OFFICER LATINA MARTINEZ WITH CARTEL HOT ACCENT GUNMAN #2

THE LATINO MEDIA GAP A REPORT ON THE STATE OF LATINOS IN U.S. MEDIA

BY Frances Negrón-Muntaner with Chelsea Abbas, Luis Figueroa, and Samuel Robson

COMMISSIONED BY FUNDED IN PART BY The Center for the Study of Ethnicity and Race National Latino Arts, Education, Columbia University and Media Institute

Latinos are a powerful force in featuring compelling Latino talent and American society. Topping fifty-three storylines are rewarded with high EXECUTIVE million, Latinos constitute one of the ratings and revenue. fastest growing ethnic groups in the SUMMARY United States, comprising 17% of Yet, with few exceptions, Latino the population and over 20% of the participation in mainstream English- AND key 18–34 marketing demographic.1 language media is stunningly low. A Relative to the general population, review of the top movies and television KEY FINDINGS Latinos also attend more movies and programs reveals that there is a narrower listen to radio more frequently than range of stories and roles, and fewer do any other U.S. racial or ethnic Latino lead actors in the entertainment group.2 In addition, their purchasing industry today, than there were seventy power is steadily increasing. By 2015, years ago. Likewise, whereas the Latino Hispanic buying power is expected to population grew more than 43% reach $1.6 trillion. To put this figure from 2000 to 2010, the rate of media in perspective: if U.S Latinos were to participation—behind and in front found a nation, that economy would be of the camera, and across all genres the 14th largest in the world.3 and formats—stayed stagnant or grew only slightly, at times proportionally Latinos are not only avid media declining.5 Even further, when Latinos consumers; they have made important are visible, they tend to be portrayed contributions to the film and television through decades-old stereotypes as industries, and currently over-index criminals, law enforcers, cheap labor, as digital communicators and online and hypersexualized beings. content creators.4 Moreover, they are watchful of their image: when programs To visualize the magnitude of Latino or films are perceived to have anti- media exclusion, we can imagine that Latino content, advocacy groups and references to the states of California consumers target studios and networks (38 million people), Illinois (12.8 with increasingly effective campaigns. million) and Rhode Island (1 million); Simultaneously, programs and movies or New York (19.6 million), Florida (19.5 million), and Pennsylvania (12.7 million) are eliminated from American media culture.6 And in the rare case that audiences saw or heard anything about, say, California or Illinois, we would be shown bikini-clad women and gangsters.

In this report, we have named this conundrum the Latino media gap: as Latino consumer power grows, relative Latino media presence shrinks. Although the modest increase in numbers and the success of a handful of stars like Jennifer Lopez is noteworthy, the rate of incorporation is out of step LATINO MEDIA EXCLUSION with the massive demographic changes sweeping the country.

EXCLUSION OF MORE THAN THE ENTIRE STATES OF CALIFORNIA AND ILLINOIS The consequences of this gap are (38 MILLION) (12.8 MILLION) far-reaching. The current data

THE LATINO MEDIA GAP 1 suggests persistent and unchecked highest-rated scripted television shows; Spaniards are regularly confused with job discrimination in a major U.S. public television programming focusing Latinos in media representations and industry. The relegation of Latinos on history, music, and independent tend to play Hispanic-coded roles, we similarly deprives media consumers of documentary ; and select YouTube sites refer to their influence and presence innovative perspectives at a moment through March 31, 2014. but do not count them as Latinos of rapid industry and demographic for statistical purposes. In addition, change. Equally important, as To determine short- and long-term the report uses the terms Latino and entertainment and news reports often trends, we consulted a range of available Hispanic interchangeably. carry more weight than do other sources: the U.S. Census; past research forms of communication, the limited and guild reports by the Writers Guild and stereotypical nature of existing of America, Directors Guild of America, FINDINGS stories about Latinos skews the public’s and Screen Actors Guild; PBS show perception of U.S. society. It also archives; entertainment and advertising The Latino Media Gap report makes sanctions hostility toward the country’s trade magazines; and studio and eight principal findings on the gap largest minority, which has already network websites; as well as the Nielsen between Latino presence and media become the majority in many cities, Ratings, Box Office Mojo, and Internet inclusion in the U.S. today: including the media capitals of Miami Movie Database (IMDb). Furthermore, and Los Angeles. we conducted interviews with 27 media 1. Latino participation in advocates, innovators, and executives programming and movies is extremely over a period of five years (2009–2014). limited. THE STUDY In order to better understand the In general, Latino media participation The Latino Media Gap examines relationship between level of inclusion has modestly increased since the the state of Latino participation in and cultural impact, we measured 1940s. But, per capita, it is the same mainstream media and the Internet Latino media participation in two or lower than it was in prior decades in with the goal of identifying challenges different ways. The first gauged the major categories. For example, in the and opportunities to promote an number of creative talent out of all 1950s, Latinos were on average 2.8% inclusive media landscape. individuals in that field. The second of the U.S. population. In the top ten focused on how frequently creative scripted shows, however, Latinos were One of the most comprehensive talent appeared and/or was employed 3.9% of lead actor appearances and reports on Latinos and U.S. media, its over a season or a year. We found 1.5% of all lead roles; in the top ten seven sections provide an overview of both approaches useful, particularly movies, Latinos made up 1.3% of lead critical issues, namely rates of media to describe the inclusion of actors, appearances and played 1.7% of lead participation, stereotyping, ownership, since a single star like Cameron Diaz roles. Yet, in 2013, despite being 17% leadership, diversity policies, economic or Sofia Vergara may represent a small of the population, Latinos comprised impact of diversity, Latino advocacy, percentage of actors in a category none of the lead actors among the top and Latino innovation. The first but can be highly visible due to the ten movies and scripted network TV three sections focus on the stagnation repetition of a hit show or popular shows. and proportional decline of Latino character over time. participation in media since 1940 while 2. Latino men have disappeared as noting new trends in the incorporation Another important methodological leading actors; though the percentage of women and Afro-Latinos. The last consideration refers to the term of Latinas and Afro-Latino actors is four sections emphasize approaches, “Latino.” As there are different rising. initiatives, and individuals that are both definitions and these can affect expanding opportunity for Latinos in statistical outcomes, the present study Until the 1990s, there were considerably media and transforming the industries. defines Latinos as persons born in more Latino male leads than Latina the United States who are of Latin leads in TV shows and films. This The study encompasses new research American descent and/or who have trend has significantly reversed. In the based on quantitative and qualitative been born in Latin America and have 2010–2013 period, Latino men did not methods. Our team analyzed Latino immigrated to the United States. We perform any leading roles in the top ten inclusion in network and studio identified Latino talent by surname, films and TV shows, and constituted leadership; top ten movies as measured place of origin, self-identification, and fewer than 3% of supporting television by domestic gross revenue; top ten other corroborating data. Being that and film actor appearances. Latinas

2 THE LATINO MEDIA GAP also did not play any television leads. has also narrowed. Presently, 36.6% of campaign’s goal has shrunk from an Still, they were 4.6% of all female film Latino TV character appearances are average of two years in the 1970s to lead appearances and 9.5% of all TV in law enforcement and a whopping three weeks today. supporting female appearances. On 44.7% of Latino-coded television television, Latinas accounted for 67% characters are either uncredited or 8. Latinos drive new media of Latino supporting roles. unnamed. Equally important, 69% production and innovation. of iconic media maids in film and In addition, while there were few television since 1996 are Latina. As Latinos continue to be shut out Afro-Latino stars in prior eras, the of traditional media, their creativity percentage of prominent Afro-Latino 5. News is worse than fiction. is migrating to the Internet, blurring actors has significantly increased. From the distinction between producer and 2010 to 2013, Afro-Latino performers Stories about Latinos constitute less consumer. Latino participation online is represented 18.2% of Latino film than 1% of news media coverage, and significantly higher than in mainstream actors and 16.7% of Latino TV actors, the majority of these stories feature media or PBS. Of the top 50 single- although they were generally confined Latinos as lawbreakers. Moreover, focused YouTube channels with the to supporting roles in both media. Latino participation in front and most subscribers, 18% are produced behind the camera is extraordinarily by and/or feature U.S. Latino content 3. Latinos are still missing behind the low: As of 2013, there were no Latino creators. And even with little support, scenes. anchors or executive producers in any some of the most important new media of the nation’s top news programs. innovators, such as transmedia pioneer The vast majority of industry executives According to available data, only 1.8% Jeff Gomez, are Latinos. support diversity policies. Yet, the of news producers are Latinos. main strategy employed by most media companies over the last decades—the 6. Latino content and audiences creation of diversity executive positions expand viewership. and departments—has been relatively EIGHT RECOMMENDATIONS ineffective in increasing diversity in When possible, Latino media FOR CLOSING THE GAP both creative and leadership pools. consumers reward shows and films that feature compelling Latino talent Closing the Latino media gap will In the 2010 to 2013 period, Latinos and storylines with high ratings and require the active participation of all comprised none of the top ten television revenue. This is evident in the success media industry leaders. We offer eight show creators, 1.1% of producers, 2% of the Lifetime television show Devious recommendations for consideration to of writers, and 4.1% of directors. In Maids, the radio program Cohen and key stakeholders: top ten movies, Latinos accounted for Martinez on NPR, and the Universal 2.3% of directors, 2.2% of producers, Studios’ movie franchise The Fast and and 6% of writers. Even more dramatic, the Furious. Latinos also reject and no Latinos currently serve as studio organize against extreme stereotypical heads, network presidents, CEOs, or representations, as in the case of the owners. Among the top 53 television, campaigns against the canceled scripted radio, and studio executives (including shows Rob and Work It, and the news chairpersons), only one is Latina. program Lou Dobbs Tonight.

4. Stereotypes restrict opportunities 7. Consumer pressure creates impact. and perceptions. Latino consumer pressure is increasingly On television and movies, Latinos effective in bringing about change by continue to be represented primarily using the Internet and social media. as criminals, law enforcers, and cheap From 1968 to 1998, 63% of Latino labor. From 2012 to 2013, 17.7% of media campaigns aimed at television Latino film characters and 24.2% of shows, advertisements, or movies TV characters were linked to crime, a prevailed in all or part of their goals. considerable increase from 1994, when After 1998, this figure jumped to it was only 6% on television.7 The range 86%. Even further, the average length of television roles played by Latinos of time required to obtain a successful

THE LATINO MEDIA GAP 3 1. Major Networks, PBS, consumers who can mobilize quickly BEHIND THE REPORT: and Studio Leaders: across multiple media markets. PARTNERS AND FUNDERS

Hire diverse top leadership with 7. Latino Consumers: The Latino Media Gap: A Report on effective decision-making power in the State of Latinos in U.S. Media is a all positions, including in the areas Effectively communicate both critical collaboration between the Center for of business, policy, and content. and supportive perspectives on existing the Study of Ethnicity and Race’s Media Empower diversity executives to programs, movies, and companies. and Idea Lab at Columbia University, ensure that diversity policies are widely Provide alternative visions for Latino the Hispanic Foundation for the Arts, implemented, and support talent representation through content and the National Association of Latino engaged in producing Latino and other production and consumer campaigns. Independent Producers. The report diverse media. was funded in part by the generous 8. New Media Companies: support of the Social Science Research 2. Diversity Executives: Council; The Coca-Cola Foundation; Invest in young talent working in new the National Latino Arts, Education, Develop innovative programs to employ media as early as possible; support the and Media Institute; and Marcos A. the existing, deep and underutilized creation of widely accessible digital tools Rodriguez, founding managing partner talent pool, as well as to scout, to facilitate communication between of Palladium Equity Partners. highlight, and recruit new talent in Latino media consumers, advocates, traditional grounds like universities and and producers. About the Center for the Study of new media spaces such as YouTube. In Ethnicity and Race addition, generate transparent annual reports regarding diversity efforts, hiring The Center for the Study of Ethnicity practices, and the results of diversity and Race (CSER) at Columbia training programs. University is the institution’s main interdisciplinary hub for the most 3. Executive Producers in innovative research, public discussion, Entertainment: and teaching about race, ethnicity, and indigeneity in the United States and Promote open casting and diverse beyond. CSER is also the home of the hiring, form partnerships with diversity Media and Idea Lab, a novel program programs, and lead in the development that promotes media research and of new talent and stories. the use of media as modes of inquiry. The Lab’s first project was Small City, 4. Advertisers: Big Change, a policy brief and video, produced in association with Hispanics Reward programming that attracts high in Philanthropy. To learn more about ratings by featuring non-stereotypical CSER’s programs and download the full Latino characters and storylines. report, visit http://www.columbia.edu/ cu/cser/ 5. News Executives: About the National Hispanic Advise editorial personnel to broaden Foundation for the Arts Latino coverage and expand sourcing of experts, guests, and commentators to The National Hispanic Foundation include more Latino talent. for the Arts (NHFA) was co-founded in 1997 by actors Jimmy Smits, 6. Media Advocates: Sonia Braga, Esai Morales, Merel Julia and Washington, D.C. lawyer Generate research on new trends and Felix Sanchez to advance the presence identify game-changing challenges. and image of Latinos in the media, Similarly, increase the use of social telecommunications, and entertainment media to engage a greater number of industries. NHFA has concentrated on increasing access and expanding

4 THE LATINO MEDIA GAP career opportunities for Latino artists include Brincando el charco: Portrait We would also like to thank Celeste and professionals while fostering of a Puerto Rican (Whitney Biennial, Fraser Delgado, Dennis Leoni, the emergence of new Latino talent 1995), Small City, Big Change (2013), Joe Karaganis, Mark Lloyd, David in all aspects of entertainment and and War in Guam (2014). In 2005, she Madigan, Kenneth Prewitt, Sarabel telecommunications. was named one of the most influential Santos, and Jeff Valdez for all their Latinos by Hispanic Business Magazine, thoughtful suggestions and support in NHFA also provides scholarships and and in 2008, the United Nations’ Rapid the making of the report. Moreover, outreach programs to Latino graduate Response Media Mechanism recognized we are deeply indebted to our media students at eight universities with a her as a global expert in mass media colleagues Chris White (POV), Pamm direct pipeline into the entertainment and Latin/o American studies. She is Higgins (Independent Television business: Columbia University, New a founding member and former board Service), Andy Montoya (History York University, Harvard University, chair of the National Association of Detectives), Kimberly Myers, Darnell Yale University, Northwestern Latino Independent Producers, and Hunt, and Tery Lopez (Writers Guild University, the University of Texas at current director of the Center for the of America); Federico Subervi (Kent Austin, the University of California Study of Ethnicity and Race. State University), Michael Toland and at Los Angeles, and the University of Bill Stotesery (KLRU–Austin), as well Southern California. Research Assistants as producers Ray Telles, Rick Tejada Flores, and Jim Mendiola for helping us About the National Association of Chelsea Abbas is a Ph.D. candidate in to generate the most accurate possible Latino Independent Producers anthropology at Teachers College. She data. specializes in race, visual anthropology, The National Association of Latino and social movements in the Americas. In addition, we are thankful to the Independent Producers (NALIP) is Center for the Study of Ethnicity a national membership organization Luis A. Figueroa obtained his B.A. in and Race’s staff, Teresa Aguayo and that addresses the professional needs of International Studies Cum Laude at Josephine Caputo, and graduate Latino/Latina independent producers. Georgia State University in Atlanta. students Vanessa Miller and Kelly Founded in 1999, NALIP’s mission Currently, he is pursuing a Masters in Swope. We are also extremely grateful is to promote, advance, and advocate Public Administration at the School to David Stone and Victoria Benitez for Latino and Latina content creators of International and Public Affairs at from Columbia’s communications team, in media. NALIP is the only national Columbia. our editor Andrea Retzky, fact checker organization committed to supporting Kim Leiken, proofreader Leonard both grassroots and community-based Sam Robson is an oral historian based Rosenbaum, and designer Stephen producers/media makers along with in New York City. Among his past Chou for their impressive talent and publicly funded and industry-based projects is a series of interviews of important contributions to making this producers. Afro-Nicaraguan veterans of the 1980s report a success. Contra War. Among NALIP’s programs are its annual conference, plus six other Acknowledgements initiatives: Latino Writer’s Lab™, Latino Producers Academy™, Latino Media A report of this scale would not be Resource Guide™, “Doing your Doc: possible without the support of many Diverse Visions, Regional Voices” friends and partners. Our heartfelt documentary development workshops, thanks go to Moctesuma Esparza for all the Latino Media Market™, and the his support and guidance throughout Latino Artist Mentoring Program. the process; Esai Morales for his contagious enthusiasm; and Felix Principal Investigator Sanchez for his wisdom and energy, particularly in the last stretch. We are Frances Negrón-Muntaner is a likewise grateful to former and current filmmaker, writer, and scholar. Among members of NALIP’s staff, board of her books are Boricua Pop: Puerto directors and trustees, especially Axel Ricans and the Latinization of American Caballero, Maria Agui Carter, Kathryn Culture (CHOICE Award, 2004) and Galan, Cynthia Lopez, and Rick Schomburg (forthcoming). Her films Ramirez.

