Annotations for Subject-headings: Ethnic Identity

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.

[background music] Producer Betto Arcos, along with Mexican performance artist, Guillermo Gomez-Pena, actress Yareli Arizmendi, and rock musician Sergio Arau, have given some though to the use of these labels. “Ahi Les Va Un audio essay.” Here's their audio essay.

Do you remember the little song we learned yesterday?

Yes, I remember.

Let's sing it.

Okay. (singing).

One little, two little, three little aliens. Four little, five little, six little aliens. Seven little, eight little, nine little aliens.

[recorded voice] To find out how to report illegal aliens or employers of illegal aliens, dial six now. [beep]

Alien nation. Alien nation. Alien action. Alien native. Alguein-ated. Alien hatred. Aliens out there. Hay alguien out there. Aliens the movie. Aliens the album. Cowboys versus aliens. Bikers versus aliens. Hippies versus aliens. The wetback from Mars. The Mexican transformer and his radioactive torta. The Conquest of Tenochtitlan by Spielberg. The Reconquest of Aztlán by Monte Python. The brown wave versus the microwave.

It is estimated that there are approximately six million undocumented or illegal aliens living and working in the United States at this time.

Sergio is an illegal. Guillermo is a wetback. Is Sergio a wetback?

No, Sergio is not a wetback. Sergio is an illegal. Guillermo is a wetback.

Good.

I am, therefore, I cross. My rationale for crossing is simple, survival plus dignity equals migration minus memory.

[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.

It's been viewed by thousands of people in Los Angeles, Denver, Albuquerque, El Paso, Washington DC, and the Bronx in New York. Now the art exhibit known as the CARA show opens at its last venue of it's two year run in San Antonio. The exhibit examines the Chicano art movement of the 60s and 70s, through a wide range of multimedia, including posters, holograms, and altars. Latino USA's Maria Martin prepared this report.

[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.

In the United States it's very difficult for Chicano art to get a hearing. First of all, because even today all the Latinos are lumped under the word Hispanic. And so, Chicano immediately separates out in a very particular way from that Hispanic rubric, which in a way many people, of course don't like because it means that it does away with your Indigenous and your African element, and only proclaims the European Spanish element. So, in that sense, because Chicano art is an art that fractures the myth of consensus, it's unknown.

[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.

The Aztecs had a term for growing up, for maturing, for living. All human beings in the process of their life acquired a face. And so, here the name of this exhibit, CARA, invokes this ancient concept. But it is not just the face of the Chicano community. It is not just the face of the Hispanic community. It is the face of America, and that is why I want to correct the usage of a certain title. I am not per se a Hispanic. I am a pre-Hispanic.

Officials at the San Antonio Museum of Art are hoping for a record turnout for the CARA show, which will be accompanied by a number of community events, and a low rider parade on opening day.

[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.

An account of the first astonishing occurrence in the lives of a woman named Sophia and her four fated daughters, and the equally astonishing return of her wayward husband. La Loca was only three years old when she died. Her mother Sophie woke at 12 midnight to the howling and neighing of the five dogs, six cats, and four horses, whose custom it was to go freely in and out of the house. Sophie got up and tiptoed out of her room.

So Far From God is based in New Mexico, where Castillo who grew up in Chicago, has been living for the past two years. The book has been called a telenovela, a Chicano soap opera. In fact, Castillo deals with some pretty heavy topics in her book, among them women's rights, environmental racism, sexuality, Catholicism, and the Gulf War, just to name a few. Thanks for joining us on Latino USA, Ana.

In your book, what's interesting, what caught my eye was that you have a lot of Spanish phrases with no translation at all. Is that one way in which you wanted to kind of deal with that schizophrenia of being bilingual and bi-cultural in just saying, "This is who we are," and it's not going to be translated?

Yeah, well of course, that is our reality. Lots of times when I would go to universities to read and I'd see the flyers, Ana Castillo, poet. I always say, "Chicana in search of her identity." I stopped before I did anything. I said, "I want people to know that I'm very aware of my identity. What I would like to do is assert that identity to the public." And so, part of our identity is not so much as schizophrenia. It's the denial from society that this is our language. So if this is an oral storyteller, she or he would say this, would talk this way, would not be inclined to translate.

In literature, once you see that in print, obviously it would be very redundant to say, “Callate. Shut up," he told me, or something like that. I work at what I had to do to compromise for everybody. It's a compromise because some Latinos do not read any Spanish, and some Chicanos won't understand this particular Spanish, is then you work it into the text. Sophie put the baseball bat that she had taken with her when checking the house back under the bed, just in case she encountered some tonto who had gotten ideas about the woman who lived alone with her four little girls by the ditch at the end of the road.

It was then that she noticed the baby-

After growing up Chicago as I did, which is not necessarily a very magical realist place, although it has its moments, was magical realism a part of your moving to the Southwest? [laughing] Because you talk about the Southwest and New Mexico as an integral part of this novel of yours.

Let's just kind of deconstruct this magical realism catch word I think that's associated with Latin American literature, but also with the Latino reality I think. That's why I laugh, because I think it's more like this, this is a reality and magical realism is what motivates us. I did not have that intention at all to do that in my literature, in this particular book. What happened was that I think I was possessed, and I was there immersed, baptism by fire in Nuevo Mexico. Much of what comes out in here is material that is based on faith, whether it's Catholic faith, it's Pueblo Indian mythology faith, or the creation story that is told here.

It's sort of diluting to simply say it's magic realism. I'm not saying there's a, "Now what can I do that's very extraordinary?" Well everything around me is very extraordinary. What's probably... I couldn't beat the reality here. I wouldn't call it magic realism. I would call it a book based on faith.

[Reading] Esperanza let out a shriek long and so high-pitched it started some dogs barking in the distance. Sophie had stopped crying to see what was causing the girl's hysteria, when suddenly the whole crowd began to scream and faint, and move away from the priest who finally stood alone next to the baby's coffin. The lid had pushed all the way open and the little girl inside sat up just as sweetly as if she had woken from a nap, rubbing her eyes and yawning, "Mami?" She called, looking around and squinting her eyes against the harsh light. Father Jerome got hold of himself and sprinkled holy water in the direction of the child, who for the moment was too stunned to utter so much as a word of prayer.

[Reading] Then as if all this was not amazing enough, as Father Jerome moved toward the child she lifted herself up into the air and landed on the church roof. "Don't touch me. Don't touch me," she warned. This was only the beginning of the child's long life's phobia of people.

Highlight--music--Violin

There's been a lot of attention given to this book, So Far From God. You've gotten a lot of press, you've been doing readings, you've been traveling starting at 500 in the morning and ending at 900 at night, reading in many, many different places. But this isn't your first novel. You've written other novels and other books of poetry before. So why now? Why do you think there's this interest now? Is it because there's all of sudden this general incredible interest in Chicana/Latina writers, or what? Or do you think it's just because hey, it just was the right historical moment? How are you interpreting it?

Since I've been writing and publishing now for almost 20 years, I had that vision that it would take that long as a Chicana. I don't know how I had it, but I did have it. Unfortunately, that was an analysis that I understood in terms of racism, sexism, and classism, which that is something that we can say most Chicanas, Latinas, do experience in this country. You are not Native American. You are not European. What you are is a drone that should just go and work, and don't worry. Nobody wants to hear what you have to say. When you're a writer, that's what it's about, is what you have to say.

And so, I worked for many years as a poet. People still see me primarily as a poet. Then I thought, how can I really get the word out? Well, not that many people read poetry, and that's when I started teaching myself how to write fiction. It took me a number of years before I did The Mixquiahuala Letters, which I thought I would die with it stuck between the mattress and the bedspring, and nobody would ever see it or want to see it. When it was accepted so quickly and so highly-acclaimed critically by the Chicano scholars, that literary audience, it really took me aback.

I guess, finally, what do you say to young Chicanos and Chicanas, but I guess primarily Chicanas, who are probably maybe even listening to this, who are sitting in their little casita who knows where, or in their dorm room if they're in a university and saying, "I don't have anything to say, and my voice is strange. No one understands me." How do you try to convince them to trust their voice as you have finally come to trust yours?

You have to have great tenacity about this, great personal conviction, that this is what you want to do, that you love to do. I would say, write, write, write, write, and read everything you can read, and brace yourself because we all get rejected. I still get rejected. Sandra Cisneros still gets rejections. You say, "Well in comparison the success or to acknowledge when who cares," but everybody at some point and continuously will get that when they're sticking by their convictions, and when you're trailblazing with a machete to try to make a little pathway there.

I would say to young Chicanos and Latinos who want to write, to read, read, read, write, and to believe in yourself. How can you go wrong when you're doing what you believe in?

Thank you for joining us on Latino USA. It's been a pleasure Ana, un placer. Ana Castillo's latest book, So Far From God, is published by Norton. Muchas gracias, Ana.

Thank you.

After stealing the show in movies like Do the Right Thing, White Men Can't Jump and Untamed Heart, actress and dancer, Rosie Perez will soon star in films with Jeff Bridges and Nicholas Cage. Perez is also starring in an HBO special which puts the spotlight on rap music. From New York, Mandalit Del Barco profiles Rosie Perez, the multi-talented Nuyorican.

Hi! Oh, I know where that is. That's in this neighborhood, babe. [nat sound]

At Fort Green Park in Brooklyn, up the street from Spikes Joint where filmmaker Spike Lee sells clothing and memorabilia, Rosie Perez sits on a park bench to talk about growing up not far from here. She remembers living with a big extended family in a low income area of Brooklyn called Bushwick. That's where she caught the dancing bug that eventually made her famous.

Because they used to go to the disco all the time with the hustle and everything. So, they used to use us as their partners and stuff and they would burn holes in our stockings and then our socks. They would twirl us around so much. I'm like, "All right, man, I'm tired." "Get up!" They wanted to be the king of the disco, you know, and stuff. And that's how we started.

