Annotations for Subject-headings: Music

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

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

[Cheerful Sesame Street Music]

[Cheerful Sesame Street Music]

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

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

¡Hola Amigos! ¿Cómo están?

¡Hola Amigos! ¿Cómo están?

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

Muppet Rosita is played by Mexican puppeteer Carmen Osbahr.

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

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

¿Abierto?

¿Abierto?

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

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

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

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

El mundo.

El mundo.

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

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

Puerto Rico!

Puerto Rico!

Puerto Rico it is! But look...

Puerto Rico it is! But look...

¡Cotorra!

¡Cotorra!

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

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

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

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

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

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

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

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

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

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

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

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

[Kid singing about his cultural roots]

[Kid singing about his cultural roots]

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

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

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

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

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

Overnight, Latinos were an issue in Washington DC.

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

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

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

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

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

[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]

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

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

A conversation with a music man named Dr. Loco.

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

And a commentary from the streets.

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

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

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]

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

Here, I'm thinking of placing my knight on D5. It attacks his queen.

Now, had I scanned a little better, I would've seen that the knight would've come to that square…see, and I would not have put my queen where it is, because now I need to move that queen…

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

In math, it's helped me. I can like work out problems in my head and all that. It's helped me like to remember like what the things I read and all that, because you have to remember things. You have to remember positions and all that. So, I've been getting a little bit better at that.

Miguel Atencio is both highly motivated and very talented. These are the characteristics Celebrate Youth director, Paquita Hernández, looks for in students. She also pursues teenagers who are equally talented but living in what Hernández describes as economic and social poverty.

A child who is economically poor but is matched with a mentor who is an artist or is a physicist or is a chemist or is a great writer, offers challenging conversations, exciting questions, um…different opportunities to look…through which to experience the world…I think that they flourish in ways that are magnificent.

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

[Person playing the piano]

Okay, now do the last two lines, and make a difference between your…your forte in the top line and your fortissimo in your bottom line.

[Person playing the piano]

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

It gives them courage to be different, a reason not to be like everyone else, to have faith in themself. Watching this happen is my basic reward on it.

Other mentors have seen more impressive changes as a result of the program. Paquita Hernández tells the story of one talented teenager who is likely to follow two older brothers into drugs and depression. After delving into a science research project for two years in the Celebrate Youth program, he entered college and now plans to become a doctor. Success stories like these, Hernández says, are less likely to happen within the current school system.

I think there's a vacuum in the schools, not only in New Mexico but in the whole nation. I think the schools need to change, and I think they need to change radically because they are not reaching the majority of young people. I think those kids who don't drop out of school physically actually drop out often, even though they're sitting in the classroom with the books in front of them.

Those involved in Celebrate Youth say the goal is to promote excellence over mediocrity. Achievement is measured against one's own abilities rather than in competition with others. This is the attitude Miguel Atencio takes.

All right, and here's the last move, and I'm going to checkmate in one move. I'm going to move Queen on E7 to B7. Checkmate.

That's the end of the game.

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

[Person playing the piano]

The Wild Rider. The Wild Rider. Everyone has trouble with the Wild Rider. He's a hard-bucking horse.

For Latino USA, this is Debra Beagle in Tierra Amarilla, New Mexico.

[Closing Theme]

Certain instruments, like certain rhythms, are characteristic of Latin music. For instance, in Cuban rumba or salsa we hear instruments such as congas, bongos, and timbales. At the heart of Latin music are two simple wooden sticks known as the "clave". Without this simple instrument, Latin music would not be the same. From Boston, Producer Marta Valentín prepared this appreciation of Latin music.

[Salsa music highlight]

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

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

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

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

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

Finally, in salsa music, the clave is regarded as beginning as soon as the music begins, and continuing without interruption until the last note. Even when the music is silent due to rests or changes in the arrangement break the flow, the clave pattern is holding it all together and creating that clave feeling that my coworker loves so much. So next time you listen to Latin music, whether it be rumba, salsa, bolero, Latin jazz, whatever, try tapping along with the clave. It's simple when you can hear the actual claves, but then graduate to a more complex piece if you're up for the challenge.