THE LATINO MEDIA GAP 5 THE LATINO By all measures, Latinos have made a writers, directors, and producers has significant impact on U.S. media. Even also proportionally declined or not when Latinos constituted 3% or less of kept pace with population growth. MEDIA GAP the U.S. population in the 1940s and This is the Latino media gap: as Latino 1950s, there was a range of films and consumer power grows, relative Latino TV shows featuring Latinos, including media presence shrinks. Zorro, The Cisco Kid, and I Love Lucy. While not all represented complex portrayals, these narratives showed GROWING LATINO CONSUMER a range of characters and situations POWER % that suggested a long history of Latino 20 presence in the United States. At present, Latinos comprise 17% of the United States’ inhabitants. In Starting in the late 1960s, there was a densely populated cities such as New 15 burst of Latino-made media that again York, Los Angeles, and Miami, Latinos LATINO POPULATION IN U.S. GROWING GAP transformed U.S. culture. Producers, are an even greater share: from 27% to 1 10 writers, and directors who began their 68% of residents. The rate of Latino professional careers during this period population growth is also dramatic.

GAP went on to create contemporary classics From 2000 to 2010, Latinos accounted 5 that were also profitable and popular. for more than half of the growth in the This is evident in Luis Valdez’s La U.S.2 This trend is likely to continue: Bamba (1987); producer Moctesuma while the U.S. population is projected 0 Esparza’s The Milagro Beanfield War to expand by 42% from 2010 to 2050, 200002 04 06 08 10 (1988) and Selena, directed by Gregory the Latino component is expected to Nava (1997). increase by 167% during the same % of Latino writers in the WGA period.3 % of Latino writers in the television industry Yet, despite significant achievements and present expansion of the Latino Moreover, of great value to advertisers consumer market, a review of and media companies, the coveted contemporary television and film reveals marketing demographic of Latinos that, relative to the fast-growing Latino ages 18 to 34 is growing five times population, there are fewer Latino faster than the rest of this population types of roles and lead actors today segment.4 Indeed, Latinos represent one than seventy years ago. The number of of the youngest ethnic groups in the

LATINOS FROM 2000 - 2010 BY 50+% LATINOS ACCOUNTED FOR 17% MORE THE OF US POPULATION THAN OF NUMBERS (53 MILLION+) 50% AND GROWING FAST US POPULATION GROWTH USA LARGE PRESENCE IN MAJOR US CITIES: FASTEST PROJECTED GROWTH 2010-2050 27.5% 28.9% 48.1% 68.2% PROJECTED LATINO 167% POPULATION GROWTH NYCCHICAGO LA MIAMI (PROJECTED US AVG. GROWTH = 42%)

6 THE LATINO MEDIA GAP United States: over 60% of Latinos are highest rate at 6.4. Similarly, Latinos younger than 35. In addition, Latinos buy 25% of all movie tickets.9 have a median age of 28, compared to the national median of 37.5 SHRINKING LATINO MEDIA Despite these Latino consumer power is also PRESENCE increasing exponentially. In 2012 alone, numbers, the level at least 500 newspaper articles noted Despite these numbers, the level of the surge of the Latino market to over Latino inclusion in mainstream English- of Latino inclusion 1 trillion dollars of spending power. language media remains low and is not That is more than any other minority significantly improving. To provide in mainstream group, including Asian Americans and a picture of the current situation, we African Americans—and close to 10% reviewed all talent listed for the top ten English-language of the total purchasing power of the scripted television shows and films on United States as a whole.6 According to the Internet Movie Database (IMDb), media remains the research company IBISWorld, by consulted network and studio sites as 2015, Hispanic buying power will hit well as diversity reports published in the stunningly low and $1.6 trillion, “growing at a 48% clip, last four decades. To establish long- compared to about 27% for the entire term trends, we also referred to studies nation.”7 produced by professional organizations is not significantly such as the Writers Guild of America, Equally relevant for the media industry, Directors Guild of America, and Screen improving. Latinos are among America’s most Actors Guild. enthusiastic media consumers. They listen to radio more than any other ethnic group, with 94% of Latinos over 12 tuning in every week.8 According to the 2013 Motion Picture Association annual theatrical statistics report, Latinos are one of the most important demographics sustaining the film industry in the United States. While the average U.S. moviegoer attends theaters 4.1 times a year, Latinos have the

LATINOS ARE YOUNG LATINO BUYING POWER 94% LATINOS >35 OVER CURRENTLY OVER $ LISTEN TO RADIO <35 60% 1 TRILLION UNDER THE AGE OF 35 AND BY 2015 $ 1.6 TRILLION EVERY IN THE AGE GROUP 18-34 (FASTEST GROWING IN THE NATION AT 48%) WEEK (COVETED MARKETING DEMOGRAPHIC) IF US LATINOS CONSTITUTED A NATION LATINOS BUY LATINOS GROWING 5X FASTER IT WOULD BE THE TH LARGEST ECONOMY 25% LATINO MEDIAN AGE = 28 14 OF ALL (US NATIONAL MEDIAN = 37) IN THE WORLD MOVIE TICKETS

THE LATINO MEDIA GAP 7 If one considers standard reference Latinos in Television measures such as the percentage of 1 Latinos in the professional media The most dramatic case study of guilds–Directors Guild of America Latino decline involves leading actors. LIMITED: (DGA), Writers Guild of America In the 1950s–the first decade when (WGA), or the Screen Actors Guild Nielsen ratings were introduced– LATINO INCLUSION IN (SAG-AFTRA)–Latino membership Latinos were, on average, 2.8% of the FILM AND TELEVISION ranges from 2% in DGA (2013) and population and 3.9% of all top ten TV 3% in WGA (2012) to 6.4% in SAG- lead appearances. But in the 1980s, AFTRA (2008).1 Participation in front Latinos were close to 7.7% of the and behind the camera in movies and population and none of the leads. From television at the most visible level is at 2010 to 2013, Latinos constituted times lower in some categories. an even greater share, 17% of the population, but no Latino actors played television leading roles. The result is a BETTER OFF BEFORE? growing gap between population and NUMBERS IN PERSPECTIVE representation.

Although counterintuitive, a Significantly, even if we shift our comparison between Latino media method and consider how many top employment today and in earlier 25 shows had Latino leads over the last periods reveals very modest gains decades, the general decreasing pattern alongside stagnation and decline. still holds (see Figure 1). Among the Even when there is an increase in top 25 scripted television shows, the patticipation, Latinos do not securely 1970s through 1990s decades had a gain ground. Rather, the statistics higher number of Latino leads than at fluctuate and upward trends do not present.2 By this measure, on-camera necessarily relate to greater opportunity representation in the 2000s was the but to the rise of a small number of star same as in the 1950s, and significantly actors and/or creative talent. In this lower than in the 1970s, when four regard, even minor advances cannot be shows had Latino leads: Chico and taken for granted. the Man (1974-1978), CHiPs (1977 –1983), Paul Sand in Friends and Lovers (1974–1975), and Fantasy Island (1978–1984). Moreover, this trend continued in the 1980s and 1990s, with each decade having three shows with a Latino lead, including 9 to 5 (1982–1988), NYPD Blue (1993– # OF TOP SHOWS WITH LATINO LEADS 1950s 1960s 1970s 1980s 1990s 2000s 2010s

1 0 4 3 3 1 1

I Love Lucy Chico and the Man CHiPs NYPD Blue Desperate Housewives Desperate Housewives Paul Sand in Friends and Lovers Fantasy Island Union Square Fantasy Island 9 to 5 Malcolm in the Middle 9 to 5

Figure 1: Top 25 TV Shows and Latino Leads (Sources: IMDb and U.S. Census, 1950–2013

8 THE LATINO MEDIA GAP Figure 2: Percentage of Latino Actor Appearances in Top Ten Highest-Rated Scripted TV Shows (Sources: IMDb and U.S. Census, 1950–2013)

2005), Union Square (1997–1998), and creative talent in recent years suggests Malcolm in the Middle (2000–2006). continuity with that history. A comparison Since the end of Desperate Housewives (2012), only Modern Family (2009– From 2000 to 2009, Latinos comprised between Latino present) has a central Latino character.3 1.2% of producers (including one show creator), 2.2% of directors, and 1.9% of participation today Trends regarding supporting actors writers.4 In the 2010–2013 period, the are complex. On the one hand, per number of directors modestly rose to and in earlier capita, there were more Latino roles 4.1%. Likewise, in the critical position and supporting appearances in the of writer, the number of Latinos slightly periods reveals 1960s than in the 2010s (see Figure 2). increased to 2%. Yet, there were no On the other hand, a relatively stable Latino show creators and producers upward tendency has emerged in the decreased to 1.1%, declining in both that, over the last number of Latino supporting actors. absolute and proportional terms. Given past patterns, it is unclear if decades, one finds this trend will hold and/or result in a Latinos in Movies greater number of Latino actors crossing very modest gains over to lead roles or whether they will Similar to TV, Latino participation as remain confined to playing secondary lead actors in movies was higher in prior alongside stagnation characters. eras, this time in the 1940s and 1950s. In the 1940s, the Latino population was and decline. Behind the camera, Latino participation close to 2%. At this point, Latino actors has been persistently low over the last made up 0.9% of lead appearances and six decades. With the exception of the 2% of all leads in the top ten movies. Desilu era on television (1950–1962), In the 1950s, Latinos were 2.8% of the in which the Cuban American Desi population, 1.3% of lead appearances, Arnaz was involved in producing top and 1.7% of total leads. shows such as I Love Lucy, few Latinos have served as directors, writers and/ From 2000 to 2013, among the ten or producers. Our survey of television films with the highest domestic gross

THE LATINO MEDIA GAP 9 20.00% The Role of Gender, Race, and National Origin in Media Employment Opportunities 15.00% LATINO ACTOR APPEARANCES IN TOP 10 LATINO POPULATION OF THE US As noted in the opening pages, this HIGHEST-GROSSING FILMS 10.00% study uses the term “Latino” to encompass U.S. and Latin American– born talent of all races and both 5.00% PERCENTAGE OF POPULATION PERCENTAGE LATINO SUPPORTING / TOTAL SUPPORTING genders. Yet, the routine count LATINO LEADS / TOTAL LEADS of Latino talent without further 0.00% qualification may mask more complex 1940s 1950s 1960s 1970s 1980s 1990s 2000s 2010s patterns of marginalization. These are DECADE important to note in order to better address specific barriers to participation Figure 3: Percentage of Latino Actor Appearances in Highest-Grossing Films that may relate to gender, race, and (Sources: IMDb and U.S. Census, 1950-2013) national origin, among other categories of social difference. per year, Latino lead role appearances From 2000 to 2009, Latinos accounted decreased from 2.8% in the 2000s to for 2.4% of directors, 0.8% of For example, while the overall inclusion 1.4% in the 2010s (see Figure 3). At producers, and 0.6% of writers. In of Latinos is limited, when we consider the same time, the percentage of Latino absolute terms, most of these numbers gender, we see a striking phenomenon: actors playing leading roles fell under went up in the 2010-2013 period: the near disappearance of the Latino 2%. The number of Latino supporting Latinos were 2.3% of directors, 2.2% lead actor concurrent with a relative actors has grown in absolute terms, but of producers and 6% of writers. The increase in the number of lead Latina remains low and the gap has widened relative increase of writers in the top actresses (see Figure 4). This represents a since the 1940s. ten movies, however, should not be significant change. Up until the 1990s, confused with a significant expansion of there were considerably more male than Not unlike television–but without opportunity for U.S. Latinos in the film female leads in both film and television. the Desilu exception–Latinos have industry. It is instead indicative of very The current trend reached its highest accounted for a small fraction of top ten slow gains in U.S. Latino employment, point in the 2010-2013 period, when movie producers, directors, and writers. combined with much faster rates of Latino men did not play any leading The last decades suggest that growth for incorporation of star Latin American roles in the top ten films but Latinas Latinos in film will continue to be slow. talent, a generally misunderstood trend played 5.9% of female leads and 100% that we will discuss further below. of Latino protagonists.

20.00% 20.00%

15.00% 15.00% TOP 10 LATINOS RATED SCRIPTED IN HIGHEST LATINO POPULATION OF THE US TV SHOWS LATINO POPULATION OF THE US 10.00% GROSSING FILMS 10.00%

5.00% 5.00% PERCENTAGE OF POPULATION PERCENTAGE PERCENTAGE OF POPULATION PERCENTAGE

0.00% 0.00% 1950s 1960s 1970s 1980s 1990s 2000s 2010s 1950s 1960s 1970s 1980s 1990s 2000s 2010s DECADE DECADE

Figure 4: Percentage of Latino/a Lead Actor Appearances in Figure 5: Percentage of Latino Actor Lead Appearances in Ten Highest-Grossing Films by Gender Ten Highest-Rated Scripted TV Shows by Gender (Sources: IMDb and US Census 1950–2013) (Sources: IMDb and US Census, 1950–2013)

10 THE LATINO MEDIA GAP The greater presence of Latina PERCENTAGE OF PERCENTAGE OF PERCENTAGE OF PERCENTAGE OF actresses and characters is a welcome AFRO-LATINO AFRO-LATINO FILM AFRO-LATINO AFRO-LATINO AFRO-LATINO FILM SUPPORTING TV LEAD TV SUPPORTING DECADE POPULATION / LEAD APPEARANCES and significant change. At the same LATINO POPULATION APPEARANCES APPEARANCES APPEARANCES / TOTAL LATINO LEAD time, this increase has not completely PERCENTAGE / TOTAL LATINO / TOTAL LATINO LEAD / TOTAL LATINO APPEARANCES SUPPORTING APPEARANCES APPEARANCES SUPPOPTING APPEARANCES translated into greater visibility for Latina actresses or storylines. On the one hand, most of the roles played by 2000s 2.3% 20.0% 20.8% 0% 16.7% Latinas in the top ten movies were of animated or fantasy characters in films 2010s 2.5% 0% 16.7% 0% 18.2% such as Shrek Forever After (Cameron Diaz), How to Train Your Dragon (America Ferrera) and Avatar (Zoe Figure 7: Afro-Latino Actor Appearances in Relation to All Latino Actors in TV and Saldaña). On the other hand, Diaz Film (Source: U.S. Census, 2000-2010, estimated 2000-2009 figure) and Ferrera voiced “white” characters, underscoring that the long-term success Measuring this increase with precision of stars like Diaz has been partly rooted poses some challenges. To date, there in that she is rarely identified as Latina. is no definitive census data regarding the number of Afro-Latinos in 2000. On television, we see a similar gender Yet, even if we used the arguably higher trend (see Figure 5). In the 2000–2009 2010 census figures of 0.4% of total period, men disappeared from leading population and 2.5% of the Latino roles while the number of women segment as reference points, Afro-Latino playing lead characters rose. Although actors still over–indexed in all categories currently there are no Latina leads in in both number of actors and frequency any of the top ten television shows, of appearances. In film, during the Sofia Vergara plays a main character in 2000–2009 period, they accounted for the ensemble comedy Modern Family. 0.6% of total lead roles and supporting actor appearances as well as 20% of Significantly, Vergara’s success is part Latino lead appearances and 20.8% of of a larger drift. In the supporting supporting actor appearances. Figure 6: Zoe Saldaña starring in Star Trek actor category, women have likewise (Source: collider.com) gained greater visibility than men. This trend appears to be weakening In the 2010-2013 seasons, Latinas slightly in recent years. From 2010 to constituted 11.8% of female supporting 2013, no Afro-Latino actor was cast in roles while Latino men were only 4.9% a leading role.6 The supporting actor of supporting male roles. In general, category, however, continues to over– Latinas played 67% of all supporting index. In the last three years, Afro- Latino characters. The current gender Latinos comprised 0.5% of supporting economy suggests that media decision- actor appearances and 16.7% of Latino In the 2000–2009 makers view Latinas as more culturally supporting actor appearances (see desirable than Latino men. Figure 7). period, Afro-Latinos When factoring race we see another On television, Afro-Latino actors important change. Whereas the have yet to be cast in a leading role. accounted for 50% of majority of Latino actors are considered But from 2000 to 2009, Afro-Latinos “Hispanic white” and there are few constituted 1.3% of all supporting Latino film leads. Afro-Latino stars, from 2000 to 2013, actor appearances and 16.7% of Latino Afro-Latino actors like Laz Alonso, supporting actor appearances. In Rosario Dawson, Jon Huertas, Zoe the 2010–2013 seasons, this trend Saldaña, and Ruben Santiago-Hudson marginally increased with Afro-Latinos became increasingly more prominent in continuing to represent 1.3% of both movies and/or on television (see supporting actors but 18.2% of Latino Figure 6).5 supporting actor appearances.

