Sounds Tags Used in Events

[Opening Music]

[Opening Music]

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.

[Transitional Music]

[Transitional Music]

Mariachi music punctuated a final farewell for the man who defied state in church by proclaiming his Lady Queen of Angels Parish as a safe sanctuary for the undocumented and the homeless. César Chávez who inspired the rebel priest to come to the defense of the poor said during the service that Father Olivares was simply committed to the poor and the weak. Olivares' defiance of authority sometimes even tested sympathetic views as county supervisor, Gloria Molina, recalls.

Mariachi music punctuated a final farewell for the man who defied state in church by proclaiming his Lady Queen of Angels Parish as a safe sanctuary for the undocumented and the homeless. César Chávez who inspired the rebel priest to come to the defense of the poor said during the service that Father Olivares was simply committed to the poor and the weak. Olivares' defiance of authority sometimes even tested sympathetic views as county supervisor, Gloria Molina, recalls.

Even though I couldn't fulfill what he wanted me to fulfill for him, for the most part, and with a lot of the immigrants, a lot of the undocumented in my community, I admired him so much. But he was very insistent in maintaining it all together because it wasn't complete for him to give in on one thing. He wanted the entire package, and rightly so.

Even though I couldn't fulfill what he wanted me to fulfill for him, for the most part, and with a lot of the immigrants, a lot of the undocumented in my community, I admired him so much. But he was very insistent in maintaining it all together because it wasn't complete for him to give in on one thing. He wanted the entire package, and rightly so.

[Transitional Music]

[Transitional Music]

[Faint voice in the background]

[Faint voice in the background]

Very little has changed in Pico-Union, west of downtown Los Angeles in the last year, since hundreds of small and large businesses were looted. Here at the swap meet, the radio may be playing happy rhythms, but to the residents of the mostly Latino neighborhood, the road to recovery has been anything but happy.

Very little has changed in Pico-Union, west of downtown Los Angeles in the last year, since hundreds of small and large businesses were looted. Here at the swap meet, the radio may be playing happy rhythms, but to the residents of the mostly Latino neighborhood, the road to recovery has been anything but happy.

Nosotros perdimos todos los negocios que teníamos. Teníamos tres negocios en la Union y todo fue perdido…[transition to English dub] We lost all our business. We have three little shops here and everything was lost, and we haven't really been able to recover anything.

Nosotros perdimos todos los negocios que teníamos. Teníamos tres negocios en la Union y todo fue perdido…[transition to English dub] We lost all our business. We have three little shops here and everything was lost, and we haven't really been able to recover anything.

Lo que a nosotros nos ayudaron de parte del gobierno de la ciudad solamente fueron tres meses de renta. Lo que nos quedó a nosotros de eso solo fueron como… [transition to English dub] What the city government helped out with was three months’ rent, and after that, all we had left of our investment of five years was something like 14 or 10 dollars. I don't even remember now. We suffered so much because you know, being without work in this country is hard, and we were left without work and without anything… [transition to original audio] trabajo, porque nos habíamos quedado sin trabajo y sin nada.

Lo que a nosotros nos ayudaron de parte del gobierno de la ciudad solamente fueron tres meses de renta. Lo que nos quedó a nosotros de eso solo fueron como… [transition to English dub] What the city government helped out with was three months’ rent, and after that, all we had left of our investment of five years was something like 14 or 10 dollars. I don't even remember now. We suffered so much because you know, being without work in this country is hard, and we were left without work and without anything… [transition to original audio] trabajo, porque nos habíamos quedado sin trabajo y sin nada.

Pico and Alvarado, for example… it’s one corner where we had the four corners demolished by fire. And so, in terms of intensity, it was the hardest hit area in the city.

Pico and Alvarado, for example… it’s one corner where we had the four corners demolished by fire. And so, in terms of intensity, it was the hardest hit area in the city.

What has happened since then? And a lot of people are now saying that perhaps the City does not have the leadership to bring the city of Los Angeles to where most people want it to go?

What has happened since then? And a lot of people are now saying that perhaps the City does not have the leadership to bring the city of Los Angeles to where most people want it to go?

I think if you talk about community leaders, if you talk about the organization leadership, they very much want to bring the city together and start improving. If you talk about the political leadership, I think the political leadership hasn't displayed that well. They're out of touch with what's really going on in the city. See, the city of Los Angeles is not just the buildings. A lot of the buildings destroyed were empty. What the city of Los Angeles is, it's people from all over the world, and what we got away from is building people.

I think if you talk about community leaders, if you talk about the organization leadership, they very much want to bring the city together and start improving. If you talk about the political leadership, I think the political leadership hasn't displayed that well. They're out of touch with what's really going on in the city. See, the city of Los Angeles is not just the buildings. A lot of the buildings destroyed were empty. What the city of Los Angeles is, it's people from all over the world, and what we got away from is building people.

The building involves encouraging people to become citizens. Hernandez estimates this process can take as long as 10 to 15 years. He also says the City has to improve the educational level of city residents.

The building involves encouraging people to become citizens. Hernandez estimates this process can take as long as 10 to 15 years. He also says the City has to improve the educational level of city residents.

Over the age of 25, we have 2.1 million people. 900,000 cannot claim a high school diploma, and of the 900,000; 600,000 cannot claim a ninth-grade education. So that's 150% of the entire student body of the LA Unified School District. So, we have a tremendous amount of building of people to do.

Over the age of 25, we have 2.1 million people. 900,000 cannot claim a high school diploma, and of the 900,000; 600,000 cannot claim a ninth-grade education. So that's 150% of the entire student body of the LA Unified School District. So, we have a tremendous amount of building of people to do.

[Transitional sounds]

[Transitional sounds]

Those who work with the residents of Pico-Union agree with Hernandez about the work that remains undone.

Those who work with the residents of Pico-Union agree with Hernandez about the work that remains undone.

Sandra Cuevas works with battered Central American women in South Central Los Angeles. She has seen a decrease in the social services available to people in the area's hardest hit by the destruction. Despite all the publicized good intentions, little action and little resources are being allocated to the solution of the root causes of poverty and unemployment.

Sandra Cuevas works with battered Central American women in South Central Los Angeles. She has seen a decrease in the social services available to people in the area's hardest hit by the destruction. Despite all the publicized good intentions, little action and little resources are being allocated to the solution of the root causes of poverty and unemployment.

Very frankly, I don't want to be critical. I think they're doing their own thing, but I think that the mayor missed the boat in the beginning. I think he could have called many of us together to sort things out because it isn't just in South Central, it's throughout the community. And it isn't just a corporate effort and isn't about giving. It's about putting together a lot of institutions that have been unjust to minority segments of our community. And it isn't going to happen by a corporation coming together and putting together programs. It's about making the system much more responsive to the needs of people in this community.