[highlight hip hop music]

After high school, Rosie moved to Los Angeles to study biochemistry and ended up choreographing for singer Bobby Brown, rapper LL Cool J and Diana Ross. Her big screen break came in 1989 when Spike Lee cast her as Gloria, who danced like a prize fighter and cursed up a storm as his girlfriend in Do the Right Thing.

That's it. All right? [movie excerpt]

I have to get my money from Sal. I'll be back. All right? [movie excerpt]

Shits to the curb, Mookie, all right? And I'm tired of it, all right? Because you need to step off with your stupid ass self, okay? And you need to get a fucking life, Mookie, all right? Because the one you got, baby, is not working, okay? [movie excerpt]

After Do the Right Thing, Rosie landed a gig choreographing the Fly Girls on TVs In Living Color, where she brought hip hop dancing from the New York streets and nightclubs into mainstream America. After stints on TV shows like 21 Jump Street, Rosie's film career took off, playing rather loud characters like she did in the film Night on Earth. To avoid being stereotyped, Rosie says she fought hard to win roles like the Jeopardy! game queen in White Men Can't Jump.

Jeopardy! is going to call Billy. It is my destiny that I triumph magnificently on that show. [film excerpt]

Who is Peter the Great? Who is the Emperor Constantine? [film excerpt]

It's like when people think of Latin women, they think of kind of just sex-crazed maniacs that are kind of lightheaded and not really that smart. You know what I mean? And everything. And I hate that. And that's why I went after White Men Can't Jump with a vengeance because you got to be smart to get on jeopardy and win money. And, to my agents, I said, "I got to get this role, man. And I got to keep her Puerto Rican, man." I know they wanted a white girl, an Irish girl from Boston, initially for the role. I said, "But, yo, if I get in there, I got to represent, man. You got to keep her Puerto Rican, man." Look at films, look at TV. We're always the maid. We're always the one that's having the extramarital affair. Wearing the tight dress and ay... You know, all that and everything. That's fine, but don't pigeonhole us and don't have that represent us as a whole.

Soon Rosie Perez will be starring with Jeff Bridges in Fearless and with Nicholas Cage and Bridget Fonda in Cop Gives Waitress $2 Million Tip. She's also producing her own projects, including a possible film about the Puerto Rican independence movement. Comedian David Alan Grier works with Rosie on In Living Color.

The thing I like about her is that she's a hustler. I mean, she has this plan. She's building this power base. And she's got her own company, she's managing groups. I'm going to be asking her for a job in just about two or three years. She's a powerful woman.

[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]

Hi!

Hi!

Society's Ride means... Leaders of the New School, the Electric Records recording artists, they gave me the name. Because I said, "I want to take people on a ride to my world. I want them to see what I feel and what I do and how I be living and everything." And they were like, "Society's ride. Society's ride." And so it just stuck and everything. And the hip hop community gets it. Everybody else goes, "what?" But that's cool. But that's what the show is about. We're showing you real. We'll teach you. We'll take you on the ride. We're in the driver's seat this time.

Rosie says HBO was nervous about the rap special at first, thinking the material would be too racy for TV. But at a time when radio and TV waters down or sensors rap lyrics, she says she fought the network to let the artists show the real deal, uncensored. With this latest project, Rosie hopes to be taken seriously as a Hollywood producer because being boss is something she loves.

I feel great. I keep all the money.

The show Rosie Perez presents, Society's Ride is airing Friday nights on HBO. For Latino USA. I'm Mandalit Del Barco in New York.

Recently, San Francisco-based comedian and performance artist, Marga Gomez received rave reviews for her one-woman off-Broadway show called Memory Tricks. Now, Gomez is working on a television adaptation of Memory Tricks, which looks back at her New York childhood with a showbiz family. From New York, Mandalit Del Barco reports.

Marga Gomez is the funniest simulated lesbian comic and performance artist who describes herself as somewhat of a misfit Latina.

My name is Gomez, and I look Latina and I feel that. I mean, I can eat spicy food, but I can't dance salsa or speak Spanish.

Marga is the daughter of a Puerto Rican exotic dancer and a Cuban impresario. Her solo show Memory Tricks is set in her precocious New York City childhood, when her flamboyant mom and dad were considered the Lucy and Ricky of New York's Latin vaudeville scene. [highlight music]

[background music] I thought of them as big, big stars. You know, you couldn't get to be bigger stars than my parents. Actually, they were stars in their community, and their community was a very poor community, so they were like poor stars, but I thought we were just like royalty. [highlight music]

In the 1960s, Marga's dad, Willy Chevalier, was a comic actor who produced theater reviews known as Spanish Spectaculars, [background music] featuring salsa stars like Tito Puente and Celia Cruz, female contortionists, magicians and other acts. He put together sketches called La Familia Comica, which sometimes showcased her mom's Afro-Cuban dancing, they're pet chihuahua, and little Marga Gomez.

[background music] I had delusions of grandeur from a young age, because my father would just tell me all these fantastic things, I was going to be the next Shirley Temple and all that. You know? I couldn't sing, couldn't dance, but somehow I was going to be the non-singing, non-dancing, Puerto Rican-Cuban Shirley Temple.

[background music] Marga says when they got divorced, she had to choose between her dad and her mother, Margarita Estremera, also known as Margo the Exotic. Memory Tricks is Marga's tribute to a bleach blonde, fem fatal mom who used to try to teach Marga to be a perfumed lady, how to hold her pocketbook and glide, glide, glide on high heels. In a scene from a recent off-Broadway show, she remembers going on a picnic with her glamorous mom.

Let me tell you about the picnic. Remember the picnic, the one I sold my father out for? My mother promised that we would go that Sunday, right after church. I was so excited. I prayed extra hard in church. "Father, God, please, don’t let her see any stores on the way." When the priest said, "The mass is over. Go in peace," [snapping] I was gone. I ran all the way home, ran upstairs to my room, changed into my play clothes. That's what I wear all the time now, my play clothes. Then, I ran to my mother's room to see if she was awake. See, my mother couldn't go to church with me on Sundays. She was a good Catholic, but after a hard night of belly dancing, you need your rest.

In Memory Tricks, Marga talks about not wanting to grow up to be like her mom, who always wanted a Caucasian nose like Michael Jackson's. But she's found you can't escape your roots, even if they are dyed.

She'd sing all the time in the house, but she'd sing like this. [Singing] What a difference, la la la besame, besame la la She'd sing--She knew so many songs and none of the words. So that's sort of, the way I sing, too, so don't sit next to me at a rock concert. [Singing] I can’t get no la la la la la la.

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.

Marga continues to do stand-up comedy and is reading for movie parts.

[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.

This summer, marga Gomez is writing the screenplay of Memory Tricks for the PBS series "American Playhouse". For Latino USA, I'm Madalit Del Barco in New York.

NAFTA has provided fertile ground for the work of performance artist Guillermo Gómez-Peña. In the following skit, Gómez-Peña becomes a character he calls "the Aztec salesman". The Aztec salesman is a lobbyist for free trade who at first tries to sway others to enter into the free trade fever, but later has an identity crisis.

[“Tequila” background music] Bienvenidos damas y caballeros, lovers, consumers of pura vicultura, a new transcontinental breeze, ricochets from Monterrey to Manhattan, from DF to LA, we perceive the pungent smells of chile con ketchup and low-cal mole. Never before have Gringolandia—[clears throat] digo--America succumbed to the sabor of the amigo country with such eagerness and gusto. Let Frida Kahlo's monkeys run wild in your dreams. Get lost in the labyrinth of solitude of a Mexican painting. Dance yourself to sleep with the picante sounds of Guapango rap. Don't forget to wear your conceptual sombrero, güerita. Enjoy the tender, tender, magenta nipples of a ranchero diva. Don't get left behind. Don't arrive late to the Grand Tri National Fiesta. Support NAFTArt, free trade art for the klepto Mexican connoisseur.

Como debe diciendo, man, join a new vibrant Castro erotic—digo—econo-cultural ma-ma-maquiladora y de paso contribute to. Sorry. What I meant to say is you will receive a glossy 200-page catalog, certified by Televisa and the Metropolitan. You can place your mail orders debolada by simply dialing your resident-alien number. Remember, no one can like Mexi-can. No mejor dicho en Spanglish, lo echo en Mexico esta bien [clears throat] digo—[beep]. Me-me-me-Comprehend this machine. Approach your funders de ya porque Free raid, digo, free trade artist, tax-deductible, hombre.

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.

Basic issues such as equality and fair media coverage are concerns that carry from one Latino Journalist Conference to the next. Both fairness and equity were main topics at last year's National Association of Hispanic Journalists gathering in Albuquerque and this year again in Washington D.C. Here's a collection of the voices of Latino journalists from around the country.

Our children, what they're getting at home, they put on the TV, they open the newspaper, the images they're seeing, and that is hurting our community. Usually, those images are very negative, the stereotypes. And they don't see themselves in a positive light when they put on the television or when they read the newspaper or when they listen to the radio. And I cannot tell you how basic that is to the development of our community.

Not all Latinos are in gangs. Teenagers, not all of them are drug dealers, hustlers, you know, on the street corners. But that's the only time they make the news. I mean, they never seem to -- When somebody's doing a positive thing, they never put that on news. They always put something negative, whether it's a burglary or robbery or killing.

We're not this monolith, and we're not a bunch of crazy Latins who blow up buildings and play loud music and these sorts of things.

The stereotype needs to be broken. And in order for us to change that, we need to go back and we need to just get, encourage more students, more younger people to get involved in the media because it's the only way we're going to make a difference.

We have to make inroads and get into the mainstream. And for that, we have to acquire a sense of our own worth. We have to start knocking the doors of Anglo America.

We need to get more Latinos into management positions that -- So that we actually decide what stories to cover rather than being told what stories to cover.