THE LATINO MEDIA GAP 11 DIRECTORS PRODUCERS WRITERS

2.3% LATINO (OF WHICH 100% LATIN AMERICAN) 6.0% LATINO (OF WHICH 75% LATIN AMERICAN) 2.7% LATINO (OF WHICH 50% LATIN AMERICAN)

Figure 8: Latino and Latin American Directors, Producers, and Writers, 2010–2013 (Source: IMDb)

Latino indigenous actors are less National origin also plays an important 33% of Latino producers but none of salient. According to the 2010 census, role in acting opportunity but the Latino directors or writers. indigenous Latinos constitute 0.2% of considerably more in film than on the U.S. population and 1.4% of all television. This is evident in that some Equally relevant, Latin American Latinos. Although not measured by of the most popular “Latin” movie stars national origin correlates with behind- the census, an even greater number of of the last decade are not U.S. Latinos the-camera opportunity in the movie Latinos claim indigenous roots and/or but Latin American or Spanish-formed industry. If from 2010 to 2013 Latin are mestizos (of European and Native actors like Salma Hayek, Javier Bardem, Americans represented a small fraction descent). Yet, there are currently no Antonio Banderas, and Penélope Cruz. of TV talent; in film, Latin American indigenous Latino stars. directors, writers, and producers such The Spanish trend is particularly robust as Alfonso Cuarón (Gravity) and Self-identified mestizo actors such in the 2010-2013 period. Whereas Guillermo del Toro (The Hobbit: The as John Leguizamo and Benjamin Spaniards comprise less than 0.2% of Desolation of Smaug) constituted 66% Bratt, however, are more visible. On the U.S. population (and if counted of all top ten Latino movie talent. film, from 2000 to 2009, mestizos as Hispanic, 1.4% of Latinos), in the Broken down by creative position, accounted for 0% of Latino leads, 0.2% top ten movies, they played 50% of Latin American–born and formed of all supporting actors, and 8.3% of Latino-coded leads and 27% of Latino professionals, mostly from Mexico, Latino supporting actor appearances. supporting roles. In television, however, made up 100% of directors, 75% of In the 2010-2013 period, mestizos the vast majority of TV stars portraying writers, and 50% of producers (see held no lead roles but were 0.3% of all Latino roles are U.S.-raised Latinos. The Figure 8). supporting actors, and 8.3% of Latino most visible exception is Vergara. supporting appearances. Differences in race and gender are also NORTH OR SOUTH OF THE On television, from 2000 to 2009, significant behind the camera—in BORDER: WHY DOES IT mestizos did not play any lead or dissimilar ways. While Afro-Latinos MATTER? supporting roles. Still, In the 2010- over–index in some acting categories, 2013 period, they constituted 1.3% of from 2010 to 2013, no self-identified Latin American culture and artists supporting roles and 16.7% of Latino Afro-Latinos served as writers, directors, have always been a rich part of U.S. supporting actor appearances. Arguably, or producers. In the top ten TV shows, media history. Likewise, the distinction the differences in incorporation of Latinas constituted 0% of producers between U.S. Latino and Latin Afro-Latino and indigenous actors and 33% of all Latino directors. At the American talent can be porous in the relate to how Afro-Latinos can signify same time, they over–indexed as writers, context of growing interconnectivity both Latino and black identities to key accounting for 75% of all Latino writers between the hemisphere’s media demographics. on television. In film, the situation is industries. It can also be relative, as nearly the opposite: Latinas represented many Latin American professionals

12 THE LATINO MEDIA GAP settle permanently in the U.S., in news. Our survey of 19 primetime “becoming” Latino over time. Yet it shows revealed that of 22 anchors 98.2% is an important analytical distinction. featured in top news shows, 20 or NON-LATINO Not only does Latin American talent 90.9% were white and two (9%) were TV NEWS PRODUCERS receive most of the top mainstream black––Van Jones of CNN’s Crossfire film opportunities accorded to Latinos and Al Sharpton of MSNBC’s Politics in Hollywood today, the press often Nation. No anchor was Latino. Among sees their achievements as emblematic the 21 top news executive producers, all of increased Latino media inclusion. were white, including three women. This understanding, however, overlooks important differences in the Of the eight shows that posted incorporation of U.S. Latinos and Latin information on their websites regarding Americans to the movie industry. their producing staff, all of which were 1.8% on CBS, NBC, and MSNBC, only two LATINO A key difference is that Latin of 114 producers, or 1.8%, were Latino TV NEWS PRODUCERS American film professionals tend to (see Figure 9). These were Andres Triay Figure 9: Latino TV News Producers be white, male, and from privileged of CBS News with Scott Pelley, and (Sources: IMDb and network websites) socio-economic backgrounds. These Mario Garcia of NBC Nightly News circumstances mean that they were less with Brian Williams. Fox, CNN, and likely to encounter gender, racial, and/ ABC did not provide information in or class discrimination at the beginning their sites nor did they respond to our of their careers, as is the case for most queries. Using alternative sources, we U.S. Latinos. Moreover, nearly all also identified that CNN’s Anderson successful Latin American talent arrived Cooper 360 has had at least one Latino in the U.S. with world recognition for producer on staff in the past, David prior work, which facilitated peer-to- Puente. peer interactions in Hollywood and access to effective talent representation. The lack of Latinos applies to news stories as well: A study by the National In addition, the majority of top Latin Association of Hispanic Journalists American writers, producers, and directors are involved in mainstream big budget productions and do not focus their work on Latino stories nor "NEWS WORSE THAN FICTION" cast U.S. Latino actors. This is not to say that media artists should tell certain STORIES ON NEWS AND TALK SHOWS stories or employ specific actors. But to underscore that the greater participation of Latin American over U.S. Latino talent in movies has been possible due to important differences in personal background, professional trajectories, and career objectives in the context of a OF THAT 1% COVERAGE globalized industry. It is not inherently < representative of a major opening for LESS THAN 1% U.S. Latino talent and stories. LATINO-RELATED 66% FOCUSED ON THE NEWS IS WORSE THAN CRIME, TERRORISM, FICTION ILLEGAL IMMIGRATION

If Latino participation seems limited in Figure 10: Themes of Latino News Stories entertainment, it is nearly non-existent (Source: National Association of Hispanic Journalists, 2005)

THE LATINO MEDIA GAP 13 focusing on the 1995–2004 period shooting also received attention in both found that “in nine of 10 years, Latino years. stories made up less than 1 percent of all network news stories.”7 Of these, Lastly, Latino opinion on commercial GUESTS ON NEWS / TALK SHOWS 66% focused on crime or illegal television and PBS is shut out as well. immigration (see Figure 10). Latinos are consistently excluded from talk shows, with Latino guests across Since 2004, the first trend has actually multiple programs in all networks at worsened: a forthcoming study by under 3%.9 A May 2013 report by scholar Federico Subervi on news story Media Matters for America further topics from 2008 to 2012 found that indicated that the situation is similar the percentage of general market TV on cable. On Fox News, only 3% of network news stories highlighting evening guests are Latinos; at CNN and Latinos declined from 1% in 2008 MSNBC, Latinos make up only 2%.10 to 0.6% in 2012.8 Over this period, Latinos were central in only 491 out of GUESTS approximately 80,000 stories. WHERE IS THE (LATINO) IN NEWS PROGRAMS PUBLIC IN PUBLIC 2.7% THAT ARE TELEVISION? LATINO GUESTS WHITE MALE Similarly, crime and related topics FOX NEWS - 88% continue to dominate news coverage of CNN - 83% Latinos. In both 2012 and 2013, the In some ways, the Public Broadcasting MSNBC - 83% only top news story featuring a Latino Service (PBS) is no different than PBS - 82% was that of George Zimmerman, the commercial networks when it comes neighborhood watch coordinator who to including Latino talent and themes. fatally shot teenager Trayvon Martin. Although PBS has yet to release detailed The death of teacher Vicki Soto at information regarding its diversity, the Sandy Hook Elementary School our survey of posted data from their

INCEPTION-2013 2010-2013 % OF LATINO OR LATIN % OF LATINO OR LATIN % OF LATINO OR % OF LATINO OR % OF LATINO OR AMERICAN-THEMED AMERICAN-THEMED LATIN AMERICAN LATIN AMERICAN LATIN AMERICAN EPISODES / SEGMENTS EPISODES / SEGMENTS DIRECTORS PRODUCERS EXEC. PRODUCERS 2.7% 2.6% 0.0% 1.6% 0.0% 2.6% 3.7% 0.0% 2.4% 0.0% 5.5% 3.0% 0.0% 8.8% 0.0% 6.8% 5.9% 0.0% 0.0% 0.0% 3.2% 0.0% 0.0% 0.0% 0.0% 7.0% 7.0% 0.0% 0.0% 50.0% (SEGMENTS) (SEGMENTS) 11.2% 14.4% 7.8% 3.4% 2.4% 14.9% 12.5% 9.8% 8.8% 6.0%

TOTAL 7.0% 9.7% 14.8% 4.8% 2.1%

Figure 11: PBS Latino and Latin American–Themed Programming (Regular and Series) (Sources: PBS webite and IMDb)

14 THE LATINO MEDIA GAP website and IMDb reveals that there are currently few regular Latino-focused programs on PBS.11 The last major Latino-themed PBS series was American Family, which ran in 2002. Moreover, the late October 2013 departure of Ray Suarez from their flagship program NewsHour left PBS without any senior Latino journalists.12

Latino history is also both acknowledged and marginalized. In the fall of 2013, PBS released a noteworthy stand alone, three-part documentary series, The Latino Americans, co-produced by Latino Public Broadcasting. Yet, in signature history- related series like American Experience and American Masters, Latino content has been limited and still tends to largely focus on Latin American, rather than U.S. Latino, history and figures.

In our survey of eight series correlate with inclusion of Latino as executive vice president and co- highlighting history, performance, and directors or producers. Across all executive producer from 2006 to 2014. music since their inception to 2013, we surveyed series from 2010 to 2013, similarly found a mixed picture: Latino- Latinos made up 2.1% of executive themed programming has ranged from producers, 4.8% of producers, and O, JOSÉ CAN YOU SEE? less than 3% in American Experience 14.8% of directors. All directors, and American Masters to 11.2% in however, were part of only two series: In sum, U.S. viewers see an extremely Independent Lens and 14.9% in POV, Independent Lens and POV. low percentage of Latinos on television both curated series. and movie screens in all genres and In addition to the lack of directors, formats. Current rates of inclusion During the 2010-2013 period, the most series did not include any Latino are also advancing at a very slow pace. two curated series continued to lead in executive producers, as was the case of One way of visualizing the situation is Latino-themed programming: 14.4% of American Experience, American Masters, to consider that at the present rate of Independent Lens episodes and 12.5% Austin City Limits, Soundstage, and change, it will take 60 years for Latinos of POV shows were Latino-themed History Detectives. Overall, Latinos to fill 17% of lead roles in the top ten (see Figure 11). Most series, however, had the highest levels of participation films. To reach 17% of lead roles in the experienced a modest decline while in POV and Independent Lens, top ten scripted TV shows will take over American Masters slightly increased underscoring the importance of both 100 years. By then, however, the Latino its share of Latino programming to series to diversity on television.14 population is projected to double, 3.7%. The recently created Genealogy making the goal of greater inclusion an Roadshow has a relatively high Furthermore, it is significant to note elusive one for decades to come. percentage of Latino stories. Since that of the longest-running series, its first broadcast in 2013, 50% of those beginning in the 1970s and shows have featured at least one 1980s, POV is the most inclusive and Latino character, although only 7% of the only one that demonstrates a clear segments were Latino-themed.13 trend of increased incorporation of Latino-themed programming over At another level, our review found time. Perhaps not surprisingly, POV is that presence of Latino-themed also the sole series to have had a Latina programming did not necessarily executive, Cynthia Lopez, who served

THE LATINO MEDIA GAP 15 If U.S. media suddenly increased the mostly “law and order” dramas on number of Latinos in front of the television and action movies. In 2 camera, the cultural landscape could, in contrast to prior eras, they also play some ways, grow worse. Not only does an increasingly narrower range of BANDIDOS FOREVER?: the media significantly underrepresent characters. Latinos and other groups, but also, in THE PERSISTENTLY the few instances when Latinos appear, During the 1990s, Latinos still NARROW RANGE OF they tend to embody many of the same portrayed creative types, including a stereotypes first visualized in cinema playwright, a photographer, and an LATINO CHARACTERS over a century ago: criminals, cheap artist in TV shows like Union Square, labor, and sexual objects. Ironically, Suddenly Susan, and Jesse. Beginning while there is a new Latina stereotype –– in the prior decade, however, Latino the maid––the once familiar “Latin characters and Latino actors were Lover” has nearly disappeared from increasingly associated with only two television and movies, eliminating types of roles: criminal or law enforcer. one of the few kinds of leading roles Since 1984, 51.9%, or 14 of the 27 available to Latino men. Latino main cast roles in top ten scripted TV shows, have been related to To determine the persistence of both criminal activities, law enforcement, or new and old stereotypical portrayals, security (see Figure 12). we reviewed Latino roles listed for the top ten scripted television programs This trend continues through 2013, and films on IMDb (Internet Movie even when Latino actors do not Database). Additionally, we analyzed play Latino-specific roles. In these the number and percentage of times shows, three out of five featured adult that stereotypical roles appeared in the characters work in law enforcement or 2012–2013 television season. the military: an Israeli agent (Cote de Pablo, NCIS), a homicide detective (Jon Overall, we found that stereotypical Huertas, Castle) and an NYPD detective storylines and characters that were (Marisa Ramirez, Blue Blood). Across coded as criminals, law enforcers, the top ten shows, there were a total of Figure 12: Latino Actors and Characters and blue-collar workers continue to 2,596 roles, of which 161 or 6.2% were in the Main Cast of Top Ten–Rated dominate television shows, movies, Latino-specific. Of these, 24.2% were Scripted TV Shows, 1950–2013 (Source: and news. Equally important, Latinos criminal roles and 23% law enforcers. IMDb) remain confined to very few genres,

BAND FARM PROHIBITION STUDENT/ OWNER, PHOTO- GARAGE UNEMPLOYED LEADERHAND AGENT SUPERVILLAIN STUDENT/SON DAUGHTER GRAPHY STUDIO WORKER (WEALTHY PLAYBOY)

1951–57 LEAD 1957–63 SUPPORTING 1959–63 SUPPORTING 1966–68 SUPPORTING 1968-74 SUPPORTING 1968–74 SUPPORTING 1975–76 SUPPORTING 1974–77 LEAD 1981–90 SUPPORTING Ricky Ricardo by Desi Pepino Garcia by Tony Agent William Youngfellow The Joker by Cesar Romero Craig Carter by Desi Arnaz, Kim Carter by Lucie Arnaz Julie Erskine by Liz Torres Chico Rodriguez by Freddie Lance Cumson by Lorenzo Arnaz in I Love Lucy Martinez, in The Real McCoys by Able Fernandez, in The in Batman Jr. in Here’s Lucy in Here’s Lucy in Phyllis Prinze in Chico and the Man Lamas in Falcon Crest Untouchables

POLICE POLICE POLICE PLAYWRIGHT/ ARTIST/ FBI LIEUTENANT DETECTIVE DETECTIVEFORMER LAWYER PHOTOGRAPHER ART TEACHER MAID NURSE AGENT

1984–90 SUPPORTING 1984–90 SUPPORTING 1994–98 LEAD 1997–98 LEAD 1996–00 SUPPORTING 1998–00 SUPPORTING 1999–06 SUPPORTING 2001–09 SUPPORTING 2002–09 SUPPORTING Lieutenant Martin Castillo Detective Gina Calabrese Detective Bobby Simone by Gabriella Diaz by Luis Rivera by Nestor Diego Vasquez by Bruno Rosario Salazar by Shelly Nurse Carla Espinosa by Judy Danny Taylor by Enrique by Edward James Olmos in by Saundra Santiago in Jimmy Smits in N.Y.P.D. Constance Marie in Union Carbonell in Suddenly Susan Campos in Jesse Morrison in Will & Grace Reyes in Scrubs Murciano in Without A Trace Miami Vice Miami Vice Blue Square

16 THE LATINO MEDIA GAP 19.1% 16.2% 17.7% 17.7% 14.7% 14.9% 13.8% 11.3% 10.8% 5.8% 3.4% 0.00% CRIMINALS CRIMINALS LAW ENFORCEMENT BLUE COLLAR/ WHITE COLLAR/ CREATIVE (ALL) (BLUE COLLAR) / MILITARY SERVICE WORKERS EDUCATION-BASED TYPES WORKERS ROLES PLAYED BY LATINO ACTORS ROLES PLAYED BY ALL ACTORS

Figure 13: Roles Played by Latino Lead and Supporting Actors Compared to Roles Played by All Actors in Ten Highest-Grossing Films in the U.S, 2010-2013 (Source: IMDb)