Very frankly, I don't want to be critical. I think they're doing their own thing, but I think that the mayor missed the boat in the beginning. I think he could have called many of us together to sort things out because it isn't just in South Central, it's throughout the community. And it isn't just a corporate effort and isn't about giving. It's about putting together a lot of institutions that have been unjust to minority segments of our community. And it isn't going to happen by a corporation coming together and putting together programs. It's about making the system much more responsive to the needs of people in this community.

[Transitional sounds]

[Transitional sounds]

Police helicopters assist uniformed officers on the ground in the search for gang members in the Pico-Union district. Longtime resident, Raúl González has been in this blue-collar neighborhood for 20 years.

Police helicopters assist uniformed officers on the ground in the search for gang members in the Pico-Union district. Longtime resident, Raúl González has been in this blue-collar neighborhood for 20 years.

It's kind of scary going out lately. Plus what you hear on the news and people… after the rioters start getting guns and bigger guns and you know what's going to happen in the street. Now you have to carry your own gun for protection… and you have to be careful lately…you know. And it's terrible, it is terrible because we are not supposed to be like this.

It's kind of scary going out lately. Plus what you hear on the news and people… after the rioters start getting guns and bigger guns and you know what's going to happen in the street. Now you have to carry your own gun for protection… and you have to be careful lately…you know. And it's terrible, it is terrible because we are not supposed to be like this.

Um…but if everybody's armed and everybody's afraid…um…. what are you going to do?

Um…but if everybody's armed and everybody's afraid…um…. what are you going to do?

Well, you know…to tell you the truth, if you're carrying a weapon, you have to know how to use it and when to take it out.

Well, you know…to tell you the truth, if you're carrying a weapon, you have to know how to use it and when to take it out.

In Los Angeles, I'm Alberto Aguilar, reporting for Latino USA.

In Los Angeles, I'm Alberto Aguilar, reporting for Latino USA.

[Transitional Music]

[Transitional Music]

[Clapping sounds]

[Clapping sounds]

[Slow Transitional Music]

[Slow Transitional Music]

[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.

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.

[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.

[Transitional Music]

[Transitional Music]

You bet. There's a battle of somewhere… I forget now.

You bet. There's a battle of somewhere… I forget now.

[Transitional Drum Music]

[Transitional Drum Music]

Cinco de Mayo has to do with the French forces attempting to occupy Mexico. Essentially what it deals with is the defeat of the French forces by the liberal forces of Benito Juarez in the city of Puebla, in the state of Puebla.

Cinco de Mayo has to do with the French forces attempting to occupy Mexico. Essentially what it deals with is the defeat of the French forces by the liberal forces of Benito Juarez in the city of Puebla, in the state of Puebla.

Do you know why we celebrate Cinco de Mayo?

Do you know why we celebrate Cinco de Mayo?

All I know is it's a Mexican holiday. I don't really know what the reason is.

All I know is it's a Mexican holiday. I don't really know what the reason is.

I don't know, is it somebody's birthday?

I don't know, is it somebody's birthday?

Ah…for me, Cinco de Mayo is a pretty good… good day.

Ah…for me, Cinco de Mayo is a pretty good… good day.

A big event?

A big event?

A big Fiesta.

A big Fiesta.

That's when the Mexicans took over. They kicked the French out of Mexico!

That's when the Mexicans took over. They kicked the French out of Mexico!

Y ganamos los mexicanos.

Y ganamos los mexicanos.

The independence of Mexico.

The independence of Mexico.

From?

From?

Spain.

Spain.

And one last thing. Do you know why we celebrate Cinco de Mayo?

And one last thing. Do you know why we celebrate Cinco de Mayo?

[Transitional Music in Spanish]

[Transitional Music in Spanish]

Cinco de Mayo did not lead to the ouster of the French. It would represent a significant victory for the Mexicans because it taught them that they could create a real sense of nationalism for them, that they could defeat invading forces and the like. It was significant on the basis of… you know, sort of a moral strength that gave the Mexicanos.

Cinco de Mayo did not lead to the ouster of the French. It would represent a significant victory for the Mexicans because it taught them that they could create a real sense of nationalism for them, that they could defeat invading forces and the like. It was significant on the basis of… you know, sort of a moral strength that gave the Mexicanos.

[Transitional Mariachi Music]

[Transitional Mariachi Music]

We just know it as a celebration, as a fiesta. Aside from it being a festival event, it's an educational event because it is the time of the year that, for some reason, many of our people put our political agendas, our turf agendas aside, and realize that we are all one of a large majority of people in this hemisphere.

We just know it as a celebration, as a fiesta. Aside from it being a festival event, it's an educational event because it is the time of the year that, for some reason, many of our people put our political agendas, our turf agendas aside, and realize that we are all one of a large majority of people in this hemisphere.

[Corrido Music]

[Corrido Music]

During these festivals, we also realize that there are no borders.

During these festivals, we also realize that there are no borders.

[Corrido Music]

[Corrido Music]

[Closing Theme]

[Closing Theme]

And for this week y por esta semana, this has been Latino USA, a radio journal of news and culture. Latino USA is produced and edited by María Emilia Martin. We had help from an Angelica Luévano, Vidal Guzmán, Radio Cali in Los Angeles, Teresa Acosta, and MEChA at UT Austin, and Manolita Wetherill. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you. So, llámenos on our toll-free number 1800-535-5533. Major funding for Latinos USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. The program is distributed by the Longhorn Radio Network. ¡Y hasta la próxima! Until next time. I'm María Hinojosa for Latino USA.

And for this week y por esta semana, this has been Latino USA, a radio journal of news and culture. Latino USA is produced and edited by María Emilia Martin. We had help from an Angelica Luévano, Vidal Guzmán, Radio Cali in Los Angeles, Teresa Acosta, and MEChA at UT Austin, and Manolita Wetherill. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you. So, llámenos on our toll-free number 1800-535-5533. Major funding for Latinos USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. The program is distributed by the Longhorn Radio Network. ¡Y hasta la próxima! Until next time. I'm María Hinojosa for Latino USA.

[Opening music]

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.

This is news from Latino USA. I'm María Martin. He truly was a legend in his own time, the man who organized farm workers in California and throughout the Southwest beginning in the '60s, whose tireless efforts on their behalf inspired a whole generation to political activism and who, more than 25 years ago, gave then oppressed Mexican Americans a hero and a cause.

[Corrido music]

César Estrada Chávez was born in 1927 on a ranch outside Yuma, Arizona. At age 10, he was working in the fields. 20 some years later, he was organizing Mexican and Filipino farm laborers in California in the first ever successful effort to unionize US agricultural workers.