The mass media and American society determines what the people will think about and what the people will talk about. And that is an awesome power. It is a power that has been held closely, consciously or unconsciously. It has been held closely. And the battle to open it up, the battle to insist that all aspects of our society and all sectors of our society will have equal access to that awesome power is a battle that we must wage.

Once a year, Latino journalists from across the country come together to network, improve their skills, and examine their impact on the U.S. media. This year, over 800 members of the National Association of Hispanic Journalists met for four days in the nation's capital. And joining us today are Diane Alverio, the President of the National Association of Hispanic Journalists and a TV reporter in Hartford, Connecticut; Juan Gonzalez, a columnist for the "New York Daily News"; and George Ramos, a columnist reporter from the "Los Angeles Times." Welcome to "Latino USA." Some of you were involved 11 years ago when this organization was actually formed. Eleven years later, what is different now for Latino journalists operating and functioning in the United States? Juan?

Well, I think that one thing that has happened is you've had a spurt and a tremendous growth in the number of young people that have entered journalism as a profession. It seems to me that every conference, more and more young people appear to be eager to get into the profession. So I think that that's been a tremendous step. A lot of the work that NAHJ has done has been in nurturing and developing and helping to train those young college students and high school students, getting them scholarships and promoting their writing work. So that's been a tremendous step forward.

Unfortunately, on the other end, we don't seem to be retaining as many of the veteran journalists who apparently are coming up against walls and frustrations that they end up leaving the profession, so that on balance, the numbers of Latino journalists have not really grown qualitatively. There's this minute growth that is occurring -- part of a percentage point or a half a percentage point a year, but there's no real qualitative growth in the numbers of Latinos in the newsrooms of the United States.

So, when these Latino journalists get into wherever their newsrooms or if they be at TV stations, et cetera, how much debate is there for these Latino journalists around the questions of, "I'm a journalist first, and then I'm Latino," or, "I'm Latino first, and that influences my role as a journalist"?

I know that at the "LA Times," it's something that I have raised for about the last, oh, I'd say about at least five or six years. Am I a reporter who happens to be a Latino, or am I a Latino who happens to be a reporter? I don't think there's a right or wrong answer, but how you answer the question says a lot about how you look at news and whether or not you take news seriously. I happen to be a Latino who happens to be a reporter because they don't pay me to be a Latino. I'm that coming in. So when I look at a story --

You were born that way.

I was born that way. I'm sorry, but that's a good way to put it. I have a unique perspective, and when I look at something, the editors know that that's how I'm going to look at it, that I -- Hopefully, I'm professional, but my eyes happen to be brown. They're not blue or hazel or something else.

Is there an encouragement of that unique perspective, Juan, from a Latino journalist? Or is it more like, "Well, don't necessarily look at it through those eyes. Maybe you need to see it through a more mainstream eye"?

I think there's a tremendous ambivalence on the part of the managers of the newspaper and television and radio stations on this question. They would like to have Latino reporters in their organizations, supposedly, to be able to give them access to communities and information that they otherwise would not have. However, they would rather that those Latino reporters look at these communities through the same eyes that the non-Latino reporters look at them.

And a part of the great contradiction, I think, of American journalism is understanding that even when you are doing news reporting and trying to be fair and report reality, the fact is that reality is always looked at subjectively by each individual and that there is no such thing as objectivity. There are many individuals attempting to recreate objective reality and that, but you're always doing that subjectively because you're always doing it through how you were raised, what your parents taught you, the school that you went to, the things that you learned. That's the only eyes with which you have to look at the world. And that's true for all reporters.

But somehow, when it comes to Latinos working, let's say on a Latino's story, the editor may think that you will not look at that in an objective fashion, as if a white reporter covering that Latino story would look at it in an objective fashion.

And it's not just about objectivity either. It's about your perspective that they both talked about. Just this past week, a national -- I won't mention the name of the show -- a national -- one of the network magazine shows aired a piece on 936, the tax issue with Puerto Rico in Puerto Rico, and I, as a viewer and possibly as a journalist, I'm sure, and especially as a Puertorriqueña, was watching it, and I thought, "But they're not giving the entire story."

I happen to know the background of 936 just because I am Puerto Rican and I know the history, and the way the story was presented, it just explained the tax law and why the financial benefits the company, but it never delved into why this was instituted in the first place, what the U.S. role has been in Puerto Rico that necessitated a tax reform, a tax act like this. And I felt that the viewer was gypped. The viewer that was non-Hispanic, non-Puerto Rican like I, did not get the correct information in which to form his or her opinion so that what I'm saying is that Latino journalists bring that with them, information that other non-Hispanic journalists may not have or don't bother to go after.

Now, these are very, very interesting issues, not only for us as journalists who come together once a year to talk about these things but also for our communities. But the NAHJ as an organization really is probably not that well known across the United States. Should the organization, the National Association of Hispanic Journalists, become more of an activist organization where it is recognized across the country as an organization that is there supporting the Latino community and that has the Latino community's interest at hand, or should it be an organization that really focuses on this professional community, Latino journalists?

We as Latino journalists have been discussing that in the last couple of years. And it's kind of an identity question. It's part of the growing pains of the organization. And I think -- I was attending a panel recently, and someone said it quite well. By the very fact that we have banded together as Latino journalists, we are a civil rights organization, whether all our members want to accept it or not, because our goals are primarily to increase the numbers of Latinos in the industry, to improve coverage of the Hispanic community. If those aren't civil rights issues, I don't know what are.

Thank you, Diane Alverio, the President of the National Association of Hispanic Journalists; Juan Gonzalez of the "New York Daily News"; and George Ramos of the "Los Angeles Times."

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]

Esperanza, or hope. It's said, that's one thing young people living in this day and age, often lack. But in San Antonio, Texas, a group of teenagers is creating theater that expresses a measure of hope for the future. Even amidst a reality of drugs, gangs, identity questions, and homelessness. Along with Lucy Edwards Latino USA's, Maria Martin prepared this report.

[Natural sounds, theater] Grupo Animo

It's the Friday afternoon at Fox Technical High School in San Antonio. The young members of the acting troupe El Grupo Animo, ages 13 to 18, have come together to start rehearsing their new production. The group's name derives from the Spanish word meaning spirit, energy, and a desire to inspire and the drama they're preparing is written and performed by the kids themselves.

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

Identity. [Natural sounds, theater]

The drama in production is called, "I Have Hopes, Hopes I Keep Sacred in My Soul." It's a series of vignettes, tales of young people, much like the members of El Grupo Animo, facing life's challenges and learning to cope.

It's about a young girl who gets pregnant and she has to tell her parents because both of us know so many girls who have already gotten pregnant and it's not looking better or anything.

I'm 17 years old, and I wrote about the homeless. So much we can learn from our people. They've gone through rough times, and by that, a lot of them are on the streets, and we don't even care about them.

I decided to bring up the issue of teenage homosexuality, because Hispanic, Mexican American families, it's harder for them to deal with it. There's a lot of tradition, and a lot of the tradition is built around the male role model and female role model, you know?

14-year-old Michaela Diaz, along with Guadalupe Covera and Victoria Rivera, are among the nine playwrights who make up El Grupo Animo. 16 year old Priscilla Valle wrote about a young gang member.

He's dealing with the pressures of being tied to his gang, but then wanting to get out and be free and lead the life that he wants to lead, that the gang doesn't allow him to.

You don't understand, what if they come after me? Babe, they know where I live.

They're tearing you apart. They mess around with people's lives like it's nothing. You can't be afraid to be who you are. Don't keep it down forever. I hate them!

It's really a lot of what's going on in their minds and in their lives, but they never have a place to talk about it.

Director George Emilio Sanchez of New York is working with the young playwrights and actors of El Grupo Animo.

It takes a lot of courage to be a young person. It takes a hell of a lot of courage to say, "Yeah, I'm young. I don't know everything, and I want to be alive." Boom. That to me is like heroic. I think individually, if you read the things they write, no, I don't think they have a lot of hope.

But still, say the kids, their stories do express hope as the title of their collective work indicates.

Even though we are, we're sad and depressed about it. I think there's always that bright side and that hope that we have, and that's just what the whole play is about.

That's why I think that the name of it, "I Have Hopes, Hopes I Keep Sacred in My Soul", is what we're using. They're not all happy plays with happy endings, but we're not trying to say that the whole world is terrible. You know, that everything's terrible, that there's no hope for anything. Even though we know what reality is, we still feel that there can be a change, that there will be a change, and if anybody, we'll be the ones who will do that. And that's our message, basically.

El Grupo Animo’s production of "I Have Hopes, Hopes I Keep Sacred in My Soul," runs through July 17th at San Antonio's Guadalupe Cultural Arts Center. The Center's theater director, Jorge Pina, calls the troupe the next generation of Chicano Teatristas.For Latino USA with Lucy Edwards in San Antonio, I'm Maria Martin.

This is Latino USA, the radio journal of news and culture.

[Opening theme]

I'm Maria Hinojosa. Today on Latino USA, the border prepares for free trade.

And the question is how do you manage this process in a way that really leads to people's lives being better off?

Also, tackling border health problems and the perennial question, what do we call ourselves?

I'm Chicano.

I'm Puerto Rican,

I'm Cuban Argentine,

and now we have this new thing, non-white Hispanics. I mean, it's crazy.

[Transition Music]

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

This program is called Latino USA, but would a program by any other name, Hispanic, for instance, sound as sweet?

I consider myself a Hispanic. I don't like the term Latino.

When you say Latino, you get, I think, a warmer sense of who our people are; just a greater sense, a more comprehensive sense of culture.

What I call myself, I'm Chicano, seventh generation in this country.

I'm Puerto Rican. That's it, period.

I'm Cuban-Argentine, I'm Caribbean, and I'm South American.

And now we have this new thing, non-white Hispanics, non -- I mean, it's crazy.