As suggested above, only two major Significantly, the percentage of criminal in The Big Bang Theory. Notably, in adult Latino/a characters were not roles today is higher than a decade ago. law and order shows, Latino criminal members of law enforcement or According to a 1995 National Council characters tend to appear more often military institutions. Of these, the most for La Raza commissioned study, in in stories involving gangs and/or drugs, influential is Gloria Delgado-Pritchett, 1994, criminals made up only 6% of rather than across all plotlines. played by Sofia Vergara in Modern characters in primetime TV and 16% in Family. Yet, whereas Vergara’s character reality shows.1 In addition to the uneven distribution is a continuation of the “sexy spitfire” of the criminal stereotype, there is stereotype whose accent is a constant While the idea that Latinos are actual a meaningful difference between source of humor, she is also portrayed or potential criminals endures, however, the number of criminal roles and as being skilled with guns. The show we found that the centrality of the the number of times that a criminal repeatedly implies that her Colombian criminal stereotype varied greatly from character appears in relation to Latino heritage makes her comically show to show, ranging from 0% in Two law enforcers. Although criminal and accustomed to violence. and Half Men and 5.1% in Criminal law enforcement characters are almost Minds to 32% in NCIS LA and 50% equal when measured in number of

FBI POLICE PLANE CRASH PLANE CRASH SURVIVOR/ POLICE CRIME SCENE BUSINESSMAN/ FBI AGENT DETECTIVE SURVIVOR SECURITY GUARD CAPTAIN INVESTIGATOR INMATE HOUSEWIFE AGENT

2005–09 SUPPORTING 2003–10 SUPPORTING 2004–10 SUPPORTING 2005–06 SUPPORTING 2009–11 SUPPORTING 2002–12 SUPPORTING 2004–12 SUPPORTING 2004–12 LEAD 2005–12 SUPPORTING Elena Delgado by Roselyn Scotty Valens by Danny Pino Hurley Reyes by Jorge Garcia Ana Lucia Cortez by Captain Roy Montgomery by Eric Delko by Adam Carlos Solis by Ricardo Gabrielle Solis by Eva Natalia Boa Vista by Eva Sanchez by Without A Trace in Cold Case in Lost Michelle Rodriguez in Lost Ruben Santiago-Hudson in Rodriguez in CSI: Miami Chavira in Desperate Houswives Longoria in Desperate LaRue in CSI: Miami Castle Housewives

STUDENT/ STUDENT/ COVERT MEDICAL UNEMPLOYED/ HOMICIDE DAUGHTER DAUGHTER AGENT DOCTOR STUDENT HOMEMAKER STUDENT DETECTIVE DETECTIVE

2008–12 SUPPORTING 2008–12 SUPPORTING 2005–13 SUPPORTING 2006–13 SUPPORTING 2009–13 SUPPORTING 2009–13 SUPPORTING 2009–13 SUPPORTING 2009–13 SUPPORTING 2013 SUPPORTING Juanita Solis by Madison de la Celia Solis by Daniella Ziva David by Cote de Pablo Dr. Callie Torres by Sara Grace Florrick by Makenzie Gloria Delgado-Pritchett by Manny Delgado by Rico Javier Esposito by Jon Huertas Maria Baez by Marisa Ramirez Garza in Desperate Housewives Baltodano in Desperate in NCIS Ramirez in Grey’s Anatomy Vega in The Good Wife Sofia Vergara in Modern Rodriguez in Modern Family in Castle in Blue Bloods Housewives Family

THE LATINO MEDIA GAP 17 Figure 14: Race and Media Maids, 1930– roles, law enforcers appear considerably in Two and Half Men are blue–collar 2013 more frequently: 36.6% vs. 13.7%. In workers or sexy Latinas, and 50% of (Source: IMDb) other words, for every Latino criminal Latino characters in The Big Bang Theory appearance, there are three appearances are blue-collar workers or criminals. by Latino law enforcers. This gap can be Television then seems to view Latinos explained in part by the fact that Latino in a more favorable light when they criminal roles tend to be episodic, are part of a multicultural anti-crime throwaway characters while Latino law force than when they are inside the Once dominated by enforcers are on the main cast. overwhelmingly white domestic realm. Moreover, blue-collar and “sexy” female Lastly, an important if previously African American roles are still present but accounted unreported trend, is that over a for only 9.9% and 1.9% of the third or 44.7% of the total number roles respectively. Like the criminal of Latino roles on television are actresses playing stereotype, however, blue-collar workers unnamed or uncredited. While 72% appear less than the number of roles of Latino characters are portrayed as ”Mammy” stereotypes, suggests, only 5.7% of all Latino law enforcers, criminals, blue-collar character appearances. Conversely, workers, sexy women, and other the maid role has overly sensual Latinas are a very small minor stereotypes such as “member number of roles. But given Vergara’s of a big Latino family,” a considerable shifted decisively highly visible character, they account percentage of these characters have little for 9.1% of appearances in the top ten airtime. toward Latinas. shows. In the ten highest-grossing movies Equally significant, traditionally from 2010 to 2013, Latinos performed stereotypical characters are often more a greater variety of roles than on common in comedy shows than in television, including princesses, Vikings crime dramas. For instance, besides and vampires. But similar patterns are Modern Family’s Gloria Delgado- present. Pritchett, 50% of Latino characters

18 THE LATINO MEDIA GAP Of a total of 2,042 roles, Latinos played Finally, in the last two decades, a For example, mainstream television 68 or 3.3%, not counting uncredited new stereotype was born, becoming and film present worlds where Latinas or unnamed.2 Over a third of these visible in both television and film: make up 69% of maids and 24.2% roles were related to law enforcement/ the housemaid (see Figure 14). A role of criminals, yet government statistics military (19.1%) and crime (17.7%). once associated with African American indicate that Latinos comprise 44.3% actresses playing “Mammy” style of maids or housecleaners and 19% Furthermore, we measured two types of characters, the maid role has shifted of the non-federal prison population.4 criminal roles: (1) blue-collar criminals, decisively toward Latinas. Since 1996, Likewise, according to TV stories, 23% involved in the theft of goods and cash, Latina actresses have played 69%, or 11 of Latinos are law enforcers, even if kidnapping, the manufacture and sale out of 16, of the most iconic TV and the census lists only 13% of Latinos of illegal drugs, and physical violence; movie maids. This trend was succinctly working in those professions. Perhaps and, (2) white collar or corporate captured by the late Mexican American most surprising, although mainstream criminals, implicated in embezzlement, actress Lupe Ontiveros, who once television represents Latinos as artists bribery, cybercrime, and identity famously declared that she had played at less than 1% of the time, Latinos theft. While 4.3% of criminal roles in least 300 maid characters in her career.3 constituted nearly 9% of the nation’s these films were white-collar, all of the creative professionals (see Figure 15). criminals portrayed by Latinos were blue-collar. In addition, Latino actors HOLLYWOOD VS. THE U.S. Equally important, whereas most news were nearly twice as likely to portray CENSUS stories about Latinos correlated them blue-collar criminals than as were white with crime and undocumented entry, actors. All of the Latino criminals were Another way to visualize the scope the majority of Latinos are native-born gang-affiliated. of stereotypical representation is U.S. citizens. According to the 2012 to compare the mainstream media census, of the 52.3 million people in Many Latinos also played law universes to another influential 2012 who identified themselves as enforcement officials, who, although mapping of America: the U.S. census. having Hispanic or Latino ancestry, often central characters in the narrative, While neither presents a complete only 11.1 million or 21%, were are still connected to crime. Taken picture, their contrast underscores undocumented.5 together, criminal and law enforcement the specifically limited ways that roles made up a quarter of roles mainstream media portrays Latinos. performed by all actors, but comprised over a third of those played by Latinos. As in television, the confinement of Latinos to crime stories ultimately 69% produces a limited lens through which to represent and understand them: “good Latino” or “bad Latino.” 44.3% Our survey similarly found that when one compares the types of characters played by Latinos to the actual 24.2% 23% frequency of these types of roles, it is 19% evident that Latinos disproportionately 13% 9% perform stereotypical roles. Latinos were, for instance, more than three 1% times as likely to play blue-collar labor, < such as construction workers and MAIDS CRIMINALS LAW CREATIVE waitresses, as were actors in general (BLUE COLLAR) ENFORCEMENT TYPES (see Figure 13). They were also slightly less likely to play white-collar workers. % MEDIA REPRESENTATION OF LATINOS Moreover, while 3.4% of all actors played creative types, such as dancers, ACTUAL % OF LATINOS BY OCCUPATION (US CENSUS) musicians, and writers, Latinos did not play any of these roles. Figure 15: TV Latino Stereotypes and United Maids vs. the Census (Sources: U.S. Census, 2010 and IMDb)

THE LATINO MEDIA GAP 19 The persistence of the Latino media (NEARLY) NO ONE AT THE gap raises the question of the role TOP: THE DEMOGRAPHICS OF 3 that Latinos and other groups play CEOS, OWNERS, AND SHOW in decision-making. Here, the high CREATORS THE DECIDERS: frequency of stereotyping and low levels of Latino participation as Since monitoring of top media WHO RUNS THE SHOW? writers, directors, and actors pales in management began in 1968 with the comparison with the scant number of Kerner Commission, relatively little has Latinos who serve as decision-makers, changed in the leadership composition including company owners, CEOs, of the media industry. In 1989, and television show creators. To the minorities were less than 1.6% of all extent that corporations produce media high-level producers.1 Today, Latinos through on a top-down model with hold very few decision-making positions tightly controlled decision-making in studios and networks. structures, the absence of Latino industry leaders is a key factor in the In order to determine the extent of current marginalization of Latino talent Latino participation as decision-makers, and stories. we reviewed published lists of leading executives at the top 22 mainstream media outlets. We found that none of the 45 studio or network CEOs and presidents are Latino, and only two are not white men: Kevin Tsujihara, the Asian American CEO of Warner Brothers Entertainment, and Paula Kerger, CEO of PBS. If one adds the eight company chairpersons, all are white men except for Kazuo Hirai of the Japan-based Sony Corporation, and CBS’s Nina Tassler, who is Latina. Overall, among the top 53 radio, studio, and TV executives, 1.9% were Latina or Latino (see Figure 16).

Latinos are better represented on the PBS Board of Directors, if still not proportionally. Three Latinos––Ernest 1.9% Bromley, Helen Hernandez, and Ramon Rodriguez––currently serve on the 27-member body, accounting for 11.1% of all members. The level of inclusion in the senior administration is slightly higher. Of the 15 PBS corporate officers and senior executives, two, or 13.3%, are Latino: Mario Vecchi, NO SUITS % OF LATINO TV SHOW CREATORS, TV AND FILM EXECUTIVES WITH GREENLIGHT AUTHORITY Chief Technology Officer; and Juan Sepúlveda, Senior Vice President, Figure 16: Percentage of Latinos in Top Media Leadership Positions Station Services.2 (Sources: Top media company websites) The show creator situation is one of the most challenging. From 2010 to 2013, there were no Latino show creators. This low level of participation correlates to the limited involvement of

20 THE LATINO MEDIA GAP 2010 2011 2012 2013 PERCENTAGE OF WRITER POSITIONS 1.6% 0.0% 0.0% 5.2% FILLED BY LATINOS PERCENTAGE OF PRODUCER POSITIONS 1.9% 0.6% 0.9% 2.1% FILLED BY LATINOS PERCENTAGE OF DIRECTOR POSITIONS 1.5% 1.3% 3.7% 2.7% FILLED BY LATINOS

Figure 17: Latinos Behind the Camera in Network TV Pilots, 2010–2013 (Source: The Hollywood Reporter)

Latinos in pilot production (see Figure area where Latino participation is low. 17). As Latino talent receives fewer As reported by the Minority Media and opportunities to present ideas, they are Telecommunications Council, in 2009, also less likely to be part of final lineups. Latinos owned only 2.5% of television stations, 2.9% of radio stations, and Specifically, in the 2010 to 2013 period, no film studios. Three years later, the Latinos accounted for 2.1% or less of Federal Communications Commission The absence of pilot show producers. In 2011 and (FCC) found that between 2009 and 2012, there were no Latinos writing for 2011, Latino ownership of television Latinos as executives network TV pilots at all. Yet, in 2013, stations slightly increased from 2.5% the number of writer and producer to 2.9%.3 Latinos, however, continued and producers positions filled by Latinos increased. to hold majority-voting interests in just But the numbers are still quite small 2.7% of full power television stations, is a key factor relative to the population: only 25 out indicating stagnation in this sector.4 of 901 posts in network TV pilots were in the current filled by Latinos, representing 2.8% of the total. THE RACE OF RECOGNITION marginalization of It is unclear if the 2013 increase in The lack of Latino decision-makers is writers and producers will become a also dramatically evident in institutions Latino talent and trend or have an impact. Between 2010 that recognize the achievements of and 2011, for example, the proportion professionals working in the industry. stories. of Latino writer, producer, and director positions fell. At the same time, given Of these, the most well–known to that 2013 was the only year in the the public is the Academy of Motion sample in which Latino producers Picture Arts and Sciences, which exceeded 2% and Latino writers awards the “Oscars” every year. As of surpassed 5% of the total, it is possible 2012, 94% of the Academy voters were that viewers may see a modest increase white, and fewer than 2% were Latino.5 in Latino participation on television This composition correlates with the over the next few years. nominations and awarding of the Oscars.

EQUALLY LACKING: POWER According to a UCLA report, from BEHIND THE POWER 2002 to 2012, only 4% of Oscar nominees in the major categories were Media company owners also drive key Latino, and none of them earned media decisions—and this is yet another an award.6 No Latino performer has

THE LATINO MEDIA GAP 21 NOMINATIONS 20022005 2006 2008 2010 LATINOS & OUTSTANDING OUTSTANDING OUTSTANDING OUTSTANDING LEAD OUTSTANDING SUPPORTING ACTOR GUEST ACTRESS IN DIRECTOR IN ACTRESS IN SUPPORTING THE EMMYS IN A DRAMA A COMEDY DRAMA COMEDY ACTRESS IN COMEDY 2002–2013 OF 312 EMMYS AWARDED FREDDY LUPE RODRIGO AMERICA SOFIA BETWEEN 2002–2013, LATINO RODRIGUEZ ONTIVEROS GARCIA FERRARA VERGARA ACTORS WON ONLY 6 (1.9%), WITH Six Feet Under Desperate Houswives Big Love Ugly Betty Modern Family ANOTHER 11 NOMINATIONS. 2011 2012 2013 OUTSTANDING OUTSTANDING OUTSTANDING OUTSTANDING OUTSTANDING OUTSTANDING SUPPORTING WRITING IN GUEST ACTOR IN SUPPORTING GUEST ACTOR IN GUEST ACTOR 6 ACTRESS IN COMEDY COMEDY COMEDY ACTRESS IN COMEDY COMEDY IN COMEDY LATINO WINS (1.9%) SOFIA LOUIS BOBBY SOFIA BOBBY LOUIS VERGARA CK CANNAVALE VERGARA CANNAVALE CK Modern Family Louie Nurse Jackie Modern Family Nurse Jackie Saturday Night Live

2005 2006 2007 2012 2013 312 EMMYS OUTSTANDING OUTSTANDING OUTSTANDING LEAD OUTSTANDING OUTSTANDING OUTSTANDING – SUPPORTING ACTOR WRITING IN ACTRESS IN WRITING IN SUPPORTING DIRECTING IN 2002 2013 IN A COMEDY COMEDY COMEDY COMEDY ACTOR IN DRAMA COMEDY

BOBBY GREG AMERICA LOUIS BOBBY LOUIS CANNAVALE GARCIA FERRARA CK CANNAVALE CK Will and Grace My Name is Earl Ugly Betty Louie Boardwalk Empire Louie

Figure 18: Latinos and the Emmys, 2002–2013 (Source: Emmys website) received an Oscar for acting since list of the Academy’s 15,000 members is In sum, depending on the company, Benicio del Toro won Best Supporting available, in our survey of the Academy’s network or institution, the vast majority Actor for the film Traffic (2000). top leadership, we found that no of all fundamental media decisions As with other industry institutions, Latinos are part of the organization’s 58 are made by affluent, middle-aged, gains are not sustained or sufficient: Board of Governors. Likewise, none of white men. Yet, most industry leaders in both 2011 and 2013, no Latino the Executive Committee’s 18 members publicly support diversity as a corporate was nominated in any of the major are Latino. policy and recognize the importance categories. The 2014 roster featured one of diverse storylines to the country’s main successful nomination to Alfonso Not surprisingly, this lack of diversity youngest viewers. To better understand Cuarón for directing Gravity, starring is also evident in the number of this disjuncture, the next section looks Sandra Bullock and George Clooney. Latinos recognized by the Academy. closer at why diversity departments This win accounted for 2.9% of all top From 2002 to 2013, there were 1,125 have not been able to fully realize their awards.7 primetime Emmy nominations for mandates. drama and comedy series encompassing The Emmys present a similar situation. outstanding acting, writing, directing, They are presented by the Los Angeles– and programming. Latinos received 18, based Academy of Television Arts and or 1.6%, of the nominations. Of the Sciences; the organization’s objective 312 Emmys actually awarded in the top is to honor the best in primetime categories, Latinos won six, accounting programming. Although no complete for 1.9% of the total (see Figure 18).8

22 THE LATINO MEDIA GAP Concern over Latino inclusion is persistent stereotyping and exclusion of not new in the media industry and women, Latinos, and other groups. 4 it has arisen from different contexts. Arguably, the first “official” Latino While it would be an exaggeration to DIVERSITY AND diversity initiative took place during conclude that diversity departments the 1940s.1 At the time, the United have been completely ineffective, it ITS DISCONTENTS States government instructed the movie would not be unfair to say that they industry to represent Latin Americans have failed to significantly change the in a more “positive” light to secure the face of the industry. In many, if not region’s markets and political support most instances, diversity executives during WWII. Accordingly, the number can generate data and exert influence, of movies with Latin American themes but generally have little or no power to exploded, nurturing the careers of both enforce compliance, particularly in the U.S. Latino and Latin American stars. critical area of content creation. As a After the end of the war, however, these result, the fundamental job of diversity directives were no longer considered executives has been to monitor rather important and were dropped. Latino than actualize diversity within their inclusion plummeted on screens. networks and/or studios.