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

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

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

Well, on the piano I started at eight years old and then by 11, 12 I wanted to be a timbalero, a drummer and Tito Puente was my idol. By that time I started with my uncle who had a conjunto, El Chido y su alma Tropical. We had a trecita, y traijta, bongocero, congero. My other uncle Frankie, I played timbales, and I stood with them for almost two years until I couldn't carry the drums anymore. I just couldn't do it.

[Highlight--Music--Salsa]

One of Palmieri's earliest and most important musical influences was his older brother Charlie. Also a pianist who not only served as mentor but helped Eddie get started in the business over 30 years ago.

My brother Charlie used to play with Tito Puente. That was one of the most important conjuntos that we've ever had here. Wherever my brother would go and play, he would recommend me, and that's how I got into an orchestra called Ray Almore Quintet and first Johnnie Segui in '55, Vincentico Valdez, Pete Terrace at the interim, back to Vincentico Valdez for summer in '58 in the Palladium, and then for '58, '60 with Tito Rodrigez After that I went on my own.

Highlight--Music--salsa

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

Cal Tjader knew that and he went to the record one. So he came to see me and then we made the agreement to record two albums, one for his company, which were Verb records, and then we recorded the other one, Bamboleate with Tiko, moving from one direction, which is the authentic dance orchestra to get into the album that we merged with him because he saw right away I went into variations. We did a walls resemblance and things like that. It was very interesting and very educational for me and rewarding because Cal Tjader was a great, great player.

[Highlight--Music--Piano]

Eventually, for Palmieri, even La Perfecta wasn't perfect. And his classic recording Champagne signaled a change in his musical direction.

Highlight--Music--Salsa

This was done in 1968. That's where La Perfecta breaks up. The beginning of '68, we did a tour of Venezuela and after that, that was the ending of La Perfecta. Phase one curtain down, that was it. Boom.

[Highlight--Music--Salsa]

Over the last 25 years, many of Palmieri's recordings have become classics and his orchestras have provided approving ground for promising young Latino and jazz musicians. Much like Art Blakey's messengers was to jazz. But in spite of winning five Grammy awards, record companies have met his innovative musical experiments with skepticism. Recently, however, Palmieri finalized negotiations on a new contract with Electra Asylum records.

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

As to what's in store for the future, whatever musical direction he might take, Palmieri says the core of his music will always remain in Latin rhythms.

Those rhythmical patterns will always intrigue me. They've been here now for 40,000 years, so they'll be here for another 40,000 for sure.

Yeah.

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

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

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

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

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

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

[highlight hip hop music]

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

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

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

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

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

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

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

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

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

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

[hip hop music highlight] [nat sound]

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

Hi!

Hi!

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

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

I feel great. I keep all the money.

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

Hector Lavoe, one of Salsa's superstars. Known worldwide as El Cantante de los Cantantes and the Latin Sinatra, died in New York City, June 29th, after a lifetime of music and tragedy. Thousands poured into the streets at his funeral in New York. Fans and musicians, they all came to pay tribute to Hector Lavoe. From New York, Mandalit del Barco prepared this remembrance of a salsa legend.

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

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

And baseball goes bilingual.

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

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

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

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

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]

[Los Lobos--La Guacamaya]

I'm Maria Martin. Today on Latino USA, the administration's plans to crack down on illegal immigration.

The simple fact is that we must not and we will not surrender our borders to those who wish to exploit our history of compassion and justice.

Also, a possible change in US Cuba relations and a religious group's challenge to the Cuban embargo.

We're taking such dangerous things as powdered milk, pharmaceuticals.

And updating the Latin American folk music called La Nueva Canción.

There's always somebody out there trying to produce new stuff, and that's what Nueva Canción is all about.

That's all coming up on Latino USA, but first, Las Noticias.