I speak Spanish, but I'm not Spanish. I speak English. I'm not English, I'm Latina, I'm Hispanic, I'm Puerto Rican. I'm all of those things, just don't call me Spic.

I hate the categorizations. I really don't like them because I think that they pigeonhole us into a certain niche and we can't escape it.

It's not the most important issue facing Latinos or Hispanics or Cuban Americans, Puerto Ricans or Mexican Americans. But the questions, what do we call ourselves, and why this label rather than the other, surfaces so regularly that it's almost an inside joke among Latinos or Hispanics or whatever. It's also one of the questions studied by a group of political scientists who conducted a study of political behavior called the Latino Political Survey.

The evidence that I see from the Latino National Political Survey and every other survey that I've seen that asks people to self-identify, demonstrates, I think conclusively that most people who we might choose to identify as Latino do not choose that as their first term of identification, who identify as Puerto Rican, as Mexican, as Mexican-American, as Cuban, as Cuban-American, and many other ways.

The term Latino is just a useful term in terms of describing the fact that there are all these different groups. The question is what does it mean politically? That's the significance of the term. Now, I guess the point is, if you put it all together, is that this is a very fluid kind of situation and it's something that changes over time in the sense that it depends on what kind of movement and context you have and what the leadership's saying, and it depends also on whether you have any kind of real social movement in place that does something with these kinds of symbols.

And right now, what we were falling into is mostly Hispanic being used by kind of a middle class of professionals by default because the term was either being used by the media or, I know in the Puerto Rican case, there were many Puerto Ricans that were using a term like Hispanic professionals because being Puerto Rican identified you as someone on welfare, that kind of thing. So it was a more acceptable kind of term, and those are kind of different political reasons that many of us would advance for using these types of terms.

Well, when I think of the term Latino, it brings to mind the diversity that exists within the Latino communities. It also brings to mind the fact that individual Latinos are not unidimensional, but they're multidimensional. I consider myself a Chicano, a Mexicano, a Mexican American, a Latino, a Hispanic, all depending on where I find myself, who I find myself with.

One of the other things I think about is there is a lot of out-group marriage that is occurring within the Latino community, and not necessarily to Anglos or African-Americans, but to other Latinos. I have two cousins who are Mexican American who married to non-Mexican American Latinos. What are their children? They're half Guatemalan, half Mexican? Are they going to go around saying, well, I'm half Guatemalan, I'm half Mexican? No, they go around saying, I'm Latino. When you're walking down the street in Los Angeles and an Anglo comes to you, he doesn't say, oh, excuse me, are you Mexican? Or Salvadorian? Or Nicaraguan? They see a brown face and they say, you are Mexican. So what's happening, while we have individual past histories as a Cuban, as a Puerto Rican, as a Central American, as a Mexican, our destinies are tied together as Latinos.

Over 60% of this country's Latinos, Hispanics, or... or whatever, are of Mexican descent. And as we hear in this audio essay, in their case, the issue of labels and identity takes on a whole other dimension.

[Chicano--Rumel Fuentes and Los Pinguinos del Norte]

When I was younger, we had to be Chicana/Chicano movement.

Hispanic is such a new term that it started off as nobody knew what it meant and now they know what it means and they like it.

Well, I really don't know why they call it Hispanic because we weren't Hispanics until recently.

Mexican American is fine. Chicana is fine.

The word Hispanic, I don't like. I'd rather use the word Indo-Hispanic.

I believe Hispanic is for the people from Spain.

Something for sure. We'd rather be called Hispanics than Chicana.

And the older generation thought that this was a derogatory term.

Actually Chicana, it's a slang word. It used to be a slang word for Mexicana.

I don't know why the Mexican American keeps changing names.

[Chicano--Rumel Fuentes and Los Pinguinos del Norte]

I am not Hispano. I'm not Latin American. I am not American or Spanish surname. I am not Mexican American. I am not any of those terms, those vulgar terms that come from Washington and the bureaucrats and the functionaries, and when they try to make sense of us and they make no sense of us. I do not label myself. I'm a Chicano.

Chicano has a lot of negative definitions. Chicano, I've been told it came from Mexico when they put the Chinese in Mexico in one certain area in Durango. So they called them Chinganos. They tell me Chicano means peon, the lowest class Mexican that there is. They tell me Chicano is a militant activist from the 60s that was a true radical on the extremist side. Also, I don't like people keeping themselves at one level when anybody can advance and should not be put into a class and kept there.

So when you have to fill out a form, what do you call yourself?

I call myself Caucasian. [Laughter]

You see, I'm not into that sort of thing really because I decided that I'm no longer a Latino. No, I'm a Hispanic, I'm a Hispanic dammit, and there is a difference. You see, when I was a Latino, my name was Ricardo Salinas, but now that I'm Hispanic, it's Brigardu Salinas.

I don't see that we have an identity crisis anymore. I think that we've overcome and passed that a long time ago. We know who we are and we're proud of it.

The more time that we spend on trying to identify ourselves, I think the more time it takes away from trying to do something about bettering our lives.

And hopefully then in the future we won't have to be concerned about what we want to call ourselves.

[unintelligible] Don’t you panic, it’s the decade of the Hispanic! [unintelligible] Don’t you panic, it’s the decade of the Hispanic!

Syndicated columnist, Roger Hernandez of New Jersey has his own views on the issue of labels. Today, Hernandez tells us why he thinks we should call ourselves Hispanic rather than Latino, and why sometimes we should reject both labels.

Over the course of history, every Spanish-speaking country developed its own idiosyncrasies, its own cultural sense of self. Argentina, for instance, is largely made up of European immigrants. Neighboring Paraguay is so influenced by pre-Colombian cultures that the official languages are Spanish and Guarani, and the Dominican Republic has roots buried deeply in the soil of Africa. We're all different, so it's more precise to say Merengue is specifically Dominican music and that Cinco de Mayo is a Mexican holiday, not Hispanic, not Latino, too generic. The point is that the all-inclusive word, whether Hispanic or Latino, is often misused. Used, in other words, to cover over ignorance about who we are and how we differ from each other. But there is something else just as important. Our diversity does not erase the reality that we all do have something in common, no matter our nationality or the color of our skin or our social class.

And to talk about what we have in common, there is only one starting point; that which is Spanish, as in Spain. Language tops the list. Spanish is a common bond. Then there is culture. Why does an old church in the Peruvian Altiplano look so much like a mission church in California? You can find the answer in Andalusia. And why does a child in Santiago de Cuba know the same nursery rhymes as a child in Santiago, Chile? Listen to a child sing in Santa De Compostela, Spain and you'll hear Mambrú se fue a la guerra and arroz con leche.

Yet the word Spanish does not describe us. It is too closely tied to Spain alone. Latin and Latino lack precision. After all, the Italians and the French are Latin too. Hispanic derives from Spanish, but it's not quite the same. It suggests what we have in common without over-emphasizing it, so it leaves room for our diversity. And no, the word was not invented by the US census. The word Hispano has long existed in the Spanish language, and its English translation is Hispanic. What we all share and what no one else in the world has is being Hispanic. For Latino USA, I'm Roger Hernandez.

Commentator Roger Hernandez writes a syndicated column for the King Features Syndicate. It appears in 34 newspapers nationwide.

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]

Pope John Paul II made his first visit to the United States since 1987. The pontiff along with 170,000 Catholics from around the world came to celebrate World Youth Day. A commemoration of Catholicism and religious worship. American Catholic clergy are hoping that as a result of the fanfare, traditionally Catholic Latino communities will renew their interest in the church. But as Ancel Martinez reports from Denver, many Catholic parishes are confronted with apathy and a church parishioners feel is sometimes too conservative.

[Church Bells]

One parish that wants to avoid the image of state Catholicism in apathy among Catholics is our Lady of Guadalupe. It's Adobe and Brick colonial style church and courtyard is just across the railroad tracks from Denver’s sleek office buildings. The pastor just ended a three-week fast to protest gangs that dominate summer street life around here. Our Lady Guadalupe is housing, hundreds of pilgrims celebrating World Youth Day. Church Deacon Alfonso Sandoval says for Mexican Americans it should be a time for reflection.

If anything, like I say, part of their culture is their faith in going to church. I think that the presence of the Holy Father is going to be significant for the youth in the sense that they were starting to drift away, not attending mass and not attending sacraments wasn't important for them, it just was not a priority. There's a lot of other priorities going on in their lives, but with this visit, I think it'll help a lot of them just take stock of what their faith's really all about.

The Pope chose Denver as the biannual World Youth Day site because it's a relatively young city and its Hispanic population represents the fastest growing segment of the church in America. But the nearly all Anglo national conference of Catholic bishops only grasped in the 1980s how important Latinos are to the survival of the American church. Father Lorenzo Ruiz works these streets reaching out to Chicanos and Latin American immigrants.

This is an area where the American church, the Anglo-American church and the Hispanic church met. The American church took over this area and again, they were not sensitized or aware of the church already existing here, totally unaware of the fact that there was a church here and people with a different culture and different values and a different way of expressing wonderful and beautiful Catholicism.

When Mexican Americans were ignored, that's when the separations began with the traditional Catholic Church, such as the new Mexican set known as the Penitentes decades ago. And even today, evangelical churches are making inroads to a once all Catholic culture.

[Church music and signing]

The Church of Christ Elam holds thrice weekly services in the basement of the circa 1900s Methodist church in the center of Denver's Latino neighborhood. Furnishings are minimal, fold up chairs, linoleum floor, and a small stage, several teenagers sing, a few dozen followers wave their hands and clutch Bibles, Pastor Manuel Alvarez, explains Catholicism simply isn't spiritual enough for many, so they seek other faiths.

They found something that is not a religious but a new experience with God when they can talk to God and have a relationship with God, not with religious or not with that organization, but a special relationship with Jesus Christ.

