Annotations for Subject-headings: Multiculturalism

We've gathered a group of Latino journalists to talk about the news of the week from their perspective. With us from Washington are Sandra Marquez, a reporter for Hispanic Link News Service; Zita Arocha, a freelance journalist and contributor to USA Today; and José Carreño, Washington Bureau chief of the Mexican Daily Newspaper El Universal. Thank you all for coming and welcome to Latino USA. I guess we should start off with this, Zita… the Clinton administration started off with a focus on multiculturalism. We saw Edward James Olmos at the inauguration along with Willy Colón and many other Latino artists and participants. Well, so far have the promises of Latino inclusion been met by President Clinton's appointments and hirings?

We've gathered a group of Latino journalists to talk about the news of the week from their perspective. With us from Washington are Sandra Marquez, a reporter for Hispanic Link News Service; Zita Arocha, a freelance journalist and contributor to USA Today; and José Carreño, Washington Bureau chief of the Mexican Daily Newspaper El Universal. Thank you all for coming and welcome to Latino USA. I guess we should start off with this, Zita… the Clinton administration started off with a focus on multiculturalism. We saw Edward James Olmos at the inauguration along with Willy Colón and many other Latino artists and participants. Well, so far have the promises of Latino inclusion been met by President Clinton's appointments and hirings?

He's taken a first step. I mean, we have Federico Peña as Secretary of the Department of Transportation, and we have Henry Cisneros who is the head of the Urban and Housing…and that's a good first step for him, but I would say that there's still really a long ways to go and also he hasn't really made most of the appointments he's supposed to make. All told we're waiting for about 1500 appointments. He's made about 150 or so, and just today the Associated Press came out with a little survey that they did saying that about 86% of the appointees so far, basically white males in their mid-forties. So we're looking at almost the same kind of configuration that existed when President Bush was president.

He's taken a first step. I mean, we have Federico Peña as Secretary of the Department of Transportation, and we have Henry Cisneros who is the head of the Urban and Housing…and that's a good first step for him, but I would say that there's still really a long ways to go and also he hasn't really made most of the appointments he's supposed to make. All told we're waiting for about 1500 appointments. He's made about 150 or so, and just today the Associated Press came out with a little survey that they did saying that about 86% of the appointees so far, basically white males in their mid-forties. So we're looking at almost the same kind of configuration that existed when President Bush was president.

So is there a lot of pressure coming down within the political circles of Latinos in Washington that possibly may make Clinton make some more appointments and hirings?

So is there a lot of pressure coming down within the political circles of Latinos in Washington that possibly may make Clinton make some more appointments and hirings?

Just last month, a group of Latinas, very powerful Latinas from across the country met here in Washington. They had the first ever national Latinas forum, and spontaneously what came out of that meeting was a real strong drive to push for Latina appointments to this government, and it was a very dramatic experience. Within 10 minutes, the women in the room decided to put their money where their mouths were, raising over $10,000 in less than 10 minutes to put an ad in the Washington Post. That ad has not materialized to this date because word got out to the White House. The women were invited back, and they've already had two meetings with personnel directors from the White House. They have been told to hold tight and to be very confident that they can see some very high-level Latina appointments to the new administration.

Just last month, a group of Latinas, very powerful Latinas from across the country met here in Washington. They had the first ever national Latinas forum, and spontaneously what came out of that meeting was a real strong drive to push for Latina appointments to this government, and it was a very dramatic experience. Within 10 minutes, the women in the room decided to put their money where their mouths were, raising over $10,000 in less than 10 minutes to put an ad in the Washington Post. That ad has not materialized to this date because word got out to the White House. The women were invited back, and they've already had two meetings with personnel directors from the White House. They have been told to hold tight and to be very confident that they can see some very high-level Latina appointments to the new administration.

Well, José, you covered the Bush administration during his tenure and what we've just heard is that, in terms of appointments and staff, the Clinton administration looks a lot like the Bush administration. So, what would you say is the most fundamental change you see from the Bush administration to the Clinton administration regarding the issues affecting Latinos?