[Corrido music]

César Chávez died at his home in Arizona, not far from where he was born, but the journey he traveled in those 66 years as a symbol of the Chicano movement, as a unique labor leader, was one of struggle and faith. Not long ago, Father Virgil Elizondo of San Antonio, Texas mused on how far Chávez had come, often fighting a David and Goliath battle against powerful economic interests, but driven by a strong belief in the justice of his cause on behalf of migrant workers.

[Transitional corrido music]

[Transitional Music]

[Slow transitional music]

[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.

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.

[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.

[Transitional music]

[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.

[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.

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]

[Change in music]

Yo crecí en Chicago. I grew up in Chicago, but every summer, my family would pack up an overloaded station wagon and drive across the border to visit my homeland, México. I have many wonderful memories of those trips to less urban settings. That was where I came into contact with nature, driving across the mountains and deserts of México. I often think that, like me, many Latinos who return to the land of their birth or where their parents or grandparents came from do so for the joy of going back to where the simple things of life are still valued. A few years ago, Texas artist Luis Guerra moved to a village in the state of San Luis Potosí in northern México. He says he was recently reminded of why he made the move as he took a long hike in the mountains in La Sierra.

La subida es dura. It's a steep climb, but after a few hours, the walking gets easier. The valleys and peaks of this beautiful, rocky Sierra spread out before you like a solid ocean suspended in time. This is a dry land, almost a desert, yet sometimes I'll find a tiny spring in a niche of a canyon wall. Or I'll happen upon a small shrine in a lonely valley. Almost every day, I'll come across a shepherd tending his flock or I'll hear the sounds of children and discover they are gathering wild herbs like oregano or rosa de castillo. Often, early in the morning, I'll see a woman or a man driving two or three burros loaded with mountain produce heading for a nearby town or city. I make it a point not to camp close to someone's home just out of respect and so as not to use up firewood that doesn't belong to me. Firewood is scarce around here. This day as I crested a hill, I spotted a ranchito, just a little two-room house, adobe walls with a flat roof.

Smoke was rising from the chimney. I was barely 300 yards from the ranchito and it would be dark soon. It was too late to move on. It was going to be a cold night and the only firewood I could find was already cut…tú sabes, for the rancho's wood stove. Ni modo. I used the firewood. I felt guilty, but warm that night. Anyway, I would make it up to them in the morning. After breakfast, as I was packing my things, the campesino from the ranchito showed up, a barrel-chested man with strong hands, a weathered face, and a scraggly beard. "Buenos días." I walked up to him and offered to pay for the wood. He brushed my words aside. "Mira, everything you see all around you is mine. Estás en tu casa. This is your home." To him, I was already his guest and my offer to pay was almost impolite. He reached into his bag and handed me a small bundle. "My wife packed this for you," he said. It was bread, goat cheese, and jamoncillo, a homemade candy made from fresh milk. We talked for a while.

Commentator Luis Guillermo Guerra is an Austin artist who now resides in the Mexican state of San Luis Potosí. And for this week y por esta semana, this has been Latino USA, a radio journal of news and culture. Latino USA is produced and edited by María Emilia Martin; associate producer, Angelica Luévano. We had help from Karyl Wheeler in New York. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you. So, llámenos on our toll-free number, 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. The program is distributed by the Longhorn Radio Network. Y hasta la próxima. Until next time, I'm María Hinojosa for Latino USA.

[Opening music]

This is Latino USA, a radio journal of news and culture. I'm María Hinojosa. Today on Latino USA, what it's like to be Latino and gay.

It's very, very difficult just to be lesbian or gay and be Latino, but I guess that at the same time, it's very beautiful.

A conversation with a music man named Dr. Loco.

We decided to take a cultural position in saying, “we're pochos and proud of it.” You know, somos bilingües. So what?

And a commentary from the streets.

I can't join a crew. I just renounced one, but I've got to protect myself. So the only thing left for me is to get a gun, or is it?

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

Sigue la música. Sigue los éxitos. Twenty-four hours a day!

[Radio station recording]

WAQI Miami. Aquí, Radio Mambí.

Los virus no identifican persona por pasaporte ni por tarjetita. En ese sentido, hay que de quitarle el temor a buscar salud…

Novello stated that it should include coverage for undocumented workers for public health reasons and added that viruses and bacteria did not ask for green cards. First Lady Hillary Rodham Clinton, head of the Health Care Task Force, says that the healthcare plan would not provide courage for the undocumented. That topic and other healthcare issues of interest to the Hispanic community were on the table when Mrs. Clinton recently met with the Congressional Hispanic Caucus. From Washington, Patricia Guadalupe reports.

Mrs. Clinton came to Capitol Hill promising greater minority-group participation in changing the healthcare system. An issue of particular worry to Congressman José Serrano, Democrat of New York and chairman of the caucus, is the lack of sufficient medical data on Hispanics.

Latino community could have turned out up to 70,000 voters very easily had candidates invested intelligently into the Latino community, but they chose not to.

The Latino community could not see itself in their issues. It's like looking in the mirror and seeing somebody different. So, I think the Latino community sent a message to the elected officials. "We are not for sale just because it's you. You have to show us that you care and you know us, or else, we're not going to give you our votes."

[Transitional music]

[Crowd chanting]

Many Latinos from across the country were among the hundreds of thousands of gays and lesbians who recently converged on Washington, D.C. They gathered in the nation's capital to celebrate their identities and demand lesbian and gay rights. In the wake of that event, Mandalit del Barco in New York spoke with several gay and lesbian Latino activists, and she prepared this report.

[Transitional cumbia 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.

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.

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.

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

[Change in transitional music]

[Transitional music]

The word mentor is derived from the ancient Greek from the name of the man who spent 10 years teaching the son of the poet Homer. In ancient Greece, young people often studied in apprenticeship programs. Today, some Latino students are learning a variety of skills, from chess to chemistry, in a mentorship program taking place in New Mexico. Debra Beagle prepared this report.

Thirteen-year-old Miguel Atencio of Chama, New Mexico, beats his father in chess almost every game. He began playing when he was nine. Two years later, he joined the high-school chess team. That's when someone from Celebrate Youth, a six-year-old mentorship program in New Mexico, spotted the talented youngster and invited him to work more seriously on his game. This year, Miguel won the state middle-school chess championship.

The adult mentor meets with the student once a week for six months. Each student develops a project, perhaps a dance, a piece of sculpture, a science or math project, an essay or poem, or a piece of music.

[Person playing the piano]

[Person playing the piano]

Ninth grader Alyssa Montoya works with Mary Agnes Anderson of Española as her mentor. Anderson has mentored three students so far.

These days, Miguel is sharpening his chess skills to prepare for the annual Celebrate Youth Festival in June. Nearly 400 students, including 30 chess players like Miguel, will gather for three days at the University of New Mexico in Albuquerque, which co-sponsors the program. There, they'll perform their dances, hang their paintings, and display their research projects that demonstrate the skills they've worked so hard to develop.