The next key moment took place In order to better understand the two decades later. In the 1960s, the possibilities and limits of the current African American and Latino civil model of diversity departments, we rights movements identified media interviewed 27 diversity and other representation as a civil right and media executives, producers, and/or gave rise to campaigns targeting advocates to assess their views on the discrimination in hiring and success of diversity efforts. Although all stereotypical representation. As social of the executives interviewed favored movements continued into the 1970s, diversity as a policy, all but one agreed new pressures were applied to the film that the present model had largely and television industries.2 not achieved its main objective. All advocates concurred that diversity To address these, television outlets such departments had not brought about as PBS made important modifications substantial change. to their content, producing Latino- themed features, multicultural children’s programming, and bilingual sitcoms DIVERSE PROBLEMS such as the now classic Que Pasa, USA (1977). But once the pressure declined, Respondents identified a broad range of most media outlets opted to exclude reasons why diversity departments had Latinos rather than proportionally not been highly effective. These reasons incorporate them in non-stereotypical can be classified as interpersonal or roles and as behind-the-camera talent. focused on individual desires and fears; institutional, emphasizing company During the 1990s, advocacy groups policies and rules; and societal, referring again organized to demand better to broader social relations, laws, and representation of minorities in discourses. television and film. This time, media companies responded by creating Interpersonal Factors diversity departments and appointing people of color, mostly African Most interviewees gave great weight to Americans, as diversity executives. In everyday life and professional behavior this context, “diversity” emerged as in accounting for the performance a less confrontational term than did of present diversity initiatives. This “affirmative action” to address the suggests that while media professionals

THE LATINO MEDIA GAP 23 recognize the importance of other overwhelmingly white, middle-aged, factors, they also view individual actions and male. According to one diversity as key to understanding the status quo. executive, “Writers tend to write what they know. And what they know is The “Comfort Zone.” Beverly Hills to car to studio and back, always surrounded by people like There was a strong consensus that the themselves.”5 “comfort zone” of decision-makers ”Writers tend to played a significant role regarding A second diversity executive provided who is offered opportunities in the the following example of how attempts write what they media industry. All interviewees agreed to change the status quo fail: “A that producers and executives tend diversity executive will ask a writer to to hire people they know, who are add diverse people to the script and know. And what recommended by acquaintances, and/ the white writer will flip out and say or with whom they feel comfortable. ‘the character is everything, I can’t they know is In the words of one guild advocate: change him.’ When the writer says ‘I “The industry is hostile, dog-eat-dog, don’t feel it,’ the showrunner generally Beverly Hills to car and very stressful. In that world, you sides with him. At best, you will get want people who have your back.”3 a diverse sidekick character or ‘fruit to studio and back, Since the vast majority of top industry salad’ background where the characters management is currently white and do not make significant contributions always surrounded male, this results in hiring along the to the story. Showrunners themselves same racial and gender lines. The are almost always from the same assumption is that people outside of the background as the writer.”6 by people like network will not be loyal or supportive themselves.” to those already inside. Fear of Displacement. Unconscious Bias. According to some respondents, the description of the media industry as a Several Latino producers stated that family business and/or one based on executives, showrunners, and casting relationships may mask a greater anxiety directors view Latinos as better suited for industry insiders: fear of change. for low-wage, “unintellectual” jobs and “They say that the business is based on roles. This perception is reinforced by relationships,” a guild advocate noted. the relationships that managers tend to “But the fact is that people just don’t have with Latinos, particularly in the want to change. We do a lot of network industry’s capital, Los Angeles. As one mixers and it goes nowhere. The Latino producer stressed, “The view of business is so competitive, no one wants Latinos is as a servant class. All they to open it up to new people for fear of know us as is their gardeners and maids. being displaced.”7 Or in more direct That’s what they see when they look at terms, “When someone is up, someone us and that’s how they cast us.”4 is down.”8

Resistance to Changing the Story. Importantly, the fear factor is not only a white/non-white issue. Some A number of Latino media makers interviewees pointed out that African and diversity executives also identified Americans were also hesitant to the reluctance of individual writers advocate on behalf of Latinos for fear to diversify the kinds of stories that of losing their hard-fought yet still they write as a key obstacle to change. limited access. “There is a fear of black For many of the study’s participants, displacement because blacks had been this is linked to the homogeneity of standing in for all diversity until now,” writers and executive producers in the one producer observed.9 To the extent industry, who for decades have been that inclusion is largely understood

24 THE LATINO MEDIA GAP in racial and gender terms, it tends to understood globally. This means that an important part of the market. But reinforce intra-group solidarity, and employment and programs involving, it accounts for the haphazard ways that makes coalition-building difficult. say, Latin America and/or Latin change happens. One year the numbers Americans outside of the U.S., are are up; the next they are down.”19 counted as Latino diversity. One media INSTITUTIONAL FACTORS advocate recounted: “The network was claiming that Paula Abdul, who has SOCIAL, ECONOMIC AND Respondents also identified several key Syrian and Jewish roots and was partly POLICY FACTORS institutional reasons why diversity has raised in Brazil, was a Latina.”14 not taken hold in studios, stations, and While most interviewees focused on networks. These ranged from a weak The majority of U.S.-born Latino institutional and individual factors, commitment to ineffectual benchmarks respondents were particularly critical there was a convergence that the to the ambiguity of the category of this tendency: “Latin Americans are following three socio-political and “Latino.” used as deflection. They come from elite economic aspects contributed to the backgrounds and their journey is very lack of diversity in media. Diversity is a “Front.” different than that of a U.S. Latino.”15 These assumptions were evident in the The vast majority of executives believe interview process: when pressed for that diversity programs have not evidence of Latino participation, most succeeded because diversity is not diversity and human resource officials yet a true institutional value. In the cited their overseas divisions and named ”Diversity has words of one executive: “Diversity Latin American born-and-bred talent. has never been an intrinsic part of the never been an institutional fabric. Diversity is like a Benchmarks are Wrong, Tactics Christmas ornament that you bring out Ineffective. intrinsic part of the and, after it’s over, you put it away.”10 Or, as a diversity officer bluntly put A smaller number of executives it, “Diversity officers are managers of expressed that diversity programs institutional fabric. discontent and get paid well to do it.”11 are intrinsically flawed and therefore unsuccessful: “Diversity recruitment Diversity is like a Others felt that diversity initiatives events do not produce the best were in fact a conservative mechanism candidates. We hire through internal Christmas ornament to maintain the status quo. “Diversity,” networking.”16 Some executives also says one guild advocate, “is the product rejected the idea that population that you bring out of white backlash. Taking some of our should match employment, the usual language and using it on us.”12 The benchmark of media advocates: “The and, after it’s over, bottom line is that, as another guild talent–employment–population ratio advocate summarized: “Ultimately, the is not a valid way to measure. One companies control everything. They can’t say that because Latinos are 17% you put it away.” choose the executives; the diversity of the population, they should be departments serve at their pleasure, 17% of the writers.”17 What is needed, and cannot implement policies added a second executive, “are different autonomously. They also choose the benchmarks for diversity.”18 showrunners and producers. If the networks and studios really wanted Latinos Buy Us Anyway. more diversity, it would happen.”13 A minority of independent advocates Diversity is Vague. pointed out that diversity programs fail because network and studio heads Likewise, the majority of executives say believe that that there is no true need that accountability is difficult because to diversify, as Latinos are already measures of diversity are not well consuming media beyond their defined. A key example is that for major numbers. “This is slowly changing as studios and networks, diversity is executives now believe that Latinos are

THE LATINO MEDIA GAP 25 Latino Inclusion is Not a Public As one studio executive forcefully Good. concluded, “The days of affirmative action are over.”25 All Latino media advocates expressed that, in contrast to African Americans, It’s the Economy. Latinos are generally viewed as new arrivals and foreigners, so inclusion In addition to racial fatigue, most of Latinos in media institutions is not respondents concurred that the perceived as a public good. As one recent recession and financial impact advocate noted, “They don’t understand of changing media distribution our struggles. They don’t know that platforms and income streams there were thousands of Mexican create a less hospitable atmosphere Americans murdered in Texas from for proportionally increasing the Latinos are 1900 to 1909.”20 The advocates further participation of minorities. “The biggest observed that Latino claims are regarded threat right now is for someone to take generally perceived as opportunistic or unwarranted: your job,” one guild advocate, stated. “Latinos are seen as recent immigrants “People don’t want to hear about as recent arrivals trying to ride on the coattails of minority exclusion, because everyone African Americans.”21 In the words of is suffering.”26 Others concurred and foreigners, so a guild advocate, “Whites do not feel that today’s juncture was difficult to responsible. Their sense is ‘I didn’t do maneuver given the economic crisis: it.’”22 “People get defensive. If it’s difficult inclusion of Latinos for everyone, it’s harder to talk about According to most respondents, this minorities. And the board doesn’t even in media institutions larger context partly explains why want to hear it.”27 executives do not feel any urgency is not perceived as a to increase opportunity. One human resources executive, for instance, public good. summed up the situation in this way: “At our company, people tend not to leave. So we can’t keep up with outside demographics. We just don’t have many opportunities for promoting minorities.”23

We Live in a “Post-Racial” Society.

Beginning in the 1990s and culminating in the immediate aftermath of President Barack Obama’s election in 2008, there is also a growing consensus, particularly among whites, that the U.S. is now a “post-racial” society. This is broadly echoed among the surveyed leadership. “There is no discrimination,” a guild advocate stated. “People just look for where the money is.”24 Most diversity officers highlighted that Latinos were not considered to be as prepared or educated as Asian Americans or whites. In this sense, there is a general and growing rejection to the use of a collective rights argument over individual talent and preparation.

26 THE LATINO MEDIA GAP From a business point of view, the McPherson implemented a strategy reluctance to diversify is puzzling as based on the idea that, given U.S. 5 there is strong evidence that increasing demographics and appeal of Latino the presence of Latinos in media leads stars, diverse shows could help revive DIVERSITY PAYS to more viewers, higher ratings, and network ratings and increase revenue. greater profits for media companies. This is the case not only because a To this end, ABC approved three shows greater number of Latinos may watch from 2004 to 2005 with key Latino shows or films but also because Latino talent in quick succession: Desperate talent often appeals to a significant cross Housewives (2004), Lost (2004), and section of the audience. In this regard, Grey’s Anatomy (2005). The results were when it comes to Latino inclusion, remarkable: ABC’s ratings climbed studios and networks appear to act from 3.2 in the 2003–04 season to 4 not out of economic self-interest, in the 2005–06 season (see Figure 19). but only when they are pressured. As In 2006, the show Ugly Betty, executive one advocate put it, “When change produced by Salma Hayek, also had an happens, it’s really about fear…fear of impressive premiere, becoming ABC’s losing your job, embarrassment, and highest-rated scripted show in its time failure.”1 slot since Matlock in 1995.3

For this section, we surveyed the Moreover, as a result of increased impact of greater Latino diversity in viewership, advertisers immediately film, television, and radio. To illustrate started paying attention.4 The network’s the premise that “diversity pays,” we advertising revenue reportedly climbed identified four case studies in which to an unprecedented $50 million in executives have successfully developed the Ugly Betty-Grey’s Anatomy Thursday business models based on diverse hiring. slot.5 Ten years later, diversity continues to be a key component of ABC’s business strategy. ABC RISING: THE IMPACT OF DIVERSE PROGRAMMING ON RATINGS AND REVENUE DEVIOUS MAIDS BRINGS (MORE) LIFE TO LIFETIME In 2004, ABC was at the bottom of the main network ratings pile.2 In Significantly, the ABC experience is not response, ABC executives Lloyd Braun, isolated; it also applies to cable shows. Susan Lyne, and incoming CEO Steve A case in point is Devious Maids, which

4.2 ABC’S 4.0 4.0 RATING 49 AVERAGES – 3.8 2003-2007 3.7 3.6 3.5

RATING AVERAGE RATING 3.4 3.2 AMONG ADULTS 18 AMONG ADULTS 3.2 3.0 2003–04 2004–05 2005–06 2006–07 SEASON Figure 19: ABC Rating Averages, 2003–2007 (Source: SpottedRatings.com)

THE LATINO MEDIA GAP 27 began to air on Lifetime in 2013 after As it was widely noted in the press, when after only four weeks, the star being turned down by the networks. adults aged 18–49 accounted for 1.4 host, Madeleine Brand, quit, citing that Based on a Latin American soap opera million viewers, 1.2 million of whom she could no longer do the show.15 about the lives of five maids and their were women. Significantly, Latinos employers, Devious Maids featured an made up a large share of that audience: Despite missteps and a learning all-Latina lead cast, two Latina writers close to 19%, which is almost twice curve for the new host, the station and Desperate Housewives star Eva Lifetime’s primetime average.8 This experienced the unexpected. According Longoria as an executive producer. response suggests that many Latinos, to journalist Gabriel Kahn, a month particularly women, did not object to after Brand and Martinez began This line up made Devious Maids the maid characters as long as they were working together, over 7,000 more first major television show in history to not stereotypically drawn. Although listeners tuned in. And four months include such a high number of Latina there are currently no public statistics after Brand’s replacement, Alex Cohen, leads and behind-the-camera talent. concerning Devious Maids’ impact on began to work with Martinez, NPR The question was: is anyone going to advertisement revenue, Lifetime picked diffusion in Latino households shot watch? At the beginning, it was not up the show to air for a second season up from 5% to 25%, ushering in clear. Even before anyone could tune in 2014.9 a significant surge in pledges and in, Latino media advocates began to membership.16 Equally important, the criticize the show as perpetuating the station’s morning audience share rose by maid stereotype. Yet, while pundits LISTENING TO CALIFORNIA: 17% and donations to the station hit debated in the blogosphere, Devious THE KPCC BOOM record highs.17 Maids became a big hit for the Lifetime network. Two million viewers watched Another dramatic example involved the premiere in June 2013, and the 89.3 KPCC, one of the widest-reaching FAST AND THE FURIOUS audience grew to three million for the public radio stations in southern MOVES THE MARKET season finale in September.6 According California, with approximately 600,000 to journalist Nellie Andreeva, the show listeners each week.10 Like most media As noted in earlier sections, Latinos are “made Lifetime the No. 1 cable network entities, the station had a commitment the most avid movie ticket buyers in the in the Sunday 10 PM time slot among to diversity and had actually designed U.S., a fact that is often leaned on to women.”7 a three-year, $10 million project to avoid rather than to promote diversity address it.11 Still, they had not made in hiring and storylines. There is, substantial changes to key programming however, one movie franchise that has in years. learned the huge risk that a studio may incur in when it fails to address a core In 2012, board member Ana Valdez, audience: The Fast and the Furious. one of two Latinos on the board, sounded the alarm: if the station did The Fast and the Furious is the biggest GROWTH AFTER A. MARTINEZ not incorporate greater Latino diversity, box office franchise of all time for it might not survive in the long term.12 Universal Studios, grossing over $2.3 JOINS While 80% of NPR’s current audience billion as of 2013.19 The latest film, 25% is estimated to be white, over 45% The Fast and the Furious 6,reached of southern California’s population is $500 million in worldwide box office Latino.13 totals with greater speed than any other SURGE IN film in Universal’s history.20 Given the PLEDGES AND MEMBERSHIP The board chose to test the waters by series’ ample domestic and worldwide 5% LATINO ADULT LISTENERS hiring a Latino co-host, A. Martinez, audience, Universal is already MORE THAN DOUBLED for its morning news show, The considering the production of sequels as Madeleine Brand Show. As this was far ahead as The Fast and the Furious 9. NPR LATINO a top-rated show, there was some HOUSEHOLD PENETRATION +15% apprehension, particularly as Martinez Latinos have significantly contributed +20% TAKE TWO’S AQH was perceived as a “sports radio guy to Universal’s success. When analyzing from ESPN” with no experience in domestic box office returns, there is a +20% public radio.14 There was also fear that strong correlation between the presence RECORD HIGH IN TAKE TWO’S tinkering with a proven formula could of Latino talent and earnings. And this DONATIONS TO KPCC AUDIENCE SHARE drive away listeners. This fear increased can be confirmed by examining the