Well, José, you covered the Bush administration during his tenure and what we've just heard is that, in terms of appointments and staff, the Clinton administration looks a lot like the Bush administration. So, what would you say is the most fundamental change you see from the Bush administration to the Clinton administration regarding the issues affecting Latinos?

Well, I could say that it is the willingness to do something about it. It's unfair, in a way, to say that the Clinton administration hasn't appointed too many Latinos… hasn't appointed too many of anything in terms of a comparison with the Bush administration. I think that mostly maybe the care that they're trying to go with, but at the same time it's nothing but projects at this point. It's nothing but words.

Well, I could say that it is the willingness to do something about it. It's unfair, in a way, to say that the Clinton administration hasn't appointed too many Latinos… hasn't appointed too many of anything in terms of a comparison with the Bush administration. I think that mostly maybe the care that they're trying to go with, but at the same time it's nothing but projects at this point. It's nothing but words.

Well, and in fact, regarding the words of President Clinton, we have his new economic plan on the table. Sandra, is the plan going to be a boom or a bust for Latinos? What areas do you think that Latinos will benefit most or be most hard hit from the Clinton economic plan?

Well, and in fact, regarding the words of President Clinton, we have his new economic plan on the table. Sandra, is the plan going to be a boom or a bust for Latinos? What areas do you think that Latinos will benefit most or be most hard hit from the Clinton economic plan?

Well, my concern about the economic plan is just that the majority of our community is comprised of the working poor, and so I wonder how much more they can give. So, I think Latinos, like the rest of this country, are ready for change and are really hoping to see a reduction in the deficit, and they've been giving disproportionately more than the rest of the society for the last 12 years. And so, I think that we're just watching closely to see what our role is going to be in this package.

Well, my concern about the economic plan is just that the majority of our community is comprised of the working poor, and so I wonder how much more they can give. So, I think Latinos, like the rest of this country, are ready for change and are really hoping to see a reduction in the deficit, and they've been giving disproportionately more than the rest of the society for the last 12 years. And so, I think that we're just watching closely to see what our role is going to be in this package.

Okay. Well, thank you very much Sandra Marquez, Zita Arocha and José Carreño for joining us here on Latino USA.

Okay. Well, thank you very much Sandra Marquez, Zita Arocha and José Carreño for joining us here on Latino USA.

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

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

[Cheerful Sesame Street Music]

[Cheerful Sesame Street Music]

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

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

¡Hola Amigos! ¿Cómo están?

¡Hola Amigos! ¿Cómo están?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

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

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

¿Abierto?

¿Abierto?

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

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

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

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

El mundo.

El mundo.

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

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

Puerto Rico!

Puerto Rico!

Puerto Rico it is! But look...

Puerto Rico it is! But look...

¡Cotorra!

¡Cotorra!

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

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

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

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

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

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

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

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

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

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

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

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

[Kid singing about his cultural roots]

[Kid singing about his cultural roots]

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

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

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

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

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

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

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

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

[Transitional music]

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

[Transitional music]

[Helicopter sounds]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[Transitional music]

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

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

[Transitional music]

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

[Change in transitional music]

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

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

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

[Afro-Cuban jazz music]

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

[Afro-Cuban jazz music]

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

[Afro-Cuban jazz music]

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

[Afro-Cuban jazz music]

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

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

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

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

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

[Afro-Cuban jazz music]

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

[Afro-Cuban jazz music]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

President Clinton came to support public radio and a new Latino radio project recently at the public radio conference in Washington. This is what the president had to say about Latino USA.

And I want to offer my congratulations and best wishes to all who've worked so hard to launch Latino USA.

[Crowd cheering]

I believe it will be a new forum for all the diverse voices throughout America's Latino communities and a new way for more Americans to learn more about the importance of the many Latino cultures in the United States and the many leaders who have brought and are bringing hope and inspiration to all Americans.