The Vatican is now paying special attention to Latinos in the United States because in part of their support of conservative issues like the ban on women serving as priest and opposition to artificial birth control and abortion, but there are even schisms among Latinos. Sister Irene Muñoz works for the Denver Catholic Archdiocese Hispanic outreach program.

I know women are speaking out and saying we want a fuller role in the church in many ways, and I truly see that. I truly believe that women are called to do more than perhaps what we're doing. And I know there are many of our sisters, my sisters that are called even more into become ordained priest and they were saying, look at us, listen to us.

The challenges facing the church in its quest to resolve these issues as well as retain Catholic Hispanics will remain long after the excitement of the pope's visit to Colorado in this continent subsides. For Latino USA I'm Ancel Martinez in Denver.

Since it first opened in Los Angeles in September of 1991. The art exhibit known as CARA, the acronym for Chicano Art Resistance and Affirmation has traveled throughout the country to Denver, Albuquerque, El Paso, San Francisco, the Bronx, and Washington DC, bringing art inspired by the Chicano political and social movements of the 60s and 70s to audiences that had sometimes not even heard of the word Chicano. The CARA exhibits last stop was at the San Antonio Museum of Art. Museum patrons on this last afternoon of the CARA exhibit seemed to appear a little bit more intently than usual at this collection of 130 works by 90 Chicano artists from across the country. San Antonio artist David Zamora Casas was among those getting a last glimpse of the landmark art exhibit.

It has opened up the link that we have with our collective past. It has made it okay to and cool to be Chicano again.

Spanish teacher Barbara Merrill came from Devine, Texas. She says the works in the CARA show help her to better understand her mostly Mexican-American students.

There’s so much of the heritage and seeing it through the eyes of the Mexican American. The quote over there, the A Chicano is a Mexican American through non-Anglo eyes, speaks very much to me through this exhibit.

Combining art, politics and history. These diverse works, posters, murals, and multimedia together defined a distinct Chicano aesthetic.

What that meant some 15 years ago is that Chicano artists began to look inward at their own experience to look at their own traditions.

Art historian Dr. Jacinto Quirarte curated the exhibit in San Antonio.

Things that the Chicanos themselves had experienced rather than leapfrogging over to Mexico and looking at things indirectly. By the mid-70s Chicano artists began to really know who they were and by the 80s they were really well onto their own.

In three years of touring the Chicano Art, Resistance, and Affirmation exhibit has brought this distinctive artistic style to the attention of the mainstream art world, but perhaps its most lasting impact has been on audiences who had seldom before seen themselves reflected on museum walls.

We worked the fields in the summer and on weekends during the school year, whatever crop was seasoned. So uh-

30 year old beautician, Sally Ortiz came to see the exhibit twice in San Antonio before it closed. The familiar images she says like that of the Virgin of Guadalupe and of farm worker life and struggle touched a deep cord of memory.

The lettuce and the grapes and the pesticides. I remember my mother talking about the pesticides and of course I was very young and I never understood, but she used to always say, ‘que era muy venenoso.’ Just looking at everything. Just, it's like looking into my past all over again.

And for others too young or not around during the heyday of the Chicano movement, the CARA show proved an education.

Looking at the photos of all the rallies that they had, I found my mother in one of them and it just made me feel really proud that my parents had never really told me about it. But then they started telling me about all this stuff, makes me really proud that people were so alive back then and it just makes me want to be more alive now with the movement because it is still going on.

In San Antonio, as well as the other cities where CARA was exhibited, the show brought in more Latinos than had ever visited those institutions previously. The challenge now say many observers is to keep them coming.

A revival of traditional Mexican mariachi music is taking place across this country and many Latino youth are participating. Marcos Martinez of Radio Station, KUNM prepared this report on the Mariachi celebration held recently in Albuquerque, New Mexico. Now in its fourth year.

[Mariachi Music]

Albuquerque's Mariachi Spectacular brings together groups from throughout the southwest who bring their instruments and their devotion to the music for four days of workshops and concerts. On a Saturday afternoon, some eight mariachi groups alternate between six different stages along Main street of the New Mexico State fairgrounds. This is called Plaza Garibaldi modeled after the original Plaza Garibaldi in Mexico City where Mariachis gathered to play and find work. This year, about half the groups at Plaza Garibaldi are high school students. 17 year old Nick Watson plays with Mariachi Oro Del Sol from El Paso, Texas. He says Mariachi music is complex and fun to play

Well because it's challenging. It has more than three chords. It's basically what I think rock and roll is. And not that I'm knocking, I like rock and roll, but it's challenging. It's more challenging to play, you know, learn a lot more from it.

[Mariachi Music]

With this music, you can express your feelings more.

How?

Um, with the songs, the words and stuff, they're very powerful words.

Jennifer Luna is the leader of Mariachi Oro del Sol and shares Watson's enthusiasm. She says in her part of Texas, young people are very drawn to this style of music.

A lot of young people play in El Paso. That's mostly what there is there. The groups are younger kids. Cause over there it's in the schools they teach it to you, so it's pretty common over there.

The word mariachi comes from the French word for marriage. According to history, French people who came to Mexico in the 1800s became interested in the Mexican string bands of the time and invited them to play at French weddings. Today, mariachis typically include guitar, violin, trumpet, and the vihuela, which is a small guitar, and the guitarrón, which is a very large guitar. While they carry on traditions, youth mariachi groups like Oro Del Sol are also different from the older generation of mariachis in that they tend to be more gender balanced. Nick Watson says his mariachi group is all the better for including young women musicians.

They're good. We just picked who’s good and they're good. So we take them, it doesn't matter. Sex has nothing to do with it. If you're good, you're good, you play.

[Mariachi Music]

There's no doubt that among the young people attending this year's Mariachi Spectacular is some great future talent. Alex De Leon is a vocalist for the Mariachi Azul y Blanco from Adamson High School in Dallas. This 17 year old has already received high praise for his vocal talents.

[Mariachi Music]

People keep giving me comments, I'm good and stuff. So now I want to get better.

Young Mariachis, like De Leon have a chance to learn from more experienced mentors like Al Sandoval, who teaches music in the Albuquerque public schools and is director of Mariachi Romántico. Sandoval says, attendance at the Mariachi Spectacular workshops has tripled since last year. Sandoval says because of its expressiveness, mariachi music is a big part of Southwest Hispanic culture.

It's the most addicting music of all. I mean Southwest, it's the most addicting music. It grows on you and once it's in your blood, you'll never get it out. It's worse than the worst habit you can ever have because I mean, you grow to love it and you can never get away from it.

[Mariachi Music]

Everything about Mariachis hearkens back to Old Mexico from the ornate charro outfits and broad brimmed hats to the instruments and the old songs. But on the final night of the Mariachi Spectacular, as the teenage musicians joined the world's most famous mariachi groups on stage for a grand finale, the tradition seemed certain to continue for a long time to come. For Latino USA, I'm Marcos Martinez in Albuquerque.

Northern New Mexico is almost another country, a place of great natural beauty where los llanos y las montañas, the plains and the mountains, have for many years kept communities isolated but also close-knit and friendly. Producer Deborah Begel recently moved to Northern New Mexico. She sent this report about one local custom.

Really, I could be going down the road and if I see a car coming, I just wave at him. It just comes out automatic. It just wave.

Let's see, here comes Vanji from the clinic and she waves. Yeah, she wiggles her fingers. Hi, how are you guys?

Seated on a turquoise wooden bench on the front porch of the old Adobe Mercantile Building in Los Ojos, New Mexico. Joanna Terrazas waves at passing friends.

There goes Mapo, he smiles and waves at everybody,

A few paces down the street. Retired Marine Elipio Mercure is standing outside Pastores feed and general store.

We're so far apart, our communities, and sometimes you don't get to see each other for two or three or four days, so when you meet each other on the road, you wave at each other and say, hi, how you doing? And it's contagious.

Loyola Archuleta, the manager of the store, explains that most Chama Valley locals practice three waves, a kind of scale of friendliness.

One is for people that you don't really know too well. You just pick up one finger and for people that you really know a little more, you pick up your whole hand. But if you really know somebody that you really, really like, you really shake your hand back and forth [laughter]. Let's see, this is going to be {unintelligible]. Let’s see, hi. See he waves and then he shakes his finger at me, that what am I doing? [Laughter].

All the history of a family, a community, a friendship are revealed in a wave.

And this is her now. She's my, she's my comadre I baptized her daughter when we're ex sister-in-laws. So she'll wave and say hi, and that's as much as it goes.

John Nichols, author of the Milagro Bean Field War, describes his return to Taos after a long trip in his book, If Mountains Die. "When I raised my hand in greeting to a car driven by a stranger", he writes "and received a salutation in return, I knew I had a arrived to a place worth trying to call home". Pedro Archuleta of Tierra Amarillo, or TA as the locals call it, couldn't agree more.

The moment you see somebody just wave at you, as you come [unintelligible]. It's a different feeling because hey, I'm home. Finally home feel better.

My husband was telling me that one time he was coming down the grotto. And we have a tradition that when we pass the grotto, we cross ourselves. And instead of making the sign of the cross, he waved to the grotto.

For Latino USA. This is Deborah Begel.

The name Pedro Albizu Campos is a familiar one in Chicago's Puerto Rican neighborhoods. An alternative high school and a street bear the name of the Puerto Rican politician, who headed Puerto Rico's nationalist party in the first part of this century. But an effort to add one more symbol to honor Albizu Campos died recently when the Chicago City Park board voted down the donation of a bronze statue to the nationalist hero scheduled to be erected in the community's largest park. Indignant admirers of Campos say the board ignored the will of the community, but other Latinos say Campos was a controversial politician whose ideals don't deserve any more recognition. From station WBEZ in Chicago, Tony Sarabia sent this report.

