing] One two three four, I'm caught in a trap, do do do do. I can't walk out, because my foots caught in this border fence, do do do do do. Why can't you see, statue of liberty, I am your homeless, tired and weary...

[Immigration Time--El Vez]

What do you think Elvis would've thought of you singing and changing the words to the songs?

Oh, he would've enjoyed it very, he'd say, "El Vez, I like your show very much." He would like it.

Some of the songs that you've changed, I just want to go through some of the names because I think that they're so wonderful. I mean, instead of Blue Suede shoes, you have ...

Huaraches azul. Instead of That's Alright Mama, Esta Bien Mamacita. One of my favorites is [singing] ‘You ain’t nothing but a chihuahua, yapping all the time’. We start the show with the lighter easy songs, the familiar ones, and then we get them with the one-two punch and get them talking about political situations, sexual situations, and rock and roll situations.

[En el Barrio--El Vez] En el barrio, people dont you understand, this child needs a helping hand, or he's going to be an angry young man one day. Take a look at you and me-

Robert Lopez, also known as El Vez, is now negotiating with the producers of The Fresh Prince of Bel-Air for a possible TV sitcom. He'll also be playing Las Vegas for the first time.

Summer may be drawing to a close, but for as long as the warm weather lasts, Latinos in one area of New York City make their summer getaway to Orchard Beach. Located in the Bronx, Orchard Beach is the hottest spot every weekend for free outdoor salsa and merengue shows, and for Latino politicians to campaign for votes. Mainly, though, it's a place where Latino New Yorkers can just relax. Mandalit del Barco prepared this sound portrait of Orchard Beach.

Yo, this is Orchard Beach in the boogie-down Bronx, the Puerto Rican Riviera.

If you can't get out of the city on vacation, this is the place to go. This is our version of Cancun, our version of Puerto Rico.

Tell you about this beach. It's blacks, whites, Puerto Ricans, Cubans, Indians, Iranians, you name it. [Laughter] But uh-

This beach is full of culture you know. This beach, you got all kind of Latin Americans. Dominicans, Puerto Ricans, Colombians, Cubans. Get all kind of heritage walking around and having a good time, dancing. There's music bands over there.

[Highlight--Music--Cuban music]