[Person playing the piano]

And for this week y por esta semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by Maria Emilia Martin; associate producer is an Angelica Luévano. We had help from Vidal Guzmán and David Gorin. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you, so llámenos on our toll-free number, 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. The program is distributed by the Longhorn Radio Network. Y hasta la próxima, until next time, I'm María Hinojosa for Latino USA.

[Opening music]

This is Latino USA, a radio journal of news and culture. I'm María Hinojosa. Today on Latino USA: in memory of César Chávez, a special report from Delano, California.

We shall miss César's powerful voice. His life and its example call each of us to a higher purpose. ¡Viva la raza! ¡Viva la causa! ¡Viva César Chávez!

And César's own words from his last major speech.

It is a boycott…public action…that saved this union. It is the only way we've ever made any progress, is through the boycott.

Also, health in the Latino community and the Clinton Health Plan. All this on Latino USA. But first: las noticias.

[Crowd cheering]

[Transitional music]

[Transitional music]

They came by the thousands to the 40-acre ranch near Delano to pay their respects to the man who had fought an entire lifetime to give dignity and more opportunity to those who picked the food on America's tables. César Chávez, founder of the United Farm Workers Union, the first successful attempt to organize agricultural workers in this country, died April 23 at age 66. In Delano, the mass procession behind Chávez's simple pine coffin was at times over two miles long, as everyone, from farmworkers to the famous, came to pay their respects.

[Crowd cheering]

[Crowd cheering]

In his loving…in his loving memory, please, boycott grapes. Make sure that our children do not have to suffer the pesticides anymore. What has happened to César will happen to all of us, and may we all be as lucky as César and be able to lay our heads down, close our eyes while reading a magazine on the Aztec nation and go to sleep and end our lives in that manner. We should all be that lucky.

¡Nosotros venceremos! ¡Nosotros venceremos ahora!

The life of César Chávez, his commitment to a cause, inspired many across the country, and as thousands gathered at the memorial service in Delano, California, Diana Martínez collected these thoughts from friends and supporters of César Chávez.

Nosotros venceremos.

No one could tell César Chávez to slow down. The man was working 20-hour days, traveling constantly. I can't count the number of times that I'd meet him at his yard…you know, at 3 o’ clock in the morning, because…at La Paz near Bakersfield, because we had to be in Sacramento or San Francisco at 11:00, and we'd spend a full day of appearances and rallies and news conferences and protests or negotiations and be back dropping him off at 3 o’ clock the next morning.

I remember, one time, we were driving from…Thermal, California in 1973 and the two dogs were in the back, Boycott and Huelga, and we stopped at a gas station…and we had just come from a rally. We had collected all this money, and I said, "Well, brother, we need to pay the gas bill." He says, "You're not going to touch that money until it's accounted for, back at La Paz." I said, "But we have no money to pay for the gas." "Then you go out there and you find the money from somebody else, but you're not going to touch that money because that has to be accounted for. It's the workers' money."

I remember in the 1980 campaign when he came to Arizona, which he didn't have to do, during a primary, when Senator Kennedy was already in bad shape in the election, but he produced hundreds of lowriders who came with him because they were devoted to him to get out the vote for us on primary election day. He went into the field, sent organizers, had them register actually in the field, and we won the state of Arizona just because of César.

Because of our common faith, and especially with what I see here tonight, with the face of the people, I see that that it's really true when they say "Viva César Chávez." He really does live.

Chávez was a seed sower. He planted seeds of dignity, and those seeds will keep sprouting in the heart of people. As long as farmworkers fight for a decent wage, Chávez lives. As long as they fight against the horrors of the insecticides, Chávez lives. As long as they fight for the right to vote, Chávez lives. As long as they fight to build coalition, Chávez lives.

For Latino USA, I'm Diana Martínez.

[Transitional music]

[Transitional corrido music]

This retired farmworker brought his accordion to Delano to remember César Chávez. Old-timers like him have been through a lot in the last 30 years, ever since César Chávez began organizing in the fields. The corridos tell the story of the struggle to improve the lot of the most impoverished of American workers. With the passing of their leader, unionized farmworkers now turn their heads to the future. While some may say these are unsettled times for the UFW, others see it as a rebirth. Organizer Humberto Gómez said Chávez's crusade won battles on the strength of our conviction of justice in the fields and that justice is still worth fighting for.

See, what happened is, like César used to say, the UFW is not only a union; it's a social movement. We belong to the community, and the community belongs to us. So we are part of the community, and that way, we will never die. You know, it is like me…you know, I start when I was 15 years old. I got my family here marching with me, and then more farmworker kids are going to be coming, and they're going to be getting involved in this. So we will never be shrinking, we will never die because this is a good movement. This is the best movement.

When I went and seen his coffin, you could see his face. I mean, he died peacefully, but you could tell that the work that he wants us to do is there. And he knows that, and we know, that the commitment is even stronger now. And I think this summer, you'll see the fruit of his labor really producing because it has inspired us to say that the union is alive, the leadership that it has. I mean, we come from that school. We've been at it for 20…25 years, and we're young, we're moving ahead and moving the movement forward to where he wants us.

I think César came to conclusion, and I think the correct one, that this movement has to win on the strength of average people and not be dependent on politicians.

Was that evident to you, and how?

He hasn't had any serious communication with any politicians in a long time. They haven't done anything. I mean, he tried everything. He supported them. He did it with money, he did it with people. He's done it every way you're supposed to play. He played the game the way everyone says you're supposed to play the game. He played the game. He got the law passed. He continued to support them all. And when push came to shove, all that he could do was no match for the money of the agricultural interests in the state. And uhh…I think he came to the conclusion when he started the grape boycott the second time several years ago that they're going to have to do it the old-fashioned way.

It's a healing process for all of us. And now we realize that we still have a lot of work to do, and I think his death gives us all a rebirth of where we have to recommit ourselves even stronger now to erase some of these injustices which continue in one of the richest states in the world.

[Transitional guitar music]

[Clapping]

[Clapping]

[Corrido music about César Chávez]

And for this week y para este semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by María Emilia Martin. Associate producer is Angelica Luévano. We had help this week from Franc Contreras, Mandalit del Barco, Patricia Guadalupe, Manolita Wetherill, Karen Blackman, Radio Bilingüe in Fresno, California, Margo Gutiérrez, Linda Wedenoga, and the Chicago Cultural Center. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you, so llámenos on our toll-free number, 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. This program is distributed by the Longhorn Radio Network. Y hasta la próxima…I'm María Hinojosa for Latino USA.

[Opening Music]

This is Latino USA, a Radio Journal of News and Culture. I'm Maria Hinojosa. Today on Latino USA, a break in the investigation of the murder of New York journalist Manuel DeDios.

