Annotations for Subject-headings: Radio Broadcasting

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

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

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

This is news from Latino USA. I'm Vidal Guzmán.

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

[Radio station recording]

WAQI Miami. Aquí, Radio Mambí.

The growth in Spanish-language media is one indication, and now it's official. The Census Bureau reports that next to English, Spanish is now the most-used language in the nation. Seventeen million people in thirty-nine states speak Spanish daily. This 1990 census data says that one out of seven Americans speak a language other than English. This nation's outgoing and Spanish-speaking Surgeon General, Dr. Antonia Novello, recently added to the controversy regarding President Clinton's healthcare plan.

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

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

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

One of the things I mentioned to her, for instance, was that tuberculosis in New York City's Hispanic community was always a problem but now has become a national problem when it reached out. So we need research to know what unique medical needs exist.

Puerto Rico's resident commissioner, Carlos Romero-Barceló, told Mrs. Clinton that residents of Puerto Rico don't enjoy full-healthcare rights as other U.S. citizens.

We have the absurd situation that here we have citizens who are not covered by Medicaid and even veterans in Puerto Rico not covered by Medicaid.

According to the National Council of La Raza, one-third of all Hispanics have no medical coverage. Members of the Hispanic Caucus want the Clinton administration to extend universal healthcare to the uninsured and undocumented workers, over half of whom are Hispanic. For Latino USA, I'm Patricia Guadalupe.

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]

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

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

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

[Crowd cheering]

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

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

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

This is "Latino USA," the Radio Journal of News and Culture. I'm Maria Hinojosa. Today on "Latino USA," Latino Journalists, a special report from the 11th annual Conference of the National Association of Hispanic Journalists, produced by interns of the Radio Ondas Training Project.

A new survey says there are now more Latino journalists working in the United States media, but few in management positions. Olga Rodriguez has this report.

According to a survey conducted by the National Association of Hispanic Journalists, the number of Latinos employed in major newspapers rose by 27% in the last two years, but less than 3% of them are in management positions. Cesar Rocha, who conducted the study, says there are several reasons why the number of Latinos in management remains so low.

There's little commitment among many publishers and editors to the goal of diversifying their management team. There are very few Latino managers, as we said, to act as mentors, and there is the growing dissatisfaction among everyone.

The study also says that the number of Latinos in broadcast journalism is increasing, but at a slower pace than in print media. Another concern is the small number of Latinos in the nation's journalism schools. For "Latino USA," I'm Olga Rodriguez.

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

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

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

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

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

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

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

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

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

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

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

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

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

You were born that way.

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

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

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

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

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

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

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

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

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

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

Since the 1960s, the fight for fair media coverage has been an integral part of the struggle for Latino civil rights. Chicano and Puerto Rican activists fought to have their movements covered accurately and fairly by the press. Now, almost three decades later, civil rights activists and Latino reporters at the journalists' conference agreed that their goal of an unbiased media is the same. Barrie Lynn Tapia reports.

Politicians, activists, and journalists came together in Washington, D.C., to examine how well the media has covered Latino civil-rights issues. It was made clear there exists a unique link between social activism and the coverage of minorities. Many veteran Latino journalists, such as ABC's correspondent John Quiñones, say the activism of the '60s and '70s paved the way for them in the media.

I wouldn't be working in broadcasting today if it had not been for a group, an offshoot of la Raza Unida party in San Antonio 25 years ago. They picketed outside a top 40 station in San Antonio and demanded that they hire a force on the air that was more representative of the population of San Antonio.

According to the United States Census Bureau, Latinos make up almost 10% of the total population. But Latinos in newsrooms around the country account for less than 5% of the work staff. Dolores Huerta, Vice President of United Farm Workers, says this leads to stereotypical portrayals in the media.

I think all of us probably have felt that what we get portrayed in the media as Latinos as Mexican Americans, is that we're all illegal aliens, right? And if you're not an illegal alien, you're a drug runner.

Hispanics, Latinos, Chicanos, Central Americanos were pictured and represented in a negative rather than positive way.

Cruz Reynoso, a former California State Supreme Court judge, has recently been named to the U.S. Civil Rights Commission.

What does the media have to do with civil rights? And I must say that in my view, it has everything to do with civil rights, because the media is an important element in our country in setting the national agenda for issues to be discussed, issues to be debated, what makes America, who represents America, who are we.

Reynoso says lack of coverage of Latino issues makes this population almost invisible to the rest of the country. One example of this was the failure of the media to accurately report how the Los Angeles disturbances of last year affected Latinos. He also cited studies documenting not only a lack of positive Latino images but also how the media has ignored this segment of the population.

More often than not, particularly not in the news reporting but in the general programming, Latinos were reported not at all.

NAHJ President, Diane Alverio, says the poor portrayal of Latinos in the media is due in part to the small number of Latinos in the industry. Her organization is poised to try and change that.

We move forward with a determination and desire of so many Latinos before us, and that is to achieve equality. For us, that is to achieve equality in the newsrooms of this country. We ask for nothing more, for nothing less.

For "Latino USA," I am Barrie Lynn Tapia with Arthur Dungan in Washington.

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

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

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

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

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

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

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

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.