28 THE LATINO MEDIA GAP box office of the second through fourth $238,679,850 installments. $209,837,675 While each film in the franchise has $144,533,925 $155,064,265 earned more at the box office than the $127,154,901 prior film, there are two exceptions: 2 Fast 2 Furious and The Fast and $62,514,415 the Furious 3. Domestically, 2 Fast 2 Furious earned 13% less in revenue. Some critics attributed the drop to the departure of lead actor Vin Diesel. 2001 2003 2006 2009 2011 2013

Subtitled Tokyo Drift, the third THE FAST 2 FAST TOKYO FAST & FAST FAST & installment experienced an even steeper AND THE 2 FURIOUS DRIFT FURIOUS FIVE FURIOUS 6 drop–43%. This time, critics identified FURIOUS the absence of actor Paul Walker as a MICHELLE RODRIGUEZ EVA MENDEZ MICHELLE RODRIGUEZ JOAQUIN DE ALMEIDA MICHELLE RODRIGUEZ COLE HAUSER LAZ ALONSO ELSA PATAKY JOHN ORTIZ determining factor in the franchise’s LA MEXICO CARTER VERONE JOHN ORTIZ TEGO CALDERON decline. Yet, the fact that Vin Diesel AMAURY NOLASCO TEGO CALDERON DON OMAR SPAIN DON OMAR EVA MENDEZ again starred in the third film points LA MIAMI MIRTHA MICHELLE MICHELLE RODRIGUEZ to the possibility of another, less noted LA MEXICO RIO MIAMI absence: Latinos. PANAMA CITY DR Specifically, the drop in revenues Figure 20: Latino Box Office Impact onThe Fast and The Furious Franchise between the first and second films was (Sources: The Hollywood Reporter, Los Angeles Times and IMDb) arguably not as dramatic as between the second and third in part because Latino talent and locations did not disappear that a limited sampling indicated that perpetuating stereotypes of Latinos as altogether. Though Michelle Rodriguez 46% of the audience for The Fast and cops and robbers, the series is unusual, did not star in 2 Fast 2 Furious, Eva the Furious 4 was Latino.21 Such a as most characters are represented as Mendes played a detective, and much number significantly exceeds the Latino neither entirely “good” nor “bad,” and of the action took place in Latino cities population (17%), and the percentage the storyline creates a world where like Los Angeles and Miami. Tokyo of tickets that Latinos buy on average people of multiple racial backgrounds Drift, however, did not include any (25%).22 In 2013, the Los Angeles Times interact and work together toward Latino actors, themes, or locations. again reported that once Rodriguez common goals. was reintroduced to the series, Latino The significant impact of Latinos to audiences helped to carry the film to the The importance of compelling Latino the franchise’s survival becomes even top of the box office: they accounted for portrayals is additionally evident clearer in the fourth installment, with nearly a third of the film’s spectators on in the failure of two 2012 shows, the return of Michelle Rodriguez in her opening weekend.23 ABC’s Work It and CBS’s Rob, which signature role of Letty Ortiz and the featured Latino actors and situations film’s multiple Latin American settings. but relied on extreme stereotypical At that point, the franchise experienced ADDING IT UP representations. The shows made it only a major jump in box office revenues. to two and eight episodes respectively, Whereas Tokyo Drift earned only $62.5 These case studies reveal that the fear demonstrating the pitfalls of such million, The Fast and the Furious ,4 of diversity is unwarranted. When programming. Work It was also the made over $155.1 million (see Figure English-language networks, stations, target of a large boycott by Latino 20). The franchise has since maintained and studios diversify talent, they are advocates and consumers, an effort top Latino talent, setting, and/or amply rewarded. It is also evident that contributed to its cancellation and characters in all subsequent films. that although Latinos are passionate underscored the importance of Latino consumers of existing offerings, they consumer power in the new media The importance of Latino moviegoers also prefer media that includes Latino landscape.24 to the franchise’s rise can be further characters and storylines, and avoids verified by measuring audience share. blatant stereotypes. While The Fast and In 2009, The Los Angeles Times reported the Furious franchise can be seen as

THE LATINO MEDIA GAP 29 As previously noted, estimates indicate ADVOCATING FOR CHANGE that Latino consumers hold over 1 6 trillion dollars in spending power, or Since the introduction of cinema in the close to 10% of the U.S total—and this late nineteenth century, Latinos have ACTION!: LATINO consumer power is growing fast. By responded to media misrepresentation 2015, Latino buying power is expected and employment discrimination CONSUMER to reach $1.6 trillion.”1 with organized campaigns, and these POWER AND intensified after WWII.4 Our review ADVOCACY In the mainstream and trade press, of published accounts in the news and allusions to Latino consumer power scholarly press revealed that there have tend to be accompanied by the been at least 25 national campaigns led assumption of passivity. Even when by Latino media advocates since 1968. studies show that Latinos actually The rate of these protests also increased change brands at higher rates than substantially in the 1970s, before other groups, corporate reports and the declining in the subsequent decade. press tend to portray Latino consumers Media advocacy efforts picked up once as brand-loyal.2 Furthermore, in our more in the mid-1990s, and 2011 saw a survey, some executives represented flurry of activity reminiscent of the late advocates as detrimental to achieving 1970s (see Figure 21). media change. In the words of one executive, “Protests are outdated. They Along with the sheer volume of ruffle feathers.”3 campaigns, it is significant that present Latino media advocacy efforts are Yet, the mobilization of Latino media increasingly effective. From 1968 to consumers and advocates has been 1998, most successful media campaigns key in the acceleration of change over took an average of 23 months and as the last five decades, and this pressure much as four years to accomplish their continues to be an essential force stated goals. In addition, just 63% of in diversifying media. Specifically, Latino campaigns prevailed in all or advocates and consumers have part of their goals. Since 1998, with challenged stereotypes, helped to create the rise of the Internet and the Latino pipelines of opportunity, and pressured population, 86% of campaigns achieved networks and studios to tell new stories. all or part of their objectives in under a To better understand their role today, month, and none took more than nine this section investigates how Latino months (see Figure 22). consumer and advocacy power have grown and changed since the 1960s. Likewise, our survey found that the most effective Latino media advocacy campaigns have taken the form of 12 boycotts targeting advertisers in relation 10 LATINO 10 MEDIA to what consumers consider offensive CAMPAIGNS programming or commercials. Since 1968 8 –2013 1968, every mobilization by Latinos 6 5 against products with stereotypical ads 4 3 has achieved the campaigners’ goals. 4 These include protests against Bell

NUMBER OF PROTESTS 2 2 1 Telephone, Granny Goose, Ligget and Myers, Frito-Lay, Elgin National Watch 0 Company, American Motors, and Coors 1960s 1970s 1980s 1990s 2000s 2010s Light (see Figure 23). DECADE Figure 21: Number of National Latino Media Campaigns, 1968–2013 This tendency continues to the present. (Sources: The New York Times and scholarly publications) Campaigns aimed at advertisers have

30 THE LATINO MEDIA GAP 60 LENGTH 50 OF LATINO MEDIA 40 CAMPAIGNS Advocates and 30 consumers have (IN MONTHS) 20 10 challenged MAX. ESTIMATED DURATION OF CAMPAIGN, DURATION MAX. ESTIMATED 0 stereotypes, created 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 YEAR OF CAMPAIGN pipelines of Figure 22: Length of Latino Media Campaigns, 1968-2013 (Sources: The New York Times and scholarly publications) opportunities, and been responsible for the banning of Equally important, campaigns aimed at encouraged networks a Seinfeld episode that featured the news programs have become gradually burning of a Puerto Rican flag in 1998, more fruitful. A case in point is the and studios to tell and accelerating the cancellation of campaign demanding an end to the television shows like the previously- CNN news show, Lou Dobbs Tonight, mentioned Work It in 2012.5 To date, which we explore in greater detail new stories. only the ongoing national campaign below. This effort was noteworthy against the John and Ken radio show not only because it focused on one of begun in 2011 by the National the media formats where Latinos are Hispanic Media Coalition has been less visible and more stereotypically unable to achieve its main goal of taking represented––television news––but also the program off the air, although it has because of its innovative approach to triggered an exodus of advertisers.6 advocacy and its potential to serve as a model for future campaigns. In general, the least successful campaigns have been against studios for specific films. This is partly the case THE FIGHT AGAINST LOU because studio revenue has historically DOBBS TONIGHT not been as dependent on advertisement dollars and national audiences, making In 2008, anti-immigrant talk was heard the studios less vulnerable to domestic everywhere, contributing to an all- consumer pressure. Beginning in the time high of 735 hate crimes against late 1990s, however, some campaigns, Latinos in the U.S. (see Figure 24). At such as “No nos quieren” (They CNN, news personality Lou Dobbs Don’t Want Us), also launched by the was making a career out of American National Hispanic Media Coalition immigration anxiety. Since the show’s against ABC and Disney, influenced creation in 2003, Lou Dobbs Tonight the creation of writing programs had become a central source for anti- that provide access for Latinos to immigrant and racist rhetoric, often entry-level creative opportunities.7 In passing off exaggeration for fact.8 the near future, the effectiveness of Latino advocacy campaigns will likely For example, in 2005, Dobbs made the increase as studios require even greater inaccurate claim that “the invasion of budgets, and the promotion of a film illegal aliens is threatening the health becomes more reliant upon the sale of of many Americans.” He cited that merchandise and the incorporation of immigrants were importing leprosy over corporate brands into the narrative. the Mexican border at a very high rate,

THE LATINO MEDIA GAP 31 a total of 7,000 cases in three years. for America, the National Council of However, this was the total number La Raza, the New Democrat Network, of cases over the previous 30 years.9 the National Hispanic Media Coalition, Regardless of Dobbs’ anti-immigrant and the Southern Poverty Law Center, bias, CNN did not act to hold the show initiated a “Drop Dobbs” coalition. accountable to journalistic standards. This campaign focused its attention Instead, the company supported the on advertisers and demanded that the show, which experienced a significant network stop supporting Dobbs’ show.12 ratings bounce: between 2003 and 2007, its audience grew 72%.10 While both groups were important in ousting Dobbs, the “Basta Dobbs” But not all were appreciative. In 2009, campaign embodied a new approach to an online advocacy organization called media advocacy in the digital age. On Presente.org formed a campaign named the one hand, the campaign effectively “Basta Dobbs,” calling on CNN to fire employed traditional means by Lou Dobbs. Led by media strategist recruiting writers to contribute op-eds Roberto Lovato, the campaign came in The New York Times, Chicago Tribune, to include more than 40 grassroots New York’s El Diario-La Prensa and Los organizations spanning 12 states and Angeles’ La Opinión, and gathering over 25 major media markets. Overall, the 100,000 signatures. On the other hand, “Basta Dobbs” campaign made two the campaign leveraged new media key arguments.11 One, CNN could tools to amplify their message and exert not retain Dobbs and hope to be pressure on CNN.13 considered a politically neutral news site. Two, CNN could also not expect These tools included the production to keep Dobbs as a host and still court of an online video by award-winning Latino viewers with its upcoming documentary filmmaker Arturo Perez Latino in America series, which included titled “CNN: Lou Dobbs or Latinos senior Latina journalists at the helm: in America?” In addition, the group correspondent Soledad O’Brien and created a text-message “shortcode” Figure 23: Goals and Outcomes of Latino senior producer Rose Arce. call to action, publicized via radio and Media Campaigns 1968–2011 on-the-ground events in 18 of the (Sources: The New York Times and scholarly Not long afterwards, several major largest Latino media markets. This publications) organizations, including Media Matters enabled thousands of people to join the

1968 2 MONTHS 1970 9 MONTHS LATINO Increase Latino acting opportunities in films Improve representations of Mexican MEDIA such as Che! Americans in films after the release ofButch 1968 2 YEARS Cassidy and the Sundance Kid, True Grit, and The Wild Bunch CAMPAIGNS Retire Bill Dana's stereotypically “lazy and 1968–2011 stupid” Latino character José Jiménez 1970 2 YEARS 1969 2 YEARS Discontinue Elgin watch ads depicting FAIL PARTIAL SUCCESS SUCCESS Take a Bristol-Myers' “Mum” deodorant Emiliano Zapata as a thief commercial featuring a “smelly” Mexican 1970 4 YEARS outlaw off the air AVERAGE CAMPAIGN DURATION BY DECADE Retire Frito-Lay's “Frito Bandito” mascot 1969 2 YEARS Take a Granny Goose chips commercial showing 1970 2 YEARS 1960s 1 YEAR AND 7.6 MONTHS stereotypical Mexican bandits off the air Discontinue Rainbow Bread “bandito” ads 1970s 1 YEAR AND 9.3 MONTHS 1969 2 YEARS 1970 2 YEARS Take Liggett & Myers cigarette commercials 1980s 1 YEAR Discontinue American Motors “bandito” ads highlighting a “lazy Mexican” named Paco off 1990s ~1 YEAR (52.5 WEEKS) the air 1976 3 YEARS End the subservient Latino stereotype in the 2000s 6 MONTHS TV series Chico and the Man 2010s 3 WEEKS

32 THE LATINO MEDIA GAP campaign through their cells phones 800 by writing the word “ENOUGH” 735 to number 30644. Moreover, “Basta 700 654 681 Dobbs” organized a “digital sit-in” on 595 CNN’s website, which allowed Presente. 600 576 org members and supporters to deliver 522 500 475 their comments and pictures directly to 426 CNN. 400

The Basta Dobbs campaign also used 300 ANTI-LATINO the media to critique the media—it HATE CRIME was launched at the same time that CRIME INCIDENTS OF HATE NO. 200 2003-2010 Dobbs chose to participate in an anti- immigrant conference organized by the 100 Federation for American Immigration Reform (FAIR) in September, and it 0 2003 2004 2005 2006 2007 2008 2009 2010 was re-launched a month later when CNN’s Latino in America was to be Figure 24: Rise in Anti-Latino Hate Crimes broadcast. As Lovato describes, “On (Source: FBI Hate Crimes Report, 2003–2010) their big day in the limelight with Latino in America, all coverage was emphasized how Dobbs, not Latinos, building an audience by mobilizing about how Latinos wanted CNN were a threat to the CNN brand, anti-immigrant feelings and fueling the to cut its ties to Lou Dobbs.”14 The bringing shame to an organization President Obama “birther” controversy negative attention hurt the brand and self-identified by the slogan “the most was failing—he had lost 15% of his jeopardized the resources invested trusted name in news.” overall viewership,16 and one month in Latino in America to bring new before his exit, the show was “dead last” audiences to the network (see Figure After three months of campaigning, in the critical 25–54 demographic.17 25). on November 11, 2009, Lou Dobbs But the show’s decline and cancellation announced he was retiring from the was greatly accelerated by consumer Significantly, the campaign focused not network.15 Klein stated that Dobbs was criticism and organizing. In the end, on Lou Dobbs, which had the potential not asked to withdraw because of the CNN paid Dobbs an $8 million to reach a dead end of “he said, they protests, and activist pressure was likely severance package to leave before his said,” but on Jonathan Klein, president not the only variable in terminating contract expired.18 of CNN. In this way, the advocates the show. By July, Dobbs’ strategy of

1979 1995 1 YEAR 2009 3 MONTHS Halt the violent depiction of Mexican Revoke the radio license of The Howard Stern Cancel the news show Lou Dobbs Tonight due Americans in The Streets of L.A. Show, whose host made negative comments to misinformation and hate speech in relation 1979 about Mexican singer Selena following her to undocumented Latino immigrants Halt the violent depiction of Mexican death Americans in Act of Violence 2011 1 WEEK 1996 3 YEARS Cancel Coors Light “Emboricuate” ads which 1979 1 YEAR Force ABC and Disney to include more conflated Puerto Rican identity and drunken Stop hiring white actors for Latino roles, such Latino-focused programming and hire more behavior as in the film Walk Proud Latino actors 2011 1 MONTH 1979 1 YEAR 1998 1 WEEK Counter negative stereotypes of Colombians Halt the violent depiction of Latinos in Ban the Seinfeld episode featuring rioting in the film Colombiana with positive Boulevard Nights Puerto Ricans information about Colombia. Force Sony 1999 1 WEEK Pictures to apologize to the Colombian community in North America and donate to 1980 1 YEAR Improve Latino representation in television an organization working to reduce violence in Halt production and distribution of the film through a one-week TV boycott Fort Apache, the Bronx in protest of Colombia. stereotypical and demeaning representations 2007 9 MONTHS 2011 1 MONTH of Latinos and African Americans Halt the release of Ken Burn’s 14-part series Halt production and cancel ABC sitcom The War due to exclusion of Latino veterans Work It due to writing that associated drug dealing with Puerto Rican identity

THE LATINO MEDIA GAP 33 CHANGING MEDIA IN THE in the past, new media tools enable DIGITAL AGE more people to express their views with greater speed. Additionally, even As the “Basta Dobbs” campaign a consumer campaign engaging a In contrast to the underscores, an effective mobilization relatively small percentage of the Latino requires linking broad networks of online population, over a month or less, film and television people and leveraging their strength can cut into a media company’s profit via online technology and on the margin and/or stain a brand’s prestige. eras, the success ground contact. The power of such efforts will likely increase as both U.S. While advocacy and consumer power of all media today demographics and the media continue have not to date challenged media to change at a rapid pace. In contrast structures as a whole, they have played to the film and television eras, the a major role in challenging stereotypes increasingly depends success of all media today increasingly and expanding opportunity for Latinos. depends on an expanding network of If this power is organized and mobilized on a network of consumers who communicate swiftly at a higher rate than at present, it about content. could become an even greater force in consumers who shaping the current media landscape. Moreover, the new environment A population with $1.2 trillion in communicate quickly affects how political action unfolds. buying power and significant content In the words of Lovato, chief architect production potential is capable of about content. of the “Basta Dobbs” campaign, that—and more. “The compression of time that is characteristic of digital reality and the acceleration of communication systems also accelerates political time.”19 The cost of a Latino consumer boycott of a studio or network is likewise on the rise.