The theme of the song is about a community united in an effort that is uncontainable. On a sweltering August afternoon, a throng of protestors stood on the steps of the Chicago Park District headquarters singing that and other songs as they awaited the outcome of the board's vote. Inside close to 200 people listen to community leaders who backed the effort to raise a statue in Campos's Honor. Absent however, were voices of opposition, which led many to argue that none exists. One prominent opponent however, the commissioner of the city's Human Services Department, Daniel Alvarez, says those who spoke out against Campos were intimidated with threats of violence.

Many people are afraid of talking. Many people didn't want to show up in meetings. They call me, they express opinions in the street, but they didn't want to go public.

Alvarez says only 5% of the city's Puerto Rican community support the idea of honoring a man he says relied too much on violence. Supporters however say it's more like 95% for and only five against. Pedro Albizu Campos began his fight for Puerto Rico's independence shortly after World War I. He led that Caribbean Island's only armed revolt against the US and was convicted of conspiracy to overthrow the US government. For those reasons part of Chicago's Puerto Rican community say Campos is a patriotic hero who deserves honor. Opponents argue a community that is already plagued with violence doesn't need a role model like Campos. But Magdalia Rivera, head of a Latino advocacy group in the city, counters the statue is exactly what the community needs.

It is of dire need that this community which exhibits by the way, according to the 1990 census, some of the lowest socioeconomic indicators amongst all groups within the Latino community even, needs to have its symbols. Needs to memorialize the memory of individuals who have provided models of valor.

But Alvarez says if that's the case, there are other Puerto Ricans who have done more for the island. But supporters maintain this is what the community wants. And as proof produced a petition with 3,000 signatures in favor of the statue. Chicago alderman Billy Ocasio, whose ward includes the Puerto Rican community says, "The park board has never turned down the donation of a statue."

And now here comes the statue of a Puerto Rican, one that this room here believes in. And you're saying, "No," you're saying, "No." Why is it that every time it comes down to the Puerto Rican community, you have to say no? Let me present to you that community. How many people in this room are in favor of the statue? [Cheering and applause]

But a spokesperson for the board says the commissioners had the whole community in mind when it decided not to accept the statue. And while the opposition is pleased with the board's decision supporters say their fight is far from over. They plan on taking the board to court to force them to erect the statue of Pedro Albizu Campos. For Latino USA, I'm Tony Sarabia in Chicago.

[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.

For four days, recently, more than 150,000 young people gathered in Denver to see Pope John Paul II. Among them, many Latinos from across the country. Producer Betto Arcos, spoke to the young Hispanics about what was on their minds, issues ranging from the future of the Latino community to abortion, President Clinton's performance, and gays in the military.

The Hispanic community is not getting very well educated, okay? We need to push more for education.

We're working our way up, and I want to see us in power, not let everybody else walk all over us. We're going to be doing a lot of the walking, and we've got a lot to do.

President Clinton, up to this day, I feel that he takes in a lot of information from his public, from his staff, and he later he comes up with the plan out of that.

I think he's done a good job so far. I think he's the best president ever since John F Kennedy.

I'm sure he has good intentions. He can't please everybody all the time. He's looking out for the general welfare of the whole United States.

I do like the fact that he has let gays and lesbians in the army and stuff like that because I mean, that's their own private life, and nobody should get into that because it's theirs and it's personal. So I mean, we shouldn't hold that against them. Their preference is their business as long as they can do their work right. I mean, I think that's cool.

That's a tough situation. And the way it is right now there, we know that there are some gays in the military, but we don't know who they are, if they keep it quiet or ... Once you do know, I do know of one, a guy that was in my unit, and he seemed just like any other guy. So on a personal level, it's all right, but when you think about the overall picture, it's kind of an eerie feeling.

I don't know if you can say maybe the sixties, free love, everything like that was a part of it. And some of the people took that wrong as to what free love was, and they took it to the extremes with sex. And nowadays, you have a generation that holds nothing sacred.

Yeah, I believe that it's women's choice, even though in the case of rape, they should have an abortion, like incest and stuff like that. But I do believe it's women's choice.

Abortion is not a word for me. I don't believe in it.

Sex is not a game. It's not something we should play with. Responsible sex is knowing that you're going to have sex and knowing that the possibility of having a child is there and taking that responsibility if a child is in your womb.

I work in a neighborhood where the dropout rate is 75% of our high school and 75% of that, 45% of that is due to pregnancy. And I can't justify telling a kid for whatever reason, not to have abortion, not to have abortion, but I think it should be there to be addressed correctly.

This is Latino USA, the radio journal of news and culture.

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]

I love it here because you don't see your brother, your sister, for 20 years. Hey brother, remember me? Oh, remember, I was your wife a long time ago? [Laughter]

This is the only place that we come here to forget, and not be- right, enjoy the summer. Because it's good being here, you know away from things, away from problems, away from home.

What do you try to forget about when you're here?

Stress.

Stress. Stress. Problems. Stress.

Work, accounting. Living in the ghetto, which is the most toughest part.

Right. When you come here, everything is different. When you go back home, you're back to the same old thing, same old-

Mostly we're all in projects. You know bad neighborhood, worrying about looking over our shoulders. So, this is a place where we just get away. Everybody's just being themselves, hanging out. We don't have to worry about someone coming behind us and trying to do something. This is relaxing. That's why we come here.

Everybody's trying to get away from that bad environment out there. You know what I'm saying? The shooting and the drugs and all that. Over here, it's not a bad environment. I'm saying, you don't see too many fights over here. I haven't seen a fight broke out yet. If anything, everybody likes trying to help each other. I come here to try have a nice time with my family. Have a few beers, smoke a blunt. You know what I mean?

Yeah. Really. Forget about everyday work and get out of the hot steamy streets, dirty filthy streets and stuff.

Do you ever go into the water?

Not really. I don't like going in that water, cause it's filthy. That's the truth. Where's everybody at? Look, the sand. Very few in the water. And if they're in the water, they're only in up to their knees. That's about it.

I just got to say, the water is very polluted.

Look what happened to his face. It's all red. Jellyfish got in his face.

Yeah, it hurts. It hurts a lot.

I saw there was lot of suckers in there. I wouldn't get in the pool now. I wouldn't put my finger on the pool.

It's not about going in the water. The water's no good. It's just about hanging out on the boardwalk and meeting people.

That's America. You know what I mean? Turn loose. That's what it's all about. You could be you, here in Orchard Beach. It's a symbol of all cultures exposing and expressing what America's about in one little corner of the world. [Laughter]

[Highlight--Music--Cuban music]

Our summertime audio snapshot of Orchard Beach, the Bronx, was produced by Mandalit del Barco.

When Congress reconvenes in September, they'll be taking up the merits of NAFTA, the North American Free Trade Agreement. But free trade isn't just about consumer goods, and many artists and intellectuals are talking about a parallel structure to NAFTA, one that would deal with ideas and culture. Commentator Guillermo Gómez-Peña calls it a free art agreement for cross-cultural dialogue.

Mexican and Caribbean cultures can offer the North their spiritual strength, political intelligence, and sense of humor in dealing with crisis, as well as experience in fostering personal and community relations. In exchange, North American artists and intellectuals can offer the South more fluid notions of identity and their understanding of experimentation and new technologies. US and Canadian artists of color, in particular, can offer Latin America sophisticated discourse on race and gender. Through trilingual publications, radio, video and performance collaborations, more complex notions of North American culture could be conceived. This project must take into consideration the processes of diaspora, hybridization, and borderization that our psyches, communities and countries are presently undergoing. Chicanos and other US Latinos insist that in the signing of this new trans-American contract, it is fundamental that relationships of power among participating artists, communities, and countries be addressed. The border cannot possibly mean the same to a tourist as it does to an undocumented worker. To cross the border from north to south has drastically different implications than to cross the same border from south to north. Trans-culture and hybridity have different connotations for a person of color than for an Anglo-European. People with social, racial or economic privileges are more able to physically cross borders, but they have a much harder time understanding the invisible borders of culture and race. Though painful, these differences must be articulated with valor and humor. In the conflictive history of the north-south dialogue and the multicultural debate, American and European sympathizers have often performed involuntary colonialist roles. In their desire to help, they unknowingly become ventriloquists, impresarios, flaneurs, messiahs, or cultural transvestites. These forms of benign colonialism must be discussed openly without accusing anyone. Their role in relation to us must finally be one of ongoing dialogue and a sincere sharing of power and resources. As Canadian artist Chris Creighton Kelly says, "Anglos must finally go beyond tolerance, sacrifice, and moral reward. Their commitment to cultural equity must become a way of being in the world. In exchange, we have to acknowledge their efforts, slowly bring the guard down, change the strident tone of our discourse, and begin another heroic project, that of forgiving, and therefore healing our colonial and post-colonial wounds.

Commentator Guillermo Gómez-Peña is an award-winning performance artist based in California.

[Opening Theme]

I'm Maria Hinojosa. Today on Latino USA, Homestead, Florida, one year after Hurricane Andrew.

My God, it's been a year. Our lives have been affected so much that we were living so fast, so quickly.

Also, for the end of the summer, a Nuyorican pastime.

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

And a proposal for a free art agreement.

Through trilingual publications, radio, video, and performance collaborations, more complex notions of North American culture could be conceived.

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

[Mexican folk music] 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.

[Reading] An account of the first astonishing occurrence in the lives of a woman named Sofia and her four faded daughters, and the equally astonishing return of her wayward husband. La Loca was only three years old when she died. Her mother, Sofi, woke at 12 midnight to the howling of the five dogs, six cats, and four horses whose custom it was to go freely in and out of the house. Sofi got up and tiptoed out of her room.

So Far From God is based in New Mexico where Castillo, who grew up in Chicago, has been living for the past two years. The book has been called a telenovela, a Chicana soap opera.