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

[Transition Music]

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

[Un Siete--Sotavento]

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

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

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

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

[Amacord--Sotavento]

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

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

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

[Esto Es Sencillo--Sotavento]

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

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

[El Destajo--Sotavento]

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

[El Destajo--Sotavento]

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

[El Destajo--Sotavento]

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

[Guitarra--Sotavento]

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

[Guitarra--Sotavento]

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

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

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

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

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

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

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

[Transition--Cuban Music]

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

[Descarga Mambo--Israel “Cachao” Lopez]

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

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

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

[Descarga Mambo--Israel “Cachao” Lopez]

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

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

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

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

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

Very modest, extremely modest man. Quiet, shy.

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

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

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

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

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

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

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

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

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

[Opening Theme]

I'm Maria Hinojosa. Today on Latino USA, Hispanics and the Catholic Church.

People with a different culture and different values and a different way of expressing wonderful and beautiful Catholicism.

A standoff at the border over aid to Cuba.

We've told them that they will not be arrested, they will not be prosecuted. We will release the bus, that people can go freely. They refuse to budge.

Also, keeping the mariachi musical tradition alive.

It's the most addicting music of all. Once it's in your blood, you'll never get it out.

That's all coming up on Latino USA. But first Las Noticias.

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

[Mariachi Music]

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

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

[Mariachi Music]

With this music, you can express your feelings more.

How?

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

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

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

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

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

[Mariachi Music]

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

[Mariachi Music]

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

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

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

[Mariachi Music]

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

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

[Opening Theme]

I'm Maria Hinojosa. Today on Latino USA, the race is on for approval of the North American Free Trade Agreement.

If you are a Chicano entrepreneur in the border states, you're likely to do very well by NAFTA. If you are an industrial worker in the Northeast or in the Midwest, your company might find it advantageous to move your job to Mexico.

From East LA, an Elvis for El Pueblo. El Vez, the Mexican Elvis.

One of my favorites is [singing] ‘you ain’t nothing but a chihuahua, yappin’ all the time’. We start the show with the lighter easy songs, the familiar ones and then we hit them with the one-two punch.

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

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

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

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

[Está Bien Mamacita--El Vez]

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

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

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

[Transition--Music--El Vez]

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

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

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

[Immigration Time--El Vez]

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

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

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

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

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

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

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

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

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

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

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

[Highlight--Music--Cuban music]

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.

Before the revolution that brought Fidel Castro to power, jazz music flowed freely from this country to Cuba and back. That musical cross-pollination has been more difficult in recent years, though. However, Cuban jazz pianist Gonzalo Rubalcaba made history this summer when he was permitted to play in the United States for the very first time. Alfredo Cruz reports.

[Recordando a Tschaikowsky--Gonzalo Rubalcaba]

During the first half of this century, Cuban music was a very popular source of entertainment in the United States. The Mambo y cha-cha-cha, and other rhythms dominated radio waves and dance halls across the country. Cuban music was being heard here, and jazz over there. But in 1959, following the Cuban Revolution, all cultural and political connections between the two countries were cut. And in Cuba, jazz became a Yankee imperialist activity. Playing or listening to jazz was done in an underground clandestine manner. Since then, things have changed. For one, the Havana International Jazz Festival, now in its 14th year, has attracted world-class musicians and helped raise the social and political acceptance of jazz in Cuba. But as pianist Gonzalo Rubalcaba says, it wasn't easy.

Bueno, principio en los años sesenta, y parte de los setentas…[transition to English dub] In the early '60s and through part of the '70s, it was very difficult getting people to understand the importance of supporting jazz and the increasing number of young Cuban musicians heading in this direction. Today, however, there can not be, and there isn't any misunderstanding or political manipulation of jazz or Cuban jazz musician [transition to original audio] …interpretación por parte de los musico Cuba.