Although street protest has been the main strategy of media activists

Figure 25: Roberto Lovato leading the Basta Dobbs Campaign (Photo Credit: Yanira Arias)

34 THE LATINO MEDIA GAP In closing, we would like to focus on a generally ignored reason to open 7 up paths of opportunity to Latino talent: media innovation. The vast UPLOADING STORIES: majority of diversity, advocacy, and talent-development efforts are aimed LATINO PRODUCERS at incorporating Latinos in traditional ONLINE AND BEYOND media, particularly broadcast and cable television, and studio filmmaking. This emphasis is warranted as the most high-paying and/or creative jobs have historically been in these sectors. Yet, our research indicates that this focus overlooks some important Figure 27: Vlogger and Fashion trends and opportunities for Latinos Commentator Bethany Mota’s Channel on the Internet and in multi-platform (Source: YouTube) storytelling in three important ways. media, Latino creativity is migrating The first is that the Internet and online online, blurring the distinction between companies may be the future of high- producer and consumer. A recent quality content production—or at least study of college students found that a growing part of it. A turning point Latinos were more likely to be online was DreamWorks Animation’s decision content creators than were white to stream 300 hours of episodic students.4 Furthermore, the Forrester television content via Netflix, bypassing Social Technographic Ladder noted the obvious choice of cable television.1 that, “47% of online Latinos are Formerly a distributor of television and ‘content creators.’” According to New film products, Netflix is now creating Generation Latino, this represents an original content as well. The entry of over–index of 263 when the activity Netflix into production and distribution of non-Hispanics is indexed at 100.5 hints that the broadcast paradigm may To the extent that users of social TOP 50 YOUTUBE CHANNELS 2 (MOST SUBSCRIBERS) collapse in less than a decade. media tend to be young people; the marked youth of the Latino population The Netflix model has also already ensures that Latino presence online will opened new opportunities for Latinos continue to grow. with the release of the Netflix original series, Orange is the New Black (2013) Our survey of the content on major created by Jenji Kohan. The show video-sharing sites through March 7, features a white actress playing a self- 2014, similarly found that Latinos are identified “WASP” in a women’s prison, far more active as talent and producers where the majority of inmates and staff online than they are on network are Latino and/or African American. television and movies. Of the top 50 While this setting may reinforce Latino single-focused YouTube channels with stereotypes for some viewers, there is the most subscribers, 18% are produced an attempt to develop each character by and/or feature U.S. Latino content with extensive backstories. Executive creators (Figure 26). story editor Marco Ramirez oversees the crafting of plots that devote as Among the top 200 channels, there 9 OUT OF 50 (18%) much time to the stories and romantic are 25 Vevo channels dedicated to PRODUCED OR FEATURE interests of the characters of color as to specific musical artists. Four or 16% U.S. LATINO CONTENT CREATORS those of the white protagonist.3 of these artists are Latino—Pitbull, Selena Gomez, Demi Lovato, and Figure 26: Latino Creators on YouTube In addition, as Latinos continue to Shakira. These trends are evident in (Source: VisStatsX) be shut out of positions in traditional other music-related videos as well: The

THE LATINO MEDIA GAP 35 most-subscribed YouTube channel successful practitioners and theorists featuring a rock band is that of Boyce of transmedia is Jeff Gomez, who Avenue, made up of three Puerto Rican transformed personal challenges into a brothers.6 In the popular genre of young new way of telling stories. women’s fashion advice, one of the top Latinos are not three independent YouTube creators is Born on the Lower East Side in 1963 to Latina, Bethany Mota (Figure 27). A a teenage Jewish American mother and only highly visible second top vlogger, Yuya, is based in a Puerto Rican father, Gomez spent his Mexico. earliest years in foster care in upstate online, they are New York within a relatively privileged Lastly, Latinos are not only prolific environment.8 This was to be important online content creators; they are for his work, as Gomez realized that also producing also storytelling innovators. This some people lived very differently than suggests that a greater investment in his biological family did, and that major creative Latino talent may make a valuable “inner city reality was not the only contribution to the development of reality.”9 and infrastructure new narrative paradigms. This remains essential to change: as one advocate put Gomez reunited with his mother while innovations in it, “Without stories, nothing is going to still a child, moving with his family happen.”7 into a heavily Latino housing project media. on the Lower East Side. The contrast between his new and old environment TRAILBLAZER: JEFF GOMEZ was so jarring that he took refuge in popular culture and began drawing One of the most far-reaching Latino iconic monsters and dinosaurs. Later, media innovations has been in the Gomez’s imagination was enriched by field of transmedia, understood as his summer trips to Puerto Rico. There, interactive storytelling in which a he was exposed to Roman Catholic narrative is extended across various doctrine, with its emphasis on good media, including books, comic books, and evil, espiritismo, and stories of the Figure 28: Jeff Gomez speaking computer games, films, television, and supernatural. Equally significant, it was at TEDxTransmedia in Geneva, smartphones; and audiences are invited in Puerto Rico that a paternal aunt gave Switzerland to collectively add their creativity to Gomez a copy of a crucial book for his (Photo Source: Flickr) these new worlds. Among the most media imagination: The Hobbit.10

Gomez’s narrative repertoire grew further when his mother again moved the family, this time to Hawaii, in the 1970s. In Hawaii, he encountered Japanese popular culture, particularly a series called Kikaider (1972), which spanned several forms of media— television, comic book, and film. The Kikaider experience would be useful when Gomez returned to New York as a teenager. To cope with school bullies, Gomez began to draw detailed personalized worlds for both friends and foes, and to incorporate them in the leading role-playing game of the time: Dungeons and Dragons.

Inspired by his skill and popularity among his peers, Gomez went on to create and write original comic

36 THE LATINO MEDIA GAP book characters. This led to a job as a who are responsible for the “planning, extends way beyond just purchasing producer for Acclaim Entertainment’s development, production, and/or commodities. In his own words: comic book division. There, he helped maintenance of narrative continuity “Large media companies, consumer create the Acclaim Comics superhero across multiple platforms, and product corporations, and even entire universe, and also adapted Valiant creation of original storylines for new governments are underestimating the Comics superheroes into videogames for platforms”13 (see Figure 28). extent to which the consumer now Nintendo and PlayStation consoles. The controls the dialogue, and this paradigm characters, concepts, and games that To date, Gomez and his company have shift is among the most dramatic ever Gomez conceived, wrote, and produced largely focused on corporate brands seen. We are witnessing the rise of for Acclaim’s Turok, Dinosaur Hunter and mainstream intellectual properties. communal narrative, and this is giving a and Turok 2: Seeds of Evil helped that This has allowed him to work with voice and power to those who have thus franchise to gross over $420 million. some of the most talented people in far been invisible.”16 entertainment, while introducing Gomez’s success, however, was hard- new worlds of possibility to large earned, as he often faced outright audiences. “For me, this is the power discrimination: “When I signed of transmedia: I worked on a Hot CONCLUSION my actual name to articles, they Wheels campaign that featured driver were rejected. But when I used a ch aracters for the first time. I wrote In sum, for Latinos, the current pseudonym, they were accepted. two of the five leads as a Puerto Rican landscape presents exciting new That rekindled my Latino roots, and a North African. I argued and won possibilities alongside old challenges. and late in college, I stopped using a for their dialog to be reflective of their pseudonym. My job for the next 20 cultures, which was not happening After analyzing Latino talent diversity years would be to understand how to in children’s animation at that time. in network and studio leadership, hack infrastructure. I was never going My real goal is to show people, and movie and television shows, the to succeed conventionally like Steven particularly young people, that there are report’s first general conclusion is that Spielberg. I was going to be a ghost in alternatives. If I didn’t have reminders Latino presence in mainstream media the machine.”11 in popular culture of how it was remains extremely low and changing possible to rise above my station in life, at a very slow pace in relation to With this goal in mind, in 2000, I would have fallen into an abyss. So, I the demographic changes sweeping Gomez founded Starlight Runner don’t care if it’s a toy car, soda water or the country. We have called this Entertainment with Chrysoula Artemis a fish cracker. The important thing is connundrum the Latino media gap: as and Mark Pensavalle. Initially, the to create aspirational narratives, a tiny Latino consumer power grows, relative company was interested in developing little story, capable of starting you down Latino media presence shrinks. software to tell stories on the web. a different road.”14 But over time, it became a consulting At the same time, the report finds firm on the creation of media worlds For Gomez, transmedia goes further that Latinos demonstrate growing across various platforms. The company than traditional media in that it can consumer power and advocacy moved in this direction in part because offer audiences a wider range of stories effectiveness through expanded use of Gomez wanted to focus on storytelling, to imagine themselves beyond their the Internet and digital tools. Equally not technology. His aim was “to current circumstances. This vision is important, Latinos are innovating in introduce ideas in the greater ocean of leading Gomez to invest in education media content and storytelling forms connectivity.”12 by introducing transmedia skills and such as transmedia. If this creativity is literacy into schools in the U.S. Last supported and consumer engamement Since then, Starlight Runner has March 2013, Gomez also undertook expanded, the convergence may become one of the top transmedia his first Latino-themed project, a accelerate the current rate of change, at companies in the country and Gomez partnership to bring Lucha Libre AAA last closing the Latino media gap. has worked on such blockbuster to the United States, and “build an universes as Pirates of the Caribbean, exciting multi-platform world…[that] The Amazing Spider-Man, Men in will resonate with the aspirations of the Black III, Avatar, and Microsoft’s Halo. powerful emerging Latino audience and Moreover, in 2010, to a large extent the youth market.”15 due to Gomez’s efforts, the Producers Guild of America ratified a new credit Ultimately, Gomez views transmedia called “Transmedia Producer.” The as a strong indicator of a much larger credit recognizes those professionals social shift, in which consumer power

THE LATINO MEDIA GAP 37 THE LATINO MEDIA GAP entrada/25003-hispanic-radio-today- NOTES 2013%E2%80%8F.html 1. Jason Koebler, “11 Cities with the Most Hispanics,” U.S. News and World 9. Andrew Stewart, “Global Box Office Report, March 25, 2011, http://www. Hits Record in 2012 as Hispanic usnews.com/news/slideshows/11-cities- Attendance Grows in U.S., China with-the-most-hispanics Surpasses Japan as Largest Overseas Market According to MPAA Report,” 2. David Folkenflik, “Eyeing Latinos, Variety, March 21, 2013, http://variety. NBC News Snuggles Up to com/2013/film/news/global-box- Telemundo,” NPR, August 14, 2002, office-hits-record-in-2012-as-hispanic- http://m.npr.org/story/158690903 attendance-grows-1200327049/ EXECUTIVE SUMMARY AND KEY FINDINGS 3. “State of the Hispanic Consumer,” 1 Nielsen Report, Quarter 2, 2012, http:// LIMITED: LATINO INCLUSION 1. Chiqui Cartagena, “Hispanics es.nielsen.com/site/documents/State_ IN FILM AND TELEVISION are Creating a New Baby Boom of_Hispanic_Consumer_Report_4-16- in the United States,” CNN.org, FINAL.pdf. 1. The WGA also counts employed October 14, 2013, http://www.cnn. members. In 2012, the percentage of com/2013/10/14/opinion/cartagena- 4. “Si TV Launches Groundbreaking latino-boom/ Collective of Community-Driven employed Latino writers was slightly Lifestyle and Culture Websites, higher, at 3.6%. 2. “Morning Growth is Driving Hispanic Connecting Young Latino Artists and Radio Listening Gains,” Nielsen, March Consumers While Creating Authentic, 2. Multiple sources were consulted to 3, 2014, http://www.nielsenadfocus. Integrated Opportunities for obtain lists of the top-ranking films cn/us/en/newswire/2014/morning- Advertisers and Strategic Partners,” PR and television shows in this report. growth-is-driving-hispanic-radio- Newswire, October 22, 2010, http:// These include the websites Deadline, listening-gains.html#sthash.rn5RXI4d. www.prnewswire.com/news-releases/si- ABC Medianet, IMDb, and Box dpuf tv-launches-groundbreaking-collective- Office Mojo, as well as the book by of-community-driven-lifestyle- Tim Brooks and Earle Marsh, The 3. “State of the Hispanic Consumer: and-culture-websites-connecting- The Hispanic Market Imperative,” young-latino-artists-and-consumers- Complete Directory to Prime Time Nielsen Report, Quarter 2, 2012, http:// while-creating-authentic-integrated- Network and Cable TV Shows, 1946– es.nielsen.com/site/documents/State_ opportunities-for-advertisers-and- Present (New York: Ballantine Books, of_Hispanic_Consumer_Report_4-16- strategic-partners-58784207.html 2007). Television rankings were FINAL.pdf based on Nielsen prime time network 5. “State of the Hispanic Consumer,” ratings, and followed the fall-to-spring 4. David Chitel, “Latinos Have Nielsen Report, 2012. television schedule. Film rankings were the Power to Change Media and based on domestic box-office totals Entertainment and Create a New 6. “Understanding the U.S. Hispanic through the date of this study, and were Image,” The Huffington Post, October Market,” The FSU Center for considered by the calendar year. 11, 2011, http://www.huffingtonpost. Hispanic Marketing Communication, com/david-chitel/latinos-have-the- 2011, http://nkates.files.wordpress. power_b_1004145.html com/2012/06/center-for-hispanic- 3. By consensus, the cast of Modern marketing-communication-overview- Family agreed to identify all characters 5. “The Hispanic Population: 2010,” presentation.pdf as “supporting” given the ensemble 2010 U.S. Census Bureau Briefs, May nature of the show. In this report, we 2011, http://www.census.gov/prod/ 7. Jeff Koyen, “The Truth About Hispanic refer to Vergara’s character as central or cen2010/briefs/c2010br-04.pdf Consumers,” AdWeek, March 11, featured rather than as lead. 2012, http://www.adweek.com/ 6. All figures relate to the 2010 U.S. sa-article/truth-about-hispanic- 4. Television creators and producers Census. consumers-138828 are often also writers. For statistical 7. S. Robert Lichter, Daniel R. 8. “A Detailed Look at the Radio purposes, we are counting creative Amundson, and John Thomas Listening Habits and Consumer talent according to their official credit. Sheehan, “Don’t Blink: Hispanics in Insight Among Hispanic Listeners Television Entertainment,” Report in the U.S.,” The NiLP Network on 5. Given the differences in Latin prepared for the National Council of Latino Issues, December 23, 2013, American and American racial schemes, La Raza, April 1996, 1–18. http://blog.rimix.com/rilatino/ determining Afro-Latino and mestizo