President Clinton called himself an NPR junkie. He also said he was working every day to make this country one in which diversity is a source of strength rather than a cause for tensions. You're listening to Latino USA.

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

[Latino Sesame Street Music]

[Latino Sesame Street Music]

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

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

Hola amigos como estan?

Hola amigos como estan?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

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

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

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

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

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

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

El Mundo.

El Mundo.

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

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

[Background music] Puerto Rico.

[Background music] Puerto Rico.

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

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

Cotorra!

Cotorra!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The movement to restrict immigration is reaching new levels. According to a "USA Today" CNN poll, 65% of those questioned want curbs on immigration. Perhaps nowhere is the anti-immigrant movement stronger than in California. In that state, two longtime supporters of immigrants have recently called for measures to limit immigration.

Armando Botello reports.

California State Senator Art Torres, a longtime supporter of immigrants, said that because of the lack of resources, California and the United States have reached a point where we have to be much more restrictive in terms of legal and illegal immigration. Meanwhile, U.S. Senator Dianne Feinstein has proposed steps to curb illegal immigration, including restrictions of undocumented women's access to maternity care, an increase in the number of border patrol agents, and deportation of undocumented immigrants who are serving prison sentences. To pay for her six-point program, the Senator has proposed a $1 fee for each person who comes into the United States at one of the international borders.

Reporting for "Latino USA," I'm Armando Botello in Sacramento, California.

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

Baseball, it's the all-American pastime, and for Latinos as well. The CBS television broadcast of the All-Star game featured an all-Spanish television language commercial, which ran twice.

Setenta mediocampistas en baseball profesional son de la Republica Dominicana.

Called "La Tierra de los Mediocampistas," the Land of the Center Fielders, the ad for Nike featured images of Dominican kids playing baseball in makeshift diamonds in the Dominican Republic.

More than 70 Big League shortstops, including Tony Fernández and Manny Lee, have come from the Dominican Republic.

Ken Griffey Jr. en tercera base…

The broadcasting of baseball and other professional sports in Spanish is becoming more common in this country in places like California, Texas, and New York. But now even teams in less traditional Latino cities are discovering the profit of pitching their games to Hispanic listeners.

Ingrid Lobet reports that this season, for the first time, baseball fans in the state of Washington can listen to the Seattle Mariners games in Spanish.

[Sports Broadcast Recording] Larry se espera, le da cuarda, lanza, viene, contacto! Se va hacia el centro y Ken…se va escapar, se va escapar, se les escapa!

Perched in the cramped broadcast booth, Publio Castro handles the play by play.

[Sports Broadcast Recording] Muestra señal, la manda, viene, strike! [Spanish baseball report].

Castro has worked to establish a style that's his own. He always knew he wanted to work in broadcasting, even when he was a child doing farm work in California. Through their hard work, his parents made it possible for him to go to college.

I studied TV production, and I just wanted to know how they made movies, how they make cartoons, how they made commercials, how the cartoons moved, and those sound effects, and stuff like that.

Castro and his brother started a talk radio show in a small town in Oregon. And when a producer came looking for talent to host Portland Trailblazer basketball, he didn't have to look very far.

Finley presenta lanza bien, toquecito! Ken Griffey! ¡Sacrificio cuenta! ¡Es más, salvo! Blowers a pesar de que está cogiendo, le gana a Finley.

When Cliff Zahner heard Castro's show, he knew he had a place for him. Zahner makes a business of persuading teams to air games in Spanish. He then identifies stations that broadcast in Spanish and whose formats could benefit from the games. Then he provides them the games for free.

And then they get half of the airtime that they can sell to make their own money and we have half of the time that we can sell to pay for our expenses and the announcers. So it's added programming for them, and they'll generally do it if they feel it's a sport that's interesting to their audience. And baseball is particularly interesting because of the Hispanics that play the game.

The Mariners' team alone has Omar Vizquel, Edgar Martínez, and coach Lou Piniella. By giving Spanish-language interviews, these players are now able to reach another audience. And Randy Adamack, Vice President of Communications for the Seattle Mariners, says advertisers are slowly taking interest.