[Mi Gran Pasion--Gonzalo Rubalcaba]

At 30 years of age, Gonzalo Rubalcaba is considered one of Cuba's premier pianists. His father played with the orchestra of Cha-cha-cha inventor Enrique Jorrín, and later became one of Cuba's most popular band leaders. Gonzalo himself played with the legendary Orquesta Aragón while still a teenager, but it is through his solo playing that Gonzalo has made his mark in Cuba and around the world. Because of political differences, however, the United States audience remained out of reach to Cuban jazz and musicians like Rubalcaba.

[Simbunt Ye Contracova--Gonzalo Rubalcaba]

Bueno Estados Unidos debió ser uno de los primeros escenario…[transition to English dub] The United States should have been one of the first places for me to play. But since 1989, there's been a mystique and anticipation surrounding my not being allowed to enter this country. Very simply put, it's been a politically motivated maneuver to not grant me a performance visa, and has nothing to do with artistic or musical considerations. But now, my first appearance in this country, I think signals that we are entering a new era. But that doesn't mean I haven't had any contact with American musicians, because I've played with many in Cuba and in festivals around the world [transition to original audio]…contacto con músicos Norte Americanos.

American bassist Charlie Haden met and played with Gonzalo Rubalcaba in Switzerland at the 1989 Montreux International Jazz Festival and brought him to the attention of Blue Note Records. Haden, along with Blue Note executives and Lincoln Center in New York City, negotiated with the US State Department to grant the young pianist a performance visa. And finally, in what seems to have been a political icebreaker last May 14th, Gonzalo Rubalcaba made his US debut performance before a sold-out audience at Lincoln Center.

[No name (Live at Lincoln Center)--Gonzalo Rubalcaba]

Nueva dirección, del viento, el aire lleva…[transition to English dub] There's been a change of wind, politically speaking, a relaxation of attitudes and perceptions that are now opening the doors to dialogue in an effort to eliminate tensions. And it seems to me that this is a common goal of both Cuba and the United States. Even though we still can't really speak of this in practical terms, but ideally, this could be the beginning of normalizing relations between the two countries [transition to original audio]…esto podría ser un pequeño parte de eso, un comienzo.

[Unknow Track--Gonzalo Rubalcaba]

Many artists in both countries do agree that a relaxation of political policy between Cuba and the United States would be a positive development. And Rubalcaba's US debut has generated a renewed optimism within the cultural community, even though the visa he was issued allowed him to play only one concert, and on the condition that he would not be paid. Recently, Gonzalo Rubalcaba's recording, entitled Suite 4 y 20, was released in this country on the Blue Note record label. For Latino USA, I'm Alfredo Cruz in Newark, New Jersey.

[Simbunt Ye Contracova--Gonzalo Rubalcaba]

One could say that the Latino population of the nation's capital swells around mid-September as Latino movers and shakers fly in for a number of fancy events celebrating Hispanic Heritage month. One such happening is the annual Hispanic Heritage Awards, honoring contributions in the arts, sports, literature and leadership. Latino USA sent two of our reporters to the gala occasion, Franc Contreras and Patricia Guadalupe dawn their best studs for the party.

[unintelligible] for the Hispanic Heritage Awards. My cousin from LA, Rita Moreno. [applause]

It was a black tie, long gown night of celebration for well-connected Latinos, a festive night of cultural pride in the nation's capital. With her sleek black dress and huge red earrings, mistress of ceremonies Rita Moreno was joined at one point by a surprise celebrity.

¡Hola!

Hi, hola. ¿Cómo te va?

Hello, Rita.

Mira que linda se ve. ¿Cómo te llamas?

Thank you. You too.

Tell everybody your name.

My name is Rosita la Monstrua de las Cuevas, and I am so excited to be here tonight to receive the Hispanic Hair Award.

Now before you get too excited...

Yeah.

Do you know what heritage means?

No. No.

Okay. Heritage simply means those traditions and beliefs that are passed on to us by our forebears.

Forebears. Oh, I love bears. I love panda bears, you know, with the blacks spot in the eye. And koala bears and polar bears and all that kind of bears.

No, no, no. Rosita, Rosita. I am talking about parents or grandparents, their grandparents and the [unintelligible].