And for this week, y por esta semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by Maria Emilia Martin. The Associate Producer is Angelica Luevano. We had help this week from Vidal Guzman, Elena Quesada, and Karyl Wheeler. Latino USA is produced at the studios of KUT in Austin, Texas. The Technical Producer is Walter Morgan. We want to hear from you. So why don't you call us on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin.Y hasta la proxima, until next time, I'm Maria Hinojosa for Latino USA.

And for this week,y por esta semana, this has been Latino USA. The Radio Journal of News and Culture. Latino USA is produced and edited by Maria Emilia Martin. The associate producer is Angelina Luevano. We had help this week from Vidal Guzman, Elena Quesada and Neil Roush. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you. So why don't you call us on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

And for this week, por esta semana, this has been Latino USA. The Radio Journal of News and Culture. Latino USA is produced and edited by Maria Emilia Martin. The associate producer is Angelica Luevano. We had help this week from Vidal Guzman, Elena Quesada, WNYC FM and National Public Radio. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you. So call us at (800) 535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting and the University of Texas at Austin. Maria Hinojosa will be back next week, y hasta la próxima, I'm Maria Martin for Latino USA.

And for this week, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by Maria Emelia Martin. The associate producer is Angelica Luevano. We had help this week from Vidal Guzman, Elena Quesada, and Manolita Wetherill. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you, so why don't you call us on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

And for this week, y por esta semana, this has been Latino USA. The Radio Journal of News and Culture. Latino USA is produced and edited by María Emilia Martin. The associate producer is Angelica Luévano. We had help this week from Vidal Guzmán, Elena Quesada, and Karyl Wheeler. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We want to hear from you. So why don't you call us, llámenos, on our toll free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting and the University of Texas in Austin. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

And for this week, y por esta semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by Maria Emilia Martin. The associate producer is an Angelica Luévano. We'd like to acknowledge our administrative staff, Dolores Garcia, Vidal Guzmán, and Dr. Gilbert Cardenas. We had help this week from Elena Quesada, Belinda De La Rosa, and Karyl Wheeler. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We really want to hear from you. So why don't you call us, llámenos, on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

And for this week, y por esta semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by María Emilia Martin. The associate producer is Angelica Luévano. We had help this week from Vidal Guzmán, Karyl Wheeler, and the Hispanic Link News Service. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We really want to hear from you. So why don't you call us, llámanos, on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Y hasta la próxima, until next time, I'm Maria Hinojosa for Latino USA.

A new radio satellite channel has made its debut on the airwaves. Emanating from Fresno, California's Radio Bilingue, the new satellite connection creates the first Spanish language public radio network in the country. Samuel Orozco is in charge of programming.

This is going to give especially bilingual public radio stations a tremendous tool to number one, survive the hard times that they are going through. And number two, this is going to be eventually a good opportunity for Latinos in public radio, Latino producers, to showcase their talents, their skills through this modest but available means of communication.

And from Austin, Texas, you're listening to Latino USA.

[transition music] And for this week, y por esta semana, this has been Latino USA, the radio journal of news and culture. Latino USA is produced and edited by Maria Emelia Martin. The associate producer is Angelica Luevano. We had helped this week from Karyl Wheeler and the Hispanic Link News Service. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. We really do want to hear from you, so ¿Por qué no nos llaman? Call us on our toll-free number. It's 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Y hasta la próxima. Until next time, I'm Maria Hinojosa for Latino USA.

And for this week, por esta semana, this has been Latino USA, the Radio Journal of News and Culture. Latino USA is produced and edited by Maria Emilia Martin. The Associate Producer is Angelica Luévano. We had helped this week from Vidal Guzman. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. The Executive Producer is Dr. Gilbert Garenas. Please call us with your comments or questions. Our number is 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Contributors include the Estrada Communications Group, the Hispanic Link News Service, and Tesoros trading company. Maria Hinojosa will be back next week. Y hasta la próxima, until next time, I'm Maria Emilia Martin for Latino USA.

And for this week, y por esta semana, this has been Latino USA, the Radio Journal of News and Culture. This week's edition of Latino USA was produced by Angelica Luevano and edited by Maria Emilia Martin. We had helped this week from Vidal Guzman and Karyl Wheeler. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. The executive producer is Gilbert Garenas. Please call us with your comments or questions, deberas at 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting and the University of Texas at Austin. Contributors include the Estrada Communications Group and the Hispanic Link News Service. Y hasta la próxima. Until next time, I'm Maria Hinojosa for Latino USA.

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.

And for this week, y por esta semana, this has been Latino USA. The Radio Journal of News and Culture. Latino USA is produced and edited by Maria Emilia Martin. The associate producer is Angelica Luévano. We had help this week from Vidal Guzman and Karyl Wheeler. Latino USA is produced at the studios of KUT in Austin, Texas. The technical producer is Walter Morgan. Theme music by Ben Tavera King. Why don't you call us with your comments or questions? Our number is 1-800-535-5533. That's 1-800-535-5533. Major funding for Latino USA comes from the Ford Foundation, the Corporation for Public Broadcasting, and the University of Texas at Austin. Contributors include the Estrada Communications Group and the Hispanic Link News Service. Y hasta la próxima. Until next time, I'm Maria Hinojosa for Latino USA.

And the House and the Senate have voted to restore $21 million to fund TV Martí whose broadcasts are aimed at Cuba.