He was killed because he had the courage to speak out because he exercised his first amendment rights as a journalist.

Also, the salsa star with political ambitions, Ruben Blades.

I don't feel that politics is in any way a step up. I look at politics as a step down.

And on Latino USA, Tejano music is sweeping the country.

I see the rise of Tejana music as being parallel to the rise of Hispanics in this country.

This and more on Latino USA. But first, Las Noticias.

[Transitional Music]

Bueno, me vino mientras cocinaba. Porque a mi me encanta cocinar... [transition to English dub] And it came to me when I was cooking my family's recipes. I would always go back to the past and clearly remember my grandmother's kitchen and the smells and the chats. And I always thought that it would be very interesting to adapt this natural human mechanism to literature. And in the same way that one describes how to make a recipe, be able to narrate a love story.

Creo que tenemos pendiente una conversacion, no crees? Creo que fue desde que te casaste con mi novio. Empecemos por ahí si quieres... In this scene from the film "Like Water for Chocolate", the two sisters confront each other about the family tradition Tita refuses to uphold. Ya no hablemos del pasado, Pedro se caso conmigo y punto. Y no voy a permitir que ustedes dos se burlen de mí... But most of the action in "Like Water for Chocolate" centers around the kitchen. After the family cook dies, Tita takes over the kitchen responsibilities, and in her hands every meal and dessert becomes the agent of change. Anyone who eats her food is transformed by it, and sometimes in very surprising ways, according to Laura Esquivel.

Yo tengo una teoría que atraves de la comida se... I have a theory that through food, gender roles are interchanged and the man becomes the passive one and the woman the active one.

Para nosotros, el elaborar la cena, es el carácter de una ceremonia... For us, cooking is like a ceremony and has nothing to do with a commercial. It really is a ritual, a ritual in which the family participates, and by doing so, one heightens his human quality.

[Transitional Music]

[Transitional Music]

It was that time of year in San Antonio, again. Time for fans of the TexMex accordion to make the pilgrimage to Rosedale Park for the 12th-Annual Tejano Conjunto Festival.

[Transitional Music]

It's past midnight at Dance Across Texas, a popular dance club in Austin where nearly 2000 bodies are pressed up against the stage in anticipation of tonight's show.

And now, another 40 minutes of continuum, on San Antonio's Numero Uno, Number One Tejano 107FM.

Another sign of Tejano music's popularity is that, in the last two years, radio stations across the Southwest, California and in Mexico are changing to a Tejano music format, dropping their contemporary pop or salsa formats and switching to a Tejano style.

With its sounds of the accordion, the bass and the guitar, Tejano music came out of the Norteno style, developed along the Texas-Mexico border. This style, also called Conjunto, was born when Mexican and Mexican-American musicians borrowed the accordion from their German and Czech neighbors in Texas. Tejano roots can also be traced to the early orchestra sounds of Little Jo and La Familia and others like Sonny Ozuna from the late fifties and sixties. Tejano music of the nineties consists of rancheras, polkas, ballads, and cumbias. With influences of pop, rap country and rock.

[Transitional Music]

21-year-old Selena Quintanilla from Corpus Christi, Texas has been number one on the regional Mexican charts of Billboard Magazine for the past seven months. Selena and other young artists have added their own touches to the music.

$33.39—put the guarantee on here. We have a 30-day guarantee on our cassettes.

[Transitional Music]

Major corporations are also recognizing this music's potential. Coca-Cola, Miller Light and GMC Trucks are just a few of the many investors in this musical style. For Latino USA en Austin, I'm Elena Quesada.

[Transitional Music]

[Closing Theme]

And for this week, y para esta semana, this has been Latino USA, a radio journal of news and culture. Latino USA is edited and produced by Maria Emilia Martin. Associate producer is Angeli Galvenano. We had help this week from Videl Guzman, the Guadalupe Cultural Arts Center in San Antonio, Texas, and Manolito Guevero. Latino USA is produced at the studios of KUT, in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you, so call us on our toll-free number. It's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. The program is distributed by the Longhorn Radio Network. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

[Opening Music]

This audio essay with music by The Latin Alliance was produced by Beto Argos in Boulder, Colorado, along with Guillermo Gomez-Pena, Yareli Arizmendi, and Sergio Arau.

[background music] I'm Maria Hinojosa. The word "alien" writes New York Times columnist, AM Rosenthal, "Should be saved for creatures that jump out of bellies at movies." In a recent column, Rosenthal recalls how he came to this country without immigration papers as a child, along with this Russian-born father. He remembers how much he detested to hear himself referred to as an alien. Like Rosenthal, many Latinos find the use of the label "illegal alien" offensive, as offensive as the word "wetback" was to an earlier generation.

[Saxophone and guitar music transition]

[Recorded Sound] Come in Border Patrol. Border Patrol. I'm in Chopper One. [Sounds of breathing] I need help. I need assistance. I need assistance. [inaudible 000919]. [Hip-hop music] Come in, come in Border Patrol, please. Come in. We need assistance.

[Hip-Hop Music] The helicopter flies like an eagle. Made it to the other side now. We're illegal.

[Hip hop music transition]

[Salsa music highlight]

A few months ago, while out with an American coworker, I had a great experience while listening to Latin music at a small club here in Cambridge. As I am a Latin woman, it was obvious to me that we were listening to the music in different ways. After watching her tap to the wrong beat for some time, it occurred to me that I could point out an aspect of the music that would enhance her listening, get her tapping on the right beat, and thus make the night more enjoyable for her. [Latin jazz music]

[Latin jazz music] I asked her what she liked so much about Latin music, salsa and Latin jazz in specific. She told me, "The feeling that you get when listening to it. The pulse," she went on to say, "That feels like everyone's heartbeat is one, coming from the earth and reaching to the sky." I smiled, not only because I liked the metaphor, but also because I felt great pride in my music and my culture. I decided it was time to let her in on what that heartbeat is, the clave, or "key" as it is appropriately named, two sticks of wood that are banged together.

[Latin jazz music] In fact, the heartbeat of Cuban rumba and salsa music. That feeling she was referring to is known as the "clave feeling", and comes out of the five-stroke two-measure pattern that identifies it. [Clave sound] This pattern is perceived as a thymic clock that keeps the musicians on the same wavelength. However, when the actual claves are not present in a song, that feeling continues by virtue of melodic phrasing and percussion patterns. Although there are different claves, the two most popular are the Cuban clave, or rumba clave. [Clave sound] And the sone clave. [Clave sound]

As you can hear, the Cuban clave is a half beat later on the third stroke. Listen, Cuban. [Clave sound] And sone [Clave sound]. Although they sound almost the same, they aren't. That's why a musician's ability to not only play in clave, but distinguish the two, is not only attended, key to their success. Let's listen to a little Cuban rumba. This is “Orquestra Original de Manzanillo”, with Comenzó La Fiesta, the Party Has Begun. (“Comenzo La Fiesta Music highlight). In Cuba, the claves are considered to be one male, which is eight inches, and the other female, which is four inches long. Holding the female in a cupped hand, the male bangs against her middle repeatedly.