Even without it being a profit center, which it is not right now, it's obviously got value to us anyway, in speaking to a large group of important people.

If advertisers stick with the games and if the present trend continues, there will be few professional teams in the Northwest that aren't broadcasting in Spanish. It's tentative, but as football training camp begins, there are plans to make fall 1993 the first season for Seattle Seahawks games in Spanish.

[Sports Broadcast Recording] Se acaba esta entrada, donde el score dice, ahora los Angelitos de California con cuatro, Marineros con dos. Regresamos, esta es la cadena de los Marineros de Seattle.

For "Latino USA," I'm Ingrid Lobet in Seattle.

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

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

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

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

[Afro-Cuban jazz]

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

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

[Afro-Cuban jazz]

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

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

[Machito--Sopa de pichon]

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

[Machito--Sopa de pichon]

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

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

Enrique Fernandez writes about Latin music for the Village Voice.

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

[Machito--Si si no no]

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

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

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

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

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

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

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

That's it.

And you're 80 years old.

Yes.

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

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

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

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

[Mario Bauza--Carnegie Hall 100]

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

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

[Mario Bauza--Carnegie Hall 100]

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.

Will the predatory Statue of Liberty, devour the Virgin of Guadalupe, or are they merely going to dance a sweaty cumbia. Will Mexico become a toxic and cultural waste dump of the US and Canada? Who will monitor the behavior of the three governments? Given the exponential increase of American trash and media culture in Mexico, what will happen to our indigenous traditions, social and cultural rituals, language, and national psyche? Will the future generations become hyphenated Mexican-Americans, brown-skinned gringos and canochis or upside-down Chicanos? And what about our northern partners? Will they slowly become Chi-Canadians, Waspbacks and Anglomalans? Whatever the answers are, NAFTA will profoundly affect our lives in many ways. Whether we like it or not, a new era has begun and the new economic and cultural topography has been designed for us. We must find our new place and role within this new federation of US republics.

Latino USA commentator Guillermo Gomez-Pena is an award-winning performance artist based in California. In 1991, he was a recipient of a MacArthur Genius Grant. Well, what do you think of NAFTA? Give us a call and leave a brief message at 1-800-535-5533.

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

[Transition Music]

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

[Un Siete--Sotavento]

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

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

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

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

[Amacord--Sotavento]

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

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

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

[Esto Es Sencillo--Sotavento]

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

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

[El Destajo--Sotavento]

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

[El Destajo--Sotavento]

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

[El Destajo--Sotavento]

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

[Guitarra--Sotavento]

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

[Guitarra--Sotavento]

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

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.

I never thought I'd be me, a California Chicana, turning 30 in New York.

The occasion of this momentous milestone, her 30th birthday, gave California-born Gloria Cabrera pause to meditate on her life, and to compare it to that of other women in her family. "Turning 30 for them," she says, "Was a very different story."

Turning 30 to my mom meant being alone, divorced, raising three children on welfare to pay the rent, while working as a housekeeper on the side to survive. My mother, denied a college education because in those days her brothers, my uncles, said women were meant for marriage and not for college degrees. Turning 30 to my sister meant being alone, raising four children in a subsidized apartment, juggling it all while trying to finish college. My sister at 30, willing to give it all she had for herself and her children.

So here I am, trying to understand how I fit into this familial paradigm. Turning 30 for me means being alone, by choice, single and childless by choice, living and working in New York City with two university degrees, a career-bound Chicana transplanted in this far off land miles away from friends who after graduation from college settled into comfortable lives, and to new jobs, new cars, new relationships in the same city. So with autumn's changing leaves, I'm thinking about the changes in my life, how after all my struggles, my tears, my triumphs, I am actually turning 30 in New York, the Big City, on my own.

What's even more exciting, even more significant to me? Turning 30 means redefining the paradigm, changing the future for my daughter one day.

Gloria Cabrera lives and writes in New York City.