On stage with Rita and Rosita, the bilingual Muppet from Sesame Street was golfer Chi-Chi Rodriguez, Sister Isolina Ferré honored for her work educating the poor, playwright and Emmy winner Luis Santeiro, civil rights leader Raul Yzaguirre and in the music category, Emilio and Gloria Estefan. Each of the five award winners spoke of concerns that drive their work. When Sister Isolina Ferré went to the podium, she offered an answer for an ongoing problem she's noticed since she first dedicated her life to community service about 60 years ago. It's the lack of educational opportunity for Latinos.

Real community development can only be achieved if a true and liberating educational process has been implemented. This process as it had been done in our centers in Puerto Rico should include programs for school dropouts, alternatives to formal education, formal and vocational education and literacy projects.

President of the National Council of Lara Raza Raul Yzaguirre won the award for excellence in leadership. He said Latinos must unite and solve their own social problems.

Our only hope is to build up our own institutions that can effectively advocate for our interests.

When the formal part of the evening ended, the stars went to a separate room for interviews with Spanish and English language media. Gloria Estefan told about her pride in her heritage about how important her family is to her and about her new album, Mi Tierra, which is in Spanish.

Why did you go in that direction?

Well, I'll tell you, first of all, I waited this long because I wanted to maximize the exposure of this music. If I would've done this album five years ago, half the world wouldn't know about it. So we really have been thinking about it for over five years, waiting for the right moment, trying to choose the right thing to do. We did new music because we wanted to bring something of ourselves to the project but celebrating a very traditional and beautiful form of Latin music. Hopefully, with this album, we'll be able to remind people a little bit of our heritage, especially my son, which is the main reason we did this album. We really wanted it for him.

Outside the media area, dozens of fans waited to see Estefan. They said it wasn't only her stardom that attracted them but what she stands for.

I look up to her a lot. I think she's great. It makes me proud to be Hispanic.

Really? Why? Tell me.

Why. Because there's a lot of riqueza en la raza. So she's a part of that.

When the stars left, the crowd went to the ballroom floor, to the food tables. There were tiny empanadas on one, some fancy fruit on another. The caterer promised the grapes were from Chile, not from California where Latino farm workers are still boycotting. And on a table over in the corner, there were tiny little tamales. The people serving them even unwrap them for you. With Patricia Guadalupe, I'm Franc Contreras in Washington.

Diez. Nueve. Ocho. Siete. Seis. Cinco, cinco cinco. Cuatro. Tres. Dos. Uno.

The MTV Cable Network has just launched MTV Latino, a new 24 hours Spanish language music network distributed throughout Latin America and to some US cities.

[unintelligible 0:18:49] caballeros. Rock and roll.

Somos Aerosmith.

For years, the entertainment industry serving the Latino market was based either in Latin America or in Los Angeles, where non-Latinos controlled much of the business. But now the bulk of the Latino entertainment industry, like the new MTV Latino network, is based in Miami where Latinos are establishing their own turf. Melissa Mancini reports.

Miami ranked 16th in US media markets, but it's the number one location for the Latin entertainment industry, headquartering, Latin television, music and print trades. The reasons are simple. Nearly 60% of Miami's population is Hispanic and the city's location is convenient to Central and South America. In addition, Miami has more reliable air transportation and telephone service than its southern neighbors. With the whole of the Hispanic media located here, entertainment attorney David Bercuson says, "Miami is the premier stop for Latin recording artists and other entertainment figures promoting their current projects."

In addition to television, it's a center hub for a lot of Spanish media, print media. So with all those things working for it and the record companies, there's a lot of symbiotic relationship. The record companies are here, they send them right over to whatever magazine it is for interviews, and then they send them right over, it could be even be the same day, to one of the major networks for television exposure where they can do 3, 4, 5 shows at one network, and the next day do a number of shows at the other network.