[Reading] Sofi put the baseball bat that she had taken with her when checking the house back under the bed just in case she encountered some tonto who had gotten ideas about the woman who lived alone with her four little girls by the ditch at the end of the road. It was then that she noticed the baby...

After growing up in Chicago as I did, which is not necessarily a very magical realist place although it has its moments, right? [Laughter] Was magical realism a part of your moving to the Southwest and was that part of, I mean, or because you talk about the Southwest and New Mexico is part of an integral part of this novel of yours?

Well, let's just kind of deconstruct this magical realism catch word. I think that's associated with Latin American literature, but also with the Latino reality, I think, and that's why I laugh because I thought I think it's more like this. This is a reality. Magical realism is what motivates us, and I did not have that intention at all to do that in my literature in this particular book. What happened was that I think I was possessed and I was there immersed, baptism by fire in Nuevo Mexico, and much of what comes out in here is material that is based on faith, which whether it's Catholic faith, it's Pueblo Indian mythology faith, or the creation story that is told here and would be... So it's sort of a diluting to simply say it's magic realism. I'm not sitting there and saying, now what can I do that's very extraordinary? Well, everything around me is very extraordinary and what's probably, I couldn't beat the reality here. I wouldn't call it magic realism. I would call it a book based on faith.

[Mexican Folk music] [Reading] Esperanza let out a shriek, long and so high-pitched that started some dogs barking in the distance. Sofi had stopped crying to see what was causing the girls' hysteria. When suddenly the whole crowd began to scream and fainted and move away from the priest who finally stood alone next to the baby's coffin. The lid had pushed all the way open and the little girl inside sat up just as sweetly as if she had woken from a nap, rubbing her eyes and yawning, "Mami?" She called, looking around and squinting her eyes against a harsh light. Father Jerome got hold of himself and sprinkled holy water in the direction of the child, but for the moment, was too stunned to utter so much as a word of prayer. Then, as if all this was not amazing enough, as Father Jerome moved toward the child, she lifted herself up into the air and landed on the church roof. "Don't touch me, don't touch me." She warned. This was only the beginning of the child's long lives' phobia of people.

There's been a lot of attention given to this book, So Far From God. I mean, you've gotten a lot of press. You've been doing readings. You've been traveling starting at five in the morning, ending at nine o'clock at night, reading in many, many different places. But this isn't your first novel. I mean, you've written other novels and other books of poetry before. So why now? Why do you think there's this interest now? Is it because there's all of a sudden this general incredible interest in Chicana-Latina writers or what? Do you think it's just because, "Hey, it just was a right historical moment."? How are you interpreting it?

Well, since I've been writing and publishing now for almost 20 years, I had that vision that it would take that long as a Chicana and I don't know how I had it, but I did have it. And unfortunately, that was an analysis that I understood in terms of racism, sexism, and classism, which is really, that is something that we can say most Chicanas-Latinas do experience in this country. You are not Native American. You are not European. What you are as a drone that should just go and work and don't worry, nobody wants to hear what you have to say.

And when you're a writer, that's what it's about, is what you have to say. And so I worked for many years as a poet. People still see me primarily as a poet. And then I thought, how can I really get the word out? Not that many people read poetry. And that's when I started teaching myself how to write fiction. And it took me a number of years before I did The Mixquiahuala Letters, which I thought I would die with. It stuck between the mattress and the beds spring, and nobody would ever see it or want to see it. And when it was accepted so quickly and so highly acclaimed critically by the Chicano scholars and that literary audience. It really took me aback.

I guess finally, what do you say to young Chicanos and Chicanas, but I guess primarily Chicanas who are probably maybe even listening to this, who are sitting in their little casita who knows where or in their dorm room if they're in a university and saying, "I don't have anything to say and my voice is strange and no one understands me."? And I mean, how do you try to convince them to trust their voice as you have finally come to trust yours?

You have to have great tenacity about this great personal conviction that this is what you want to do, that you love to do. So I would say write, write, write, write and read everything you can read, and embrace yourself because we all get rejected. I still get rejected. Sandra Cisneros still gets rejections. I mean, you say, "Well, in comparison to the success or to acknowledgement, who cares?" But everybody, at some point and continuously, will get that when they're sticking by their convictions. And when you're breaking, when you're trailblazing with the machete, it makes to try to make a little pathway there. So I would say to young Chicanos and Latinos who want to write, to read, read, read, write, and to believe in yourself. If you do it out of the love for what you're doing, you can't go wrong. How can you go wrong when you're doing what you believe in?

Thank you for joining us on Latino USA. It's been a pleasure. Un placer. Ana Castillo's latest book, So Far From God, is published by Norton. Muchas gracias, Ana.

Thank you.

We are most honored to have the following dignitaries celebrating with us tonight, and they are the honorable members of Congress. First of all, from Texas, Solomon Ortiz, from California, Esteban Torres from Guam, Ben Blaz, from Arizona, Ed Pastor...

This is the time of the year dedicated to celebrating the contributions Latinos bring to this country. In Washington, an annual ceremony honoring Hispanic achievements in the arts, sports, literature, leadership, and education takes place in September.

A celebration of our culture from all over the world. A big hand for all of our special guests, ladies and gentlemen.

Today, Latino USA begins our Hispanic Heritage Month programming with the words of some of those who've been recognized in the past for their contributions, preserving and enriching Hispanic heritage in the United States.

At a time in life when many are enjoying the easy life of retirement, Dr. Pantoja is actively engaged in building institutions.

Dr. Antonia Pantoja institution is a Puerto Rican educator, the founder of the National Puerto Rican Forum and the Youth Leadership Organization, Aspira.

I invite you to come see me in my retirement. I live in the hills of Puerto Rico in a place called El Yunque, which is a magical mountain. [Natural sounds of clapping] A magical mountain where the Tainos, who were the people who were in Puerto Rico, when Columbus came to find Puerto Rico.

They live there in that mountain, in that magical mountain, and they believe that it was the abode of the gods, the good God [inaudible 00:24:38] and the bad God [inaudible 00:24:41], tonight we have been talking about family and we said back there, families understand one another. They work together, they fight together, and at times we have fought. But tonight we're together. And I wanted to comment on the fact that as I was looking around, I said, the Puerto Ricans that are being honored today are bringing the Black into the group, which is a very good thing for us to do. Sometimes we forget that that race is also part of us. I wanted to say that because sometimes you look around and you say, "well, you're the only one."

We must teach the Anglo world the meaning of cultural fusion. We must teach the Anglo world the meaning of cultural unity because we have it in our bloods and in our families. Uno saleprieto otro saleguero.

Playwright Luis Valdez is the founder of El Teatro Campesino and recognized as the father of Modern Chicano Theatre.

I stand before you as an Indio, as un Indito, to celebrate the literature of our people. I don't look cultured, I look illiterate. I have been asked as a grown man whether I can read, but that's my advantage because I'm always underestimated. People never know what I'm going to come up with. [Laughter] Así es que cuidado.

We built the pyramids because we were mathematicians and we were brain surgeons and we were poets, and my people have been in Sonora and Arizona and in Aztlan for 40,000 years. So I embrace America and I know that we've all been taught in our schools that the name came from Americo Vespucci, cartographer of the new World. That wasn't the only place that America came from. The Peruvian, Las Peruanos, Peru had a name for this place. They had a leader called Tupac Amaru, which means the feathered serpent. What did Tupac Amaru called this place? Amaruca. Amaruca.

The Mayas had a name for this place too. They called it Americua, the land of the four winds because they had a myth that here in the Americas, in Americua, the four winds came together, the four great roads, the white road, the black road, the yellow road, and the red road, and they all met at the naval of the universe, the spot that joins heaven and Earth. That is the Mayan vision, and that is my vision of our raza, of our American raza, of our Hispanity, of our American Hispanity. Asi es que, Thank you. Que viva la raza, que viva America.

Playwright and film director Luis Valdez.

Mid-October marks the end of the celebration of Hispanic Heritage Month in the United States. There have been conferences, gala festivities, concerts, and lots of photo opportunities for politicians, Latinos and non-Latinos alike. But there are many Latinos who question the importance, the need and even the reason why this one month celebration exists. It's a growing debate in some sectors of the Latino community. Jane Delgado, the former executive director of the New York based Association of Hispanic Arts, is now an independent arts and education consultant and she joins me now on Latino USA to talk about the issue. Now, Jane, you have written several articles, you've written lots of position papers and been in several interviews and debates around the issue of Hispanic Heritage Month. Why do you feel so strongly against the celebration of Hispanic Heritage Month?

Well, Maria, the reason I oppose the commemoration of this one month is because I think that it does a disservice to us Latinos. What it does is that it relegates us to this one month beginning in September and concluding in mid-October. And somehow the sense that I get is that that is the only time when people are interested in becoming acquainted with our art, our culture, hearing our diverse opinions on any number of things, whether it's in the social sciences, in the natural sciences, in education and in history. And I think what it does is it diminishes us. I believe that the contributions that we have to make and the ideas and the thoughts that we have to share have validity throughout the entire year.

Let's talk a little bit about the history because I think that there are probably many Latinos and non-Latinos alike who aren't really aware of how the Hispanic Heritage Month came to be. I mean, who chose this time to celebrate? I mean, was it the US government? Was it corporations? How did it give birth and who really benefits from the celebration of the Hispanic Heritage Month?

Well, this was originally set up by the federal government and when it first began, it was a week and then it expanded to two weeks, and now we have a month. Subsequently, a lot of states follow suits and a lot of municipalities and about that point in time, the private sector joined in. I think it came on the heels of what had already been the observation of the Black History month in February and the sense that with the growing Latino population in the United States, we had to have a month for them too. And of course, now you know that we also have a month for the Asians and we have the month for women and so on and so forth. So it started out as a government thing and it's been quickly picked up by the private sector. It's interesting to note that the private sector spends a considerable amount of resources in commemoration of Hispanic Heritage Month. If those same corporations and industries were to take the monies that they spend bringing light to everything that they do for Latinos and how much they appreciate the Latino workforce and participation and gave those resources to a lot of our community-based organizations, non-for-profit organizations that are toiling day in and day out with the various issues that confront our community, that the contribution would be greater and that we would be better off.