This gender designation comes from the African influence on the Cuban culture. It is interesting to note also that although the claves themselves are wholly Cuban, never having been found in Africa or Europe, the clave rhythm had permeated African music for centuries. The clave pattern is found in many different styles of music besides rumba and salsa. It is found in meringue, guaracha, danzon, cha-cha-cha, and even boleros. Here's Juan Luis Guerra's bolero,”Señales de Humo”, “Smoke Signals”. (Highlight “Señales de Humo”).

Here's Seis del Solar, Una Sola Casa, One House. From Boston, I'm Marta Valentín. [Highlight “Una Sola Casa”).

[Tejano music background] The exhibit known as the CARA show, the acronym for Chicano Art Resistance and Affirmation, is the first-ever to focus specifically on Chicano art as opposed to Hispanic or Latin American art. Tomas Ybarra-Frausto, an art specialist with the Rockefeller Foundation and a member of the show's planning committee, calls the CARA show a landmark art exhibit which will put Chicano art on the map.

[Natural sound, clapping] Playwright Luis Valdez, a member of CARA's National Honorary Committee, talked about the connection that Chicano art has with his pre-Hispanic roots.

[Ranchera music transition]

[Ranchera music transition] The Chicana writer, Ana Castillo, had an abuelita, a grandmother who signed her name with an X. Castillo's father dropped out of high school. Her mother only finished primary school. But all three had an indelible impact on Castillo as a writer. They told her stories, or cuentos, and in her latest novel, So Far From God, Ana Castillo brings these cuentos to life.

Highlight--music--Violin

This is Latino USA, the Radio Journal of News and Culture. I'm Maria Hinojosa.

(singing)

[Transition—Music—Singing]

[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.

undefined

For over 30 years, pianist Eddie Palmieri has been pushing the creative limits of Latin music. His unorthodox experimental style has defied musical categories. [Background--Music--Piano] Reporter Alfredo Cruz of station WBGO in Newark recently spoke with Eddie Palmieri, the Musical Renegade, and he prepared this report.

[Background--Music--Piano] Like his music, Eddie Palmieri is intensely energetic. His piano solos have been known to go from delicate esoteric explorations to fist pounding accents, all within the same phrase. He has developed his own musical identity. When Eddie plays the sound of a note or a chord is immediately recognizable as unmistakably Palmieri. He admits however, he didn't always want to be a pianist.

[Highlight--Music--Salsa]

Highlight--Music--salsa

The big new trombone sound he had developed revolutionized Afro-Cuban music in the 1960s. Eddie Palmieri had found the perfect combination and called his new band La Perfecta. [Background--Music--Piano] They were sensation at dance halls like the now legendary Palladium, where battle of the bands were common and Palmieri reigned supreme. His influence, however, wasn't limited just to the East Coast. A classic collaboration with California vibraphonist Cal Tjader came about when word got out that no one could go toe to toe with Palmieri's band, La Perfecta.

[Highlight--Music--Piano]

Highlight--Music--Salsa

[Highlight--Music--Salsa]

[Background--Music--Afro-Caribbean Jazz] And we're going into a whole other direction. We're going into the Afro-Caribbean Jazz per se. My first attempt by writing specifically in that form. See, I have recorded in that vein as far as composition that chocolate ice cream or 17.1 or VP Blues that I have done, and I've always looking in that direction, in that country. But this time I'm really writing specifically in that vein.

But I will not be here that long, but in the time that I'm here, I'm going to utilize it to the maximum and then achieve and have a wonderful time doing that and incorporating that into our music because it's something that certainly intrigue me and I must achieve that. It will. [Background--Music--Afro-Caribbean Jazz]

[Background--Music--Afro-Caribbean Jazz] Eddie Palmieri's new recording is scheduled for a fall release. From Newark, New Jersey for Latino USA, I'm Alfredo Cruz.

[Transition--Music--Yemaya y Ochun]

[Background--Sounds--Nature] I'm Emilio San Pedro in Wynwood, a predominantly Puerto Rican neighborhood just north of downtown Miami, Florida. Here, reaction to President Clinton's performance was mixed.

[Transition--Music--Don’t stop]

[chanting] This is news from Latinos USA. I'm Maria Martin. A hunger strike by Chicano students at the University of California at Los Angeles has ended happily. The students who had fasted on water only for nearly two weeks reached an accord with UCLA Chancellor Charles Young, over their demand for the establishment of a Chicano studies department.

I want to let you know what we won today. First of all, we won the Cesar Chavez Center for Chicana and Chicano studies. Second of all, we got the administration to realize that the 99 students that protested in the faculty center are not criminals, but they're political activists and we have the charges dropped. Third, we got the administration to recognize the validity of ethnic and gender studies on this campus and guaranteed two years of no budget cuts for any of those programs. [sounds from community gathering]

We're going to have one of these in every UC campus in the state of California. [gatherting sounds]

We're showing here, in the spirit of Cesar Chavez, that we can make social change, that we can right the wrongs that people have done against us with gun violence, by unity and by sacrifice. And by working together, we can make them listen to us. [gatherting sounds][nat sound, music]

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]

[music]

[highlight hip hop music]

[hip hop music highlight] [nat sound]

Grier also calls Rosie the harbinger of hip hop, youth culture that includes street dancing, graffiti and rap music. HBO, in fact, is now airing a series on hip hop that she executive-produced. The show Rosie Perez Presents Society's Ride features cutting edge rappers before a live audience at a New York nightclub. While Leaders of the New School, Brand Nubian, and Heavy D and others rock the crowd. Rosie gives the flavor backstage and on the dance floor. [background hip-hop music]

[Transition hip hop music]

Friday night I was hanging with my boys. We were chilling at this guy, Chino's house, drinking forties while he took care of his kid. I hadn't hung out in a while, so I didn't mind babysitting. But the rest of the guys seemed restless. When I finally asked what was up, they told me that they were expecting a delivery of skis, also known as cocaine. [hip hop music background]

John Guardo, who came to New York City when he was 12 years old, was a member of a crew for most of his teenage life. Crews are what gangs are called in New York City. Now Guardo is trying to leave that life behind. [hip hop music background]

It's hard for me to admit how much drugs have become a part of my life, but they have, and in a big way. The lyrics and the music I hear speak of drugs as a way to become popular or even rich. That idea is reinforced by how drugs are glamorized in the movies. Bad guys living large, selling cocaine, with women around them and money to burn. As a little kid, I fantasized about someday living like them. Walking home from school, I saw that crime did pay. Just like in the movies, the neighborhood dealers had cars, girls, money, and respect. Things I wanted. [hip hop music background]

And for this week y por esta semana. This has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by Maria Emilia Martin. The associate producer is Angelica Luevano. We had help this week from Vidal Guzman and Mike Moon. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you, so why don't you call us on our toll-free number 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. The program is distributed by the Longhorn Radio Network. Y hasta la proxima. Until next time. I'm Maria Hinojosa for Latino USA. [closing music]

[Opening music]

[Music]

Marga now lives in San Francisco where she began her adult career in show business with the feminist theater company, Lilith. She honed her comedy talents with the San Francisco Mime Troupe and is one of the original stand-up comics with Culture Clash. [Piano playing “I feel Pretty”] Not long ago, for the biennial celebration of New York's Whitney Museum, she performed her second show, "Marga Gomez is Pretty, and Witty and Gay", which deals with her sexuality.