As the US city with the Latin American flair, Miami offers another big payoff. The amount of money pumped into the national economy via Telemundo and Univision, the two major Hispanic television networks. A recent industry study shows that TV advertisements spurred Hispanics to spend $200 billion annually on consumer goods and services, and it's estimated that number will increase 40% by the year 2000. In addition to the television and print media, Miami is inundated with Hispanic radio stations, and it's here that other Latin stations throughout the US look to when they're charting music trends. David Bercuson says, "Miami's Betty Pino is one of the most important radio programmers for Spanish pop music."

And when she programs things on her lists, those lists are carefully watched throughout the country by other Spanish radio programmers. And even if their format is not totally pop, and they only play four or five or six songs that are pop, they'll look at these lists that are put out by this one station, this one program in particular, as persuasive and controlling.

Sony Discos. No, ¿quisiera- [unintelligible 0:21:48]

Sony Discos Is the Latin music heavyweight of record labels. Established about 10 years ago in Miami, Sony Discos was the first Latin label to sign artists such as Julio Iglesias and Gloria Estefan, allowing it to corner the market. Sony Discos vice President Angel Carrasco.

The record business for us, in the last five years, has been very profitable. We have grown a lot and we feel that Latin music now is getting recognition from other audiences. Europe, tropical music is very big, and then artists like Julio Iglesias and Gloria Estefan have helped us improve our image as far as [inaudible 0:22:30] is concerned. And that has opened up a lot different markets and different audiences that are buying our records.

And because Miami is still a fledgling in the entertainment industry, the city has not yet developed the hard edges associated with New York or Los Angeles. Nicaraguan born Salsa star Luis Enrique has been with Sony Discos for five years. Enrique literally walked in off the street and was handed a recording contract. He says before that he spent years trying unsuccessfully to meet with other music executives.

I tried to do it in LA and it was hard. It was really hard to open doors, and I remember I used to go and sit down on the sidewalk at A&M recording studios and try to talk to someone.

Latin music is a $120 million a year business in the US in Puerto Rico. Although it's estimated Hispanics makeup only 10% of the total market Sony Discos' vice president Angel Carrasco says the Latin market is strong and growing.

The future is wonderful. I think in the future you'll see a lot of crossover Latin artists getting more into the Anglo market and vice versa. Also the new breed of bilingual artists, not only has Gloria made it big, but also [inaudible 00:23:53], who was also a local Cuban born guy, also produced by Emilio Estefan, has made it big. And I think the most important pop music for the Latin market is going to come out of the United States in the future.

Sony Discos is one of about a dozen Latin music labels located in Miami. At least three additional record labels are said to be considering relocating here. In addition, VH1 and Nickelodeon, both owned by MTV networks, are said to be following MTV Latinos tracks into Latin America and South Florida. For Latino USA, I'm Melissa Mancini in Miami.

Pop rhythms and grungy glamour were the rule at a recent opening night party for MTV Latino. The party in Miami South Beach went late into the night as the global rock music giant MTV celebrated its move into 11 Latin American countries and the US latino market. Nina Ty Schultz was at the celebration and filed this report.

MTV Latino Americano. Wow.

MTV, la mejor música.

With hundreds of exotically dressed people crammed into one of South Beach's hottest nightclubs, MTV Latino is launched. There's as much Spanish as English in the air and as many models as musicians. It's all part of MTV's image of youth and ease and scruffy good looks. Take Daisy Fuentes, she's a model turned MTV host who will anchor the new show in Miami as the master of ceremonies here tonight, she's got the kind of bubbly, bilingual enthusiasm that MTV Latino wants to project.

Now we're really going to be in your face. I am talking Central America, South America, the Caribbean, and even in the USA in Español.

MTV will literally be in the face of 2 million viewers with another million predicted by the year's end. MTV's, CEO Tom Preston explained why it's all possible now.

We see that cable television industry exploding. As the media is deregulated, huge demand for alternative types of television services like an MTV.

That’s one small step for man, one giant leap for mankind.