Well, but Jane, don't you think that the celebration of Hispanic Heritage Month in fact does benefit parts of the Latino community?

I don't think it touches everyone. I think that, for example, with the corporate sector, they want to have the participation obviously of their employees, the individuals that they perceive to be significant members of the Latino community so that basically it's for the working class, the professional class, the up and coming mobile group that are the beneficiaries of these celebrations.

But there are those who say, well, they really appreciate this time because it's definitely one month that they can set aside in their lives to appreciate their Latino culture and a chance to teach others who don't know about it and that that's why they feel strongly that we should have this month. What do you say to people like that?

If I felt that this commemoration made a quantifiable difference in the status, even of those limited few that get to participate, meaning that if I thought it helped them in advance in their positions to be able to move ahead in whatever ways were important to them as a result, perhaps I would feel differently. But the quick and dirty samples and surveys that have been conducted demonstrate that ever since we've had the Hispanic Heritage Month, we really have not been able to measure any quantifiable leaps or advances for our people. And so it just seems as though here again, we are sort of easing others and making others feel good about the ostensible tribute that they're paying to our community. But if it doesn't amount to advancement and new opportunities for our people, then what's the use?

Well, thank you very much for joining us on Latino USA. Jane Delgado, the former executive director of the Association of Hispanic Arts, who's now an independent arts and education consultant. Muchas gracias Jane.

Si, como no, buen día Maria.

More than a dozen big cities elect mayors on November 2nd. One of the most contested races is in Miami, where Cuban-born Commissioner Miriam Alonso is facing former mayor, Steve Clark. That race has been characterized by a great deal of mudslinging, with Clark being dubbed the marshmallow mayor, and Alonso's opponents calling her Castro's ambassador and a communist. Alonso's husband was Cuba's ambassador to Lebanon, before the couple defected from the island 27 years ago.

Mayoral elections are being held in the heavily Latino cities of Miami and New York. Dade County voters will decide between Miami Commissioner Miriam Alonso and former metro mayor, Steve Clark. While in New York, poll show incumbent Mayor David Dinkin's running neck and neck with challenger Rudolph Giuliani. And analysts say, the Latino vote could decide the election's outcome. From New York City, Mandalit del Barco reports.

Four years ago, David Dinkins won his job as mayor by beating Rudolph Giuliani by only 2% of the votes. Now, in the final days of the campaign, both mayoral candidates have been serenading Latino voters like never before.

“Papa, por quien tu vas a votar?”

“Eso no se pregunta mijo, los Latinos votamos por Dinkin.”[Latin music]

Presente! Latinas! Con Dinkins! Presente! Latinas! Con Dinkins!...

Outside City Hall recently, a group calling themselves Latinas for Dinkins rallied for the mayor, who listed some of his accomplishments.

We've made a lot of progress in the past four years, and we're not going to turn back now. I felt the sting of discrimination in my own life, and I know that unless all of us are free, none of us is free. And that's why I have appointed highly talented Latinos to top posts in my administration, more than any mayor in our city's history.

Dinkins' spokeswoman Maite Junco says Latinos have a clear choice between a progressive minority candidate and Giuliani, a conservative Republican who served in the Justice Department under Ronald Reagan.

[Background people speaking] The choice is clear. For us, it's clear, particularly for the Latino community. The mayor has done in four years what this man has not done in his lifetime.

Dinkins' has the support of Congress members, José Serrano and Nydia Velázquez, as well as Bronx borough president Fernando Ferrer. El Diario La Prensa, along with the New York Times and the Village Voice has endorsed him. And wherever he campaigns, Dinkins make sure to throw in a little Spanish.

Vaya con Dios, y mantenga la fe. [Applause]

While Dinkins got a standing ovation when he addressed a conference of Puerto Rican elderly, his challenger, Rudolph Giuliani, also received a warm reception.

Do you speak any Spanish?

Un poco, [laughter]. I understand Spanish from understanding Italian. And I can read it, but my accent is so bad. I hate to speak it. I embarrass myself. [Background-People speaking]

Giuliani's bid to win the Latino vote has been boosted by running mate Herman Badillo, the grandfather of the city's Latino politicians. A longtime Democrat, Badillo's campaigning for city controller, this time around, on the Republican liberal ticket.

There's no way that Dinkins is going to get the same support in the Latino community that he got in 1989, and that's the reason he's going to lose. Every poll, while it may vary more or less some points, shows him nowhere near the 66% to 70% that he got last time. And I'm convinced that we're going to win the majority of the Latino vote. So that's the election right there.

Herman Badillo is not the only Latino Democrat to have defected from Dinkins' camp to Giuliani's. Fire Commissioner Carlos Rivera, along with prominent political figures, Ruben Franco and Elizabeth Colón, are now supporting Giuliani, citing disillusionment with the mayor.

He has failed us, and that is the cry of the Hispanic community around the city of New York. He has failed us, and we need a change.

Around the city, Giuliani voters seem more concerned about crime, while those who favor Dinkins feel a kinship with the city's first African-American mayor.

Dinkins look like he likes Spanish people. And Giuliani, he is going to go for Italian people. So we get together, the Black and Spanish, so I think we could get him thinking back. I think he's doing all right. We have to give him a chance.

Years back, we went to the street. We went to church. We went to different places at nighttime. Now we can't go out. We're scared. Drugs is number one. [Background-People Speaking]

And you think that Giuliani will take care of that?

I think Giuliani will take care of that, yes. Maybe a change would be better.

Giuliani.

Why?

Well, he looks like he'll take care of the crime, the crime and the drugs in the street. He'll do a better job, I think.

How do you know he will?

Well, I'm not too sure, but from people talking and everything.

Giuliani is not going to win and Dinkins is going to squeak by. That's what's going to happen.

Reporter Evido De La Cruz has been covering the election for the city's largest Spanish language newspaper, El Diario La Prensa. He says, at this point, the election and the Latino vote is just too close to call.

I believe that it is such thing as a Latino vote. But who's going to get it? Nobody's sure. A lot of people are really, really upset with the mayor, because they perceive him as somebody that he didn't live up to his promises, his commitments to the Latino community. And the other part of it is that, they don't trust. For some reason, they think that Giuliani is not sensible enough, doesn't know the community. He's perceived as somebody that's going to like everybody that has this mentality of prosecutor mentality. I interview a lot of people and that's what they say. I mean, they don't know how to vote. They haven't made their mind.

In the meantime, at least one segment of the city's so-called Latino swing vote has been trying to force both mayoral candidates to address issues such as racial violence against Latinos.

Madison Avenue! This Latino swing vote is in the middle of the monster, waving our flag, demanding...

At rallies outside City Hall and outside Giuliani's headquarters, community activist Richie Perez challenged Dinkins and Giuliani to act on the recent racial murder of a Dominican teenager and the fire bombing of a home belonging to a Puerto Rican family in Brooklyn. [Background-Person giving speech]

All the polls are saying that the community has not yet made up its mind. Two weeks ago went one way. This week is going another way. It's still a volatile situation. We are here to increase the volatility of the situation and say, "If you want our votes, you got to give something up,” because it is long past the time when our community was sleeping and our votes could be taken for granted. As far as we are concerned, this is a candidate accountability demonstration.

If nothing else, says Richie Perez, this mayoral campaign has forced the candidates to put Latino issues on the political agenda. For Latino USA, I'm Mandalit del Barco in New York.

I am Maria Hinojosa. Mention Mexico, and lately the next thing you think about is the North American Free Trade Agreement and how it will play out in the nation. But when a Mexican official visited Chicago recently, the focus was not NAFTA, but education, as Tony Sarabia tells us in this report from Chicago.

[Spanish] Dr. Ernesto Zedillo, el nombre de todos los estudiantes de la escuela Manuel Perez Jr….

Manny Gonzalez was one of a handful of students who shared their gratitude with Dr. Ed Ernesto Zedillo, Mexico's secretary of public Education. Zedillo was in Chicago recently to present city and school officials with over $1 million in books and audio visual materials. The collection will benefit both elementary and high schools with bilingual education programs, but it will also help with the community's adult literacy efforts and the city's community college system. The books aren't just mere translations of works by European novelists, poets or historians, but works by Latinos, specifically Mexicans. Zedillo says his country realizes the need to increase in the community, the available sources of information about Mexican culture and history.

President Salinas has instructed us to provide, in cooperation with the local authorities and the Mexican Institute of Culture and Education here in Chicago, to provide books in Spanish that will now reach the appreciation of the culture and history that unite Mexicans and Mexican-Americans.

Books range from encyclopedias with a Mexican perspective to romance novels, to Spanish language copies of the classic novel Don Quixote by Spanish author Miguel de Cervantes. Sadillio says these and other books will bring students closer to their culture, which will in turn strengthen ties between Mexico and Chicago's burgeoning Mexican-American community.

These ties are based on our common ethnic, historical and cultural roots and on the aspirations and principles that unite us on both sides of the border.

City Council member Ambrosio Medrano represents residents of a mostly Mexican American community, but unlike the city's other Mexican American enclave, many aren't recent immigrants. Medrano says many families have been there for up to three generations and says many students lose touch with their culture. He hopes the books will help reverse that trend.

[Spanish] Es muy importante que los niños este sepan el español y que sepan de nuestras raices de donde venimos...

Maria Elena Gordinas has three kids in the public school system. She says it's very important for students to know the Spanish language and to know about their history and culture. She says the Mexican government is performing an honorable task by providing books that will help students discover their roots. Her daughter, Nancy, a high school senior, says the collection will also give students here something they need, higher self-esteem.