[Piano playing] It has to do, some of it with my relationship and jealousy. My parents were very jealous of each other, and just because I'm not in a traditional relationship doesn't mean that I can't be dysfunctional. So, I talk about being a jealous girlfriend. I also have this little interlude where I'm reading from the Diary of Anaïs Nin, and I read from her Lost Diaries where she goes to Disneyland and has a tryst with Minnie Mouse.

[background piano music] I've heard about a Frida Kalo project, and I'd like to do that because I got the eyebrows and everything, little mustache too. I'll just stop bleaching that sucker.

[Piano music]

No, I'm sorry, I didn't mean to. I'm having an identity crisis on the radio studio. I don't know what I'm saying. I mean, la neta es que…I need a job, man. I mean, I can cook, translate, guide tours en Nahuatl and Arawak, do gardening, security, community outreach, got my resident-alien card, barata. My social security number is ... [“Tequila” plays]

Latino USA commentator, Guillermo Gómez-Peña, a recipient of the MacArthur Genius Award, is based in California. In Brownsville, Texas, a group of Chicanos and elders from Indigenous populations in the US and Mexico gathered recently for what they called the 17th Encuentro of the National Chicano Human Rights Council. The group is part of a movement which began in the 60s to help Mexican Americans reconnect with their Indigenous roots. Today, the movement is taking a new turn involving Chicanos in a spiritual reawakening foretold in ancient Indian myths, which caused them to action on human rights and the environment. From Brownsville, Lillie Rodulfo and Lucy Edwards prepared this report.

[natural sound] This weekend, council members have brought their families to camp on the grounds of the Casa de Colores. The multicultural center sits on 360 acres of prime farmland along the U.S.-Mexican border order.

[conch chell sounds] With the sound of a conch shell, a Mexican shaman, Andre Segura, calls a group to worship in a sacred dance of the Indigenous that the Aztecs have practiced for thousands of years. They also are called to reunite with the Indians of Mexico in their common struggle for equal rights. Elders like Segura say when Chicanos answer the call of the Danza, they are joining in a revival of the Indigenous spirit that is happening throughout the Americas. [Ceremony natural sounds] "This reawakening of the spiritual traditions," the elders say, "was foretold by Indian leaders centuries ago. Danzas and other Indigenous ceremonies carry a strong message of preserving the earth and all its people."

Andre Segura's Danza Conchera contains the essence of Aztec or Toltec thought in the entire worldview.

Chicano author Carlos Flores explains what happens when a Chicano worships in the sacred tradicion of the Danza.

When the Mexican-American decides to call himself a Chicano, basically what he's doing is declaring publicly that he's an Indian. In effect, what we're seeing here then is Mexican-Americans through their connection with an Indian shaman, I guess you could say, practicing the sacred.

Susana Renteria of the Austin-based PODER, People Organized in Defense of Earth and its Resources, offered passionate testimony at the conference. Her group has worked hard to focus attention on environmental racism in the Mexican-American communities in Austin.

They take toxic chemicals and inject it into Mother Earth. They inject it. It's like when you put heroin in your veins, and you're contaminating your whole blood system. That's what they're doing to Mother Earth. The water is the blood in her veins, and they're injecting these chemicals into, and they wonder why we have so much illnesses, why we have so much despair.

[meeting natural sounds] The council heard hours of testimony like this on a wide range of issues, bringing into focus everyday realities for Chicanos, such as the disproportionate number of Mexican American prisoners sentenced to die and the alarmingly high incidents of babies born in the Rio Grande Valley with incomplete or missing brains. Opata Elder Gustavo Gutierrez of Arizona, one of the founders of the council, offers this prophetic warning.

The moment that we start losing our relationship between Mother Earth and ourselves, then is when we get into all this trouble, and I think that what has happened to the people that are in power, they have the multinational corporation. They have lost their feeling about what is their relationship between the Earth, and the only thing they can think about is how to make money, and once that is the main focus, how to make money, then I feel that we're really in a lot of trouble.

[Danza natural sounds] The shaman, Andre Segura, says, "The Indigenous ceremonies that are part of every council meeting provide a spiritual foundation to unite Chicanos, as they speak out for the rights and the rights of all Indigenous."

Buscar dientro de su corazon, dientro de su-

Search your heart and soul as to how you feel about the Indigenous. The Chicano roots come from Mexico, and accepting this will unite the Chicano people.

[Singing, natual sounds] The Chicano Human Rights Council was formed in the 1980s to address the human rights violations in the southwest. The council teaches Chicanos how to document abuses that affect their community. The testimony they hear in Brownsville will be presented at international forums, such as the United Nations Commission on Human Rights. (Singing) For Latino USA, with Lucy Edwards, I'm Lily Rodulfo. (Singing)

[opening music]

[guitar strumming music]

[Transition music, percussion freestyle]

[Closing music] And for this week, y por este semana, this has been "Latino USA," the Radio Journal of News and Culture. This week's special edition of "Latino USA" was produced by members of the Radio Ondas Training Project of the National Association of Hispanic Journalists.

[Opening music]

[Opening music]

[Natural sounds of neighborhood] I'm Emilio San Pedro, en la Calle Ocho, Southwest 8th Street in Miami. Here, some people support the recent US bombing of Iraq while others question the necessity for such an action.

[Natural sounds of neighborhood] I'm Emilio San Pedro, en la Calle Ocho, Southwest 8th Street in Miami. Here, some people support the recent US bombing of Iraq while others question the necessity for such an action.

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.

[Background music] Puerto Rico.

[Background music] Puerto Rico.

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

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

[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.

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]

Bullets, guns, violence, and gangs are a fact of life for an ever-growing number of young people in this country; white, African-American, Asian, and Latino. Many Latino kids know this reality only too well and too early in their lives. John Guardo, who came to New York City when he was only 12 years old, was a member of a crew for most of his teenage life. Crews are what gangs are called in New York City. Now, John Guardo is trying to leave that life behind, but as he tells us in this commentary, leaving his crew may be easier than escaping the violence of the streets.