He expects the business to be lucrative, not just for MTV, but for Latin American rock and pop stars as well. Gonzalo Morales from Mexico is one of the video jockeys for the show.

They're going to for sure promote their selves all over Latin America. I mean, 10 years ago it was impossible to think that they would be signing to into an international record company and selling the number of records they sell. Nowadays, rock and roll in Mexico, it's really huge now.

The rock groups here tonight come from all over. Maldita Vencidad from Mexico, Los Prisoneros from Chile, Ole Ole from Spain. But oddly enough, the first artist to perform is the not so Latin Phil Collins. That's no mistake. Over three quarters of the music on MTV Latino will in fact be from so-called "Anglo musicians". "That's what Latin teens want to hear," say MTV execs who feel they know the market after running a year long pilot show. Though they say programming may change depending on audience demand. For Latino USA, this is Nina Ty Schultz in Miami.

For now, in this country, MTV Latino can be seen in Miami, Tucson, Boston, Fresno, and Sacramento, California.

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

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

Well, on the piano, I started at eight years old and then by 11, 12 I wanted to be a timbalero, a drummer. Tito Puente was my idol. By that time, I started with my uncle who had a who had a conjunto, El Chino Y Su Alma Tropical. We had a tresita, a guitajita, bongocero, conguero, my other uncle Frankie. I played timbales and I stuck with them for almost two years until I couldn't carry the drums anymore. I just couldn't do it.

[Highlight-- Afro-Cuban Jazz]

[Background-- Afro-Cuban Jazz] One of Palmeri's earliest and most important musical influences was his older brother Charlie, also a pianist who not only served as mentor, but helped Eddie get started in the business over 30 years ago.

[Highlight--Afro-Cuban Jazz]

[Background--Afro-Cuban Jazz] My brother Charlie used to play with Tito Puente. That was one of the most important conjuntos that we've ever had here. Wherever my brother would go and play, he would recommend me and that's how I got into an orchestra called Ray Almore Quintet. And first Johnnie Segui in '55, Vincentico Valdez, Pete Terrace in the interim, back to Vincentico Valdez for a summer in '58 in the Palladium, and then the '58 to '60 we took the holiday. After that, I went on my own.

[Highlight--Afro-Cuban Jazz]

The big new trombone sound he had developed revolutionized Afro-Cuban music in the 1960s. Eddie Palmeri had found the perfect combination and called his new band La Perfecta.

[Highlight--Afro-Cuban Jazz]

[Background--Afro-Cuban Jazz] They were a sensation at dance halls like the now legendary Palladium were battle of the bands were common and Palmeri reigned supreme.

[Highlight--Afro-Cuban Jazz]

[Background--Afro-Cuban Jazz] This was done in 1968. That's when La Perfecta breaks up. The beginning of '68, we did a tour of Venezuela, and after that, that was the ending of La Perfecta, phase one, one curtain down. That was it. Boom.

[Highlight--Afro-Cuban Jazz]

[Background--Afro-Cuban Jazz] Over the last 25 years, many of Palmeri's recordings have become classics and his orchestras have provided a proving ground for promising young Latino and jazz musicians. Much like Art Blakey's Messengers was to jazz. But in spite of winning five Grammy awards, record companies have met his innovative musical experiments with skepticism. Recently, however, Palmeri finalized negotiations on a new contract with Electra Asylum records.

[Highlight--Afro-Cuban Jazz]

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

[Highlight--Afro-Cuban Jazz]

[Background--Afro-Cuban Jazz] As to what's in store for the future, whatever musical direction he might take, Palmeri says the core of his music will always remain in Latin rhythms.

[Background--Afro-Cuban Jazz] Those rhythmical patterns will always intrigue me. They've been here now for 40,000 years, so they'll be here for another 40,000 for sure. But I will not be here that long. But in the time that I'm here, I'm going to utilize it to the maximum and then achieve and have a wonderful time doing that and incorporating that into our music because it's something that has certainly intrigued me and I must achieve that and will.

[Highlight--Afro-Cuban Jazz]