Bullets, guns, violence, and gangs are a fact of life for an ever-growing number of young people in this country; white, African-American, Asian, and Latino. Many Latino kids know this reality only too well and too early in their lives. John Guardo, who came to New York City when he was only 12 years old, was a member of a crew for most of his teenage life. Crews are what gangs are called in New York City. Now, John Guardo is trying to leave that life behind, but as he tells us in this commentary, leaving his crew may be easier than escaping the violence of the streets.

[Hip hop music]

[Hip hop music]

Having outgrown that lifestyle though, I'm trying to live a regular life working and going to school. Unfortunately, that also means my family's been taken off the untouchables list. We have all become prey to these urban predators. Now, under this new set of rules, what am I to do with this trouble? Call the cops? Huh, no one I know, including myself, would do that in case of an emergency. In my eyes, cops are more interested in filling their quota than in serving their community. Dialing 911 has simply become taboo. At this point, I'm sandwiched between two problems. Number one, I don't trust the police. The only times they've been there for me was to ram flashlights into my skull while cursing me out. If not that, they've stopped me in front of my building to frisk me as my neighbors watch. Number two, if I remain vulnerable for too long, something bad may happen to my loved ones.

Having outgrown that lifestyle though, I'm trying to live a regular life working and going to school. Unfortunately, that also means my family's been taken off the untouchables list. We have all become prey to these urban predators. Now, under this new set of rules, what am I to do with this trouble? Call the cops? Huh, no one I know, including myself, would do that in case of an emergency. In my eyes, cops are more interested in filling their quota than in serving their community. Dialing 911 has simply become taboo. At this point, I'm sandwiched between two problems. Number one, I don't trust the police. The only times they've been there for me was to ram flashlights into my skull while cursing me out. If not that, they've stopped me in front of my building to frisk me as my neighbors watch. Number two, if I remain vulnerable for too long, something bad may happen to my loved ones.

[Hip hop music] Last night, I was speaking to my girl on the phone, telling her how bad things were getting around my block and that I decided to buy a gun. She got mad, raising her voice and asking me, "How could you be that ignorant? You know what would happen if you got caught with one?" I said to her, "Yo, I ain't going to be carrying it around and showing it off. I'm going to keep it at home in case someone tries to break in or mess with my family." She got quiet then. I was searching for a better answer. I realized what a vicious cycle I was willingly getting into. You see, around my neighborhood, things ain't no joke. I'm a former gang member, so I know what dangers roam the streets. Drug dealers, stick-up kids, crackheads, the whole nine, a glance is reason enough to get jumped.

[Hip hop music] Last night, I was speaking to my girl on the phone, telling her how bad things were getting around my block and that I decided to buy a gun. She got mad, raising her voice and asking me, "How could you be that ignorant? You know what would happen if you got caught with one?" I said to her, "Yo, I ain't going to be carrying it around and showing it off. I'm going to keep it at home in case someone tries to break in or mess with my family." She got quiet then. I was searching for a better answer. I realized what a vicious cycle I was willingly getting into. You see, around my neighborhood, things ain't no joke. I'm a former gang member, so I know what dangers roam the streets. Drug dealers, stick-up kids, crackheads, the whole nine, a glance is reason enough to get jumped.

What can I do? I can't join a crew. I just renounced one, but I got to protect myself. So the only thing left for me is to get a gun. Or is it? You see, I really believe, if the cops got their act together, there wouldn't be so much static in the streets. What I mean is, not that we like police presence, but that it doesn't matter if there's cops on every corner when they're going to be there to magnify the distrust we already have for them. Policemen should figure out who the real criminals are. I know. And go after them instead of treating all of us like such. They're the ones who have to change since the problems of the street are always going to be there. There's always going to be crime and we need protection.

What can I do? I can't join a crew. I just renounced one, but I got to protect myself. So the only thing left for me is to get a gun. Or is it? You see, I really believe, if the cops got their act together, there wouldn't be so much static in the streets. What I mean is, not that we like police presence, but that it doesn't matter if there's cops on every corner when they're going to be there to magnify the distrust we already have for them. Policemen should figure out who the real criminals are. I know. And go after them instead of treating all of us like such. They're the ones who have to change since the problems of the street are always going to be there. There's always going to be crime and we need protection.

These issues may be the bigger picture, but I'm still unable to answer my girl. Every day I have to deal with these problems. And although I may forget about them, what worries me is that it might be one of my friends who falls into the cycle and goes out to buy the nine. In street slang, that's a nine-millimeter handgun. I'm John Guardo, speaking for the street.

These issues may be the bigger picture, but I'm still unable to answer my girl. Every day I have to deal with these problems. And although I may forget about them, what worries me is that it might be one of my friends who falls into the cycle and goes out to buy the nine. In street slang, that's a nine-millimeter handgun. I'm John Guardo, speaking for the street.

[Opening music]

[Natural sounds of ceremony] Bienvenidos cuidadanos Americanos nuevos.

[Unidentifiable] [Ceremony natural sounds] Tu sacrficio….

[Folk music, transition]

[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.

[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.

[Conjunto music, transition]

[Natural sounds, theater] Grupo Animo

[Natural sounds, theater] All the young women in the piece, over here.

Identity. [Natural sounds, theater]

[Transition, “Caminos Verdes”, Ruben Blades & Seis del Solar]

[Natural sounds of Hector Lavoe performing]

[Highlight, Hector Lavoe performing]

[Highlight, Hector Lavoe Salsa]

Hector Lavoe was born Hector Juan Perez into a musical family of singers in Ponce, Puerto Rico in 1946. When he was barely six years old, he would sit by the radio, shouting out jibaro songs with singers like Daniel Santos, and Chuito El De Bayamon. [Background Music, Hector Lavoe] Eventually, he left for New York and was soon discovered by Johnny Pacheco of Fania Records who teamed him up with Willie Colon. Pianist Joe Torres worked with Hector Lavoe for 25 years. First in Willie Colon's band, then Lavoe's own orchestra.

Lavoe never quite recovered from his 1988 suicide attempt and his drug addiction. He spent his last years in hospitals with an amputated leg and living with AIDS. Lavoe was in the hospital listening to a radio tribute to his life and music when he suffered the first of two heart attacks that finally killed him. [Lavoe Music, background] After hearing of his old friend's death, Willie Colon said, "All of Latin America cried for the hero of poor people." He called him Salsa's Martyr, a monster we helped create. "Forgive us, Hector," he wrote in a statement from Spain.

[Highlight--Hector Lavoe music]

Hector Lavoe, Music Transition

[Opening Theme]

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's the deep right. It sends Gwynn to the wall. He leaps and can't get it. It's backed up by Bobby Kelly --