38 THE LATINO MEDIA GAP identity in the U.S. is not always the archivists of several of the surveyed Occupation, Sex, Race, and Hispanic straightforward. In most cases, we television shows. or Latino Ethnicity,” U.S. Department counted Afro-Latino and mestizo actors of Labor, Bureau of Labor Statistics, based on their self-identification. 12. Non-primetime series like Charlie 2013, http://www.bls.gov/cps/cpsaat11. Rose and Voces have Latino executive pdf 6. Sonya Rastogi, Tallese D. Johnson, producers, including Yvette Vega and Elizabeth M. Hoeffel, and Malcolm P. Sandie Pedlow, respectively. 5. U.S. Census, “Hispanic Origin: 2012,” Drewery, Jr., “The Black Population: http://www.census.gov/population/ 2010,” 2010 U.S. Census Briefs, 13. We did not include PBS’s highest- hispanic/data/2012.html September 2011, http://www.census. rated show, Antiques Roadshow, as its gov/prod/cen2010/briefs/c2010br-06. historical content is less central than 3 pdf that of the other shows. Our 2013 THE DECIDERS: WHO RUNS review, however, revealed that Latino THE SHOW? 7. Federico Subervi with Joseph Torres inclusion is low: there are no Latino and Daniela Montalvo, “Network hosts or executive producers and 1. Chon A. Noriega, “The Numbers Brownout Report 2005: The Portrayal Latinos represent only 1.3% of touring Game,” Jump Cut, no. 39 (June 1994): of Latinos & Latino Issues on appraisers. 107–110, 109. Network Television News, 2004 with a Retrospect to 1995 Quantitative & 14. The percentage of Latino executive 2. “Juan Sepúlveda Named New PBS Qualitative Analysis of the Coverage,” producers was difficult to assess long- Senior Vice President, Station National Association of Hispanic term given incomplete data and the Services,” PBS Press Release, January Journalists, June 2005, http://www. use of different definitions. According 9, 2014, http://www.pbs.org/about/ nahj.org/nahjnews/articles/2005/june/ to available data, however, Latinos news/archive/2014/sepulveda-station- NAHJbrownout0616.pdf accounted for 11.8% of executive services/ producers of Latino-themed shows. 8. Federico Subervi, personal 3. Joe Flint, “FCC Media Ownership communications via email, January 22, 2 Survey Reveals Lack of Diversity,” Los 2014 and March 3–4, 2014. BANDIDOS FOREVER?: Angeles Times, November 14, 2012, THE PERSISTENTLY http://articles.latimes.com/2012/ 9. “Taking the Public Out of Public NARROW RANGE OF LATINO nov/14/entertainment/la-et-ct-fcc- TV: PBS Fare Differs Little from CHARACTERS diversity-20121114 Commercial TV,” Fairness and Accuracy in Reporting,” 2010, http://fair.org/ 1. S. Robert Lichter, Daniel R. 4. Alton Drew, “Dearth in Minority press-release/taking-the-public-out-of- Amundson, and John Thomas Media Ownership Persists, MMTC public-tv/; and “Gender and Ethnic Sheehan, “Don’t Blink: Hispanics in Offers Capital Solution,” Politic365, Diversity in Prime-Time News,” Media Television Entertainment,” Report November 19, 2012, http://politic365. That Matters Report, 2007, http:// prepared for the National Council of com/2012/11/19/dearth-in-minority- mediamatters.org/research/diversity_ La Raza, April 1996, 1–18. media-ownership-persists-mmtc-offers- report/ capital-solution/ 2. We did not count unnamed or 10. “Diversity on Evening Cable News uncredited roles in film, as the vast 5. John Horn, Nicole Sperling, and Doug in 13 Charts,” Media Matters majority of these were not played by Smith, “Oscar Voters Overwhelmingly for America, May 13, 2013, Latino actors or were Latino-coded White, Male,” Los Angeles Times, http://www.mediamatters.org/ characters. February 19, 2012, http://www.latimes. research/2013/05/13/report-diversity- com/entertainment/news/movies/ on-evening-cable-news-in-13- 3. Patrick Kevin Day, “‘Desperate academy/la-et-unmasking-oscar- ch/194012 Housewives’ Actress Lupe Ontiveros academy-project-html,0,7473284. Dies at 69,” Los Angeles Times, July 27, htmlstory 11. This has been noted by Alex Nogales 2012, http://articles.latimes.com/2012/ in “Open Letter on Lack of Latino jul/27/entertainment/la-et-st-lupe- 6. Russell K. Robinson, Su Li, Angela Inclusion at PBS,” November 4, 2013, ontiveros-dies-20120727 Makabali, and Kaitlyn Murphy, “Not http://www.nhmc.org/nhmc-issues- Quite a Breakthrough: The Oscars and open-letter-on-lack-of-latino-inclusion- 4. “Household Data, Annual Average: Actors of Color, 2002–2012,” UCLA at-pbs/. Our team also consulted with Employed Persons by Detailed Chicano Studies Research Center, THE LATINO MEDIA GAP 39 Latino Policy & Issues Brief, no. 27 7. Interview, guild advocate, Los Angeles, December 2009. (March 2012): 2; For a complete list, December 2009; follow-ups by phone see “Nominees and Winners for the and email, 2013-2014. 25. Interview, studio executive, Los 84th Academy Awards,” http://www. Angeles, January 2010. oscars.org/awards/academyawards/84/ 8. Interviews, studio diversity executive, nominees.html Los Angeles, 2009-2010. 26. Interview, guild advocate, Los Angeles, December 2009. 7. “Oscar Winners and Nominees: 9. Interview, producer, Los Angeles, Complete List,” Los Angeles Times, December, 2009. 27. Interview, guild advocate, Los Angeles, February 25, 2013, http://www. December 2009, follow-ups via email latimes.com/entertainment/ 10. Interview, television executive, and phone, 2013-2014. envelope/moviesnow/la-et-en-oscars- Washington, DC, January 2010. 2013-nomination-list,0,1532667. story#axzz2qm4qYUB2. For the 11. Interview, guild advocate, Los Angeles, 5 2014 nominations, see http://www. December 2009. DIVERSITY PAYS oscars.org/awards/academyawards/84/ nominees.html 12. Ibid. 1. Interview, media advocate, January 8, 2010, via phone. 8. For a complete list, see “65th 13. Interview, guild advocate, Los Angeles, Primetime Emmys Nominees and December 2009; follow-ups by phone 2. Nielsen Ratings, TVIV, October 23, Winners,” http://www.emmys.com/ and email, 2013-2014. 2008, http://tviv.org/Nielsen_Ratings/ awards/nominees-winners/2013/lead- Historic/Network_Television_by_ actor-comedy 14. Interview, media advocate, Los Angeles, Season/2000s#Network_Rankings December 2009. 4 3. Joal Ryan, “Nothing ‘Ugly’ About DIVERSITY AND ITS 15. Interview, producer, Los Angeles, Thursday,” E! Online, September DISCONTENTS December 2009; follow-up, 2013- 29, 2006, http://www.eonline.com/ 2014. news/53437/nothing-ugly-about- 1. Félix Gutiérrez, “More Than 200 thursday Years of Latino Media in the United 16. Interview, press relations television States,” American Latino Theme Study, executive, New York, May 2010. 4. Claire Atkinson, “’Ugly Betty’ Looks American Park Service, 2012, http:// Pretty Good to ABC,” Advertising Age, www.nps.gov/latino/latinothemestudy/ 17. Interview, studio diversity executive, September 29, 2006, http://adage.com/ media.htm Los Angeles, December 2009. article/media/ugly-betty-pretty-good- abc/112151/ 2. Chon A. Noriega, “El Hilo Latino,” 18. Interview, studio diversity executive 2, Jump Cut, no. 38 (June 1993): 45–50, Los Angeles, 2009. 5. Ibid. http://www.ejumpcut.org/archive/ onlinessays/JC38folder/HiloLatino. 19. Interview, producer, Los Angeles, 6. Rick Kissell, “’Devious Maids’ Delivers html December 2009, follow-ups by phone Records Highs as It Wraps First and email, 2013-2014. Season,” Variety, September 23, 2013, 3. Interview, guild advocate, Los Angeles, http://variety.com/2013/tv/ratings/ December 2009; follow-ups via phone, 20. Interview, advocacy leader, January 8, devious-maids-delivers-record-highs-as- and email, 2013-2014. 2010, via phone. it-wraps-first-season-1200662531/

4. Interview, producer, Los Angeles, 21. Ibid. 7. Nellie Andreeva, “Lifetime’s Devious January 2010; follow-ups by phone and Maids Renewed for a Second Season,” email, 2013-2014. 22. Interview, guild advocate, Los Angeles, Deadline Hollywood, August 13, 2013, December 2009, follow-ups via phone http://www.deadline.com/2013/08/ 5. Interview, studio diversity executive 2, and email, 2013-2014. lifetimes-devious-maids-renewed-for- Los Angeles, 2009. second-season/ 23. Interview, press relations executive, 6. Interviews, studio diversity executive, New York, May 2010. 8. Kissell, “’Devious Maids’ Delivers Los Angeles, 2009-2010. Record Highs,” 2013. 24. Interview, guild advocate, New York, 40 THE LATINO MEDIA GAP 9. Ibid. arbitron-20121031 6 ACTION!: LATINO CONSUMER 10. Southern California Public Radio 89.3 18. Interview, Valdez, 2013. POWER AND ADVOCACY KPCC website, http://www.scpr.org/ about/people/ 19. “The ‘Fast and The Furious’ Franchise 1. Jeff Koyen, “The Truth About Hispanic Revenue,” Statistic Brain, December Consumers,” AdWeek, March 11, 11. Dru Sefton, “Co-host Pairing Prompts 10, 2013, http://www.statisticbrain. 2012, http://www.adweek.com/ Brand to Exit KPCC,”Current.org, com/the-fast-and-the-furious-franchise- sa-article/truth-about-hispanic- October 9, 2012, http://www.current. revenue/ consumers-138828 org/2012/10/co-host-pairing-prompts- brand-to-exit-kpcc/#sthash.h1vX1aAQ. 20. Pamela McClintock, “Box Office 2. Ibid. dpuf Report: ‘Fast and Furious 6’ Scores Universal’s Highest Opening in China,” 3. Interview, studio diversity executive, 12. Interview with Ana Valdez, via phone, The Hollywood Reporter, July 24, Los Angeles, December 2009. May 30, 2013. 2013, http://www.hollywoodreporter. FRPQHZVER[RI¿FHUHSRUWIDVW 4. Félix Gutiérrez, “More Than 200 13. For NPR’s audience demographics, furious-594431 Years of Latino Media in the United see “The Listeners of National Public States,” American Latino Theme Study, Radio,” On the Media, September 21. Reed Johnson, ‘“Fast and Furious’ Taps American Park Service, 2012, http:// 1, 2006, http://www.onthemedia. into Latino Market,” Los Angeles Times, www.nps.gov/latino/latinothemestudy/ org/story/128613-the-listeners-of- April 7, 2009, http://articles.latimes. media.htm national-public-radio/transcript/. com/2009/apr/07/entertainment/et- Regarding the Latino share of carlatino7 5. “NBC Apologizes for ‘Seinfeld’ Episode California’s population, see Linda Lou, on the Puerto Rican Day Parade,” Hyojung Lee, Anthony Guardado 22. Andrew Stewart, “Global Box Office The New York Times, May 9, 1998, and Dowell Myers, “Racially Balanced Hits Record in 2012 as Hispanic http://www.nytimes.com/1998/05/09/ Cities in Southern California, 1999 Attendance Grows in U.S., China nyregion/nbc-apologizes-for-seinfeld- to 2010,” USC Population Dynamics Surpasses Japan as Largest Overseas episode-on-the-puerto-rican-day- Research Group, February 2012, Market According to MPAA Report,” parade.html https://www.usc.edu/schools/price/ Variety, March 21, 2013, http://variety. research/popdynamics/pdf/2012_Lou- com/2013/film/news/global-box- 6. “Take John and Ken Off the Air,” etal_Racially-Balanced-Cities.pdf office-hits-record-in-2012-as-hispanic- National Hispanic Media Coalition, attendance-grows-1200327049/. http://www.nhmc.org/johnandken/ 14. Gabriel Kahn, “Making Radio Waves: The Surprisingly Messy End to KPCC’s 23. Oliver Gettell, “‘Fast and Furious 6’ 7. Greg Braxton, “Molina Joins in Protest ‘The Madeleine Brand Show,’” Los Gets Box Office Boost from Latino Over Alleged Disney Discrimination,” Angeles Magazine, November 29, 2012, Moviegoers,” Los Angeles Times, May Los Angeles Times, June 27, 1997, http://www.lamag.com/citythink/ 30, 2013, http://articles.latimes. http://articles.latimes.com/1997-06- citythinkblog/2012/11/29/making- com/2013/may/30/entertainment/ 27/entertainment/ca-7277_1_media- radio-waves-the-surprisingly-messy- ODHWPQIDVWIXULRXVER[RI¿FH coalition end-to-kpccs-the-madeleine-brand- latino-moviegoers-20130530; show Tony Castro, “Latinos Turn ‘Fast 8. David Folkenflick, “What’s Behind & Furious 6’ Into a Box Office Lou Dobbs’ Leaving CNN?,” NPR, 15. Sefton, “Co-host Pairing Prompts Hit,” The Huffington Post, June 4, November 12, 2009, http://www. Brand to Exit KPCC,” Current.org, 2013, KWWSZZZKXI¿QJWRQSRVW npr.org/templates/story/story. 2012. com/2013/06/04/latinos-fast-and- php?storyId=120351492 furious-hit_n_3384627.html 16. Kahn, “Making Radio Waves,” 2012. 9. David Leonhardt, “Truth, Fiction 24. Matt Barbot, “Boricua Groups Call for and Lou Dobbs,” The New York 17. Steve Carney, “KBIG-FM Slips ‘Work It!’ Boycott, but It May Not be Times, May 30, 2007, http:// Back to Third as KIIS Regains Top Worth it,” Remezcla.com, January 10, www.nytimes.com/2007/05/30/ Ratings,” October 30, 2012, Los 2012, http://www.remezcla.com/2012/ business/30leonhardt. Angeles Times, http://articles.latimes. latin/boricua-groups-call-for-work-it- html?pagewanted=all&_r=0. com/2012/oct/30/entertainment/la-et- boycott-but-it-may-not-be-worth-it

THE LATINO MEDIA GAP 41 10. Ibid. 7 11. Ibid. UPLOADING STORIES: LATINO 11. “Basta Dobbs Victory Press,” PRODUCERS ONLINE AND 12. Ibid. Bastadobbs.com, November 18, BEYOND 2009, http://bastadobbs.com/blog/, 13. Adalbert (Woitek) Konzal, November 5, 2009. 1. Brook Barnes, “DreamWorks and Entertainment Architecture: Constructing Netflix in Deal for New TV Shows,” a Framework for the Creation of an 12. Jason Linkins, “‘Drop Dobbs’: CNN The New York Times, June 17, 2013, Emerging Transmedia Form, Ph.D. Pressured To Give Up Controversial http://www.nytimes.com/2013/06/18/ dissertation, European Business Host,” The Huffington Post, November business/media/dreamworks-and- School, 2011, http://eprints.qut.edu. 16, 2009, http://www.huffingtonpost. netflix-in-deal-for-new-tv-programs. au/50489/1/Adalbert_Konzal_Thesis. com/2009/09/16/drop-dobbs-cnn- html pdf pressured_n_288506.html 2. Tim Wu, “‘House of Cards’ and the 14. Interview, Gomez, 2013. 13. Albor Ruiz, “Ironically Latinos Should Decline of Cable,” The New Yorker, be Grateful to Former CNN Blowhard 2013, http://www.newyorker.com/ 15. “FactoryMade Ventures Forms Joint Lou Dobbs,” New York Daily News, online/blogs/culture/2013/02/house- Venture with Lucha Libre AAA, Plans November 19, 2009, http://www. of-cards-and-the-death-of-cable.html Franchise Reinvention and U.S. nydailynews.com/entertainment/tv- Expansion,” BusinessWire, March 11, movies/ironically-latinos-grateful-cnn- 3. Thank you to Celeste Fraser 2013, http://www.businesswire.com/ blowhard-lou-dobbs-article-1.415858 Delgado for calling attention to this news/home/20130311006538/en/ development. FactoryMade-Ventures-Forms-Joint- 14. Interview, Roberto Lovato, New York, Venture-Lucha-Libre#.U11tLySpoyN June 2013. 4. Teresa Correa and Sun Ho Jeong, “Race and Online Content Creation,” 16. Jeff Gomez, personal communication 15. “Transcript: Lou Dobbs Says He’s Information, Communication & Society, via email, June 15, 2014. Leaving CNN,” CNN, November 11, 14:5 (2011): 638–59. 2009, http://www.cnn.com/2009/ US/11/11/lou.dobbs.statement/ 5. David Chitel, “Latinos Have The Power To Change Media and “ 16. Controversy Surrounding Lou Dobbs Entertainment and Create a New Has Failed to Increase His Ratings,” Image,” The Huffington Post, October July 30, 2009, New York Observer, 11, 2011, http://www.huffingtonpost. http://observer.com/2009/07/ com/david-chitel/latinos-have-the- controversy-surrounding-lou-dobbs- power_b_1004145.html has-failed-to-increase-his-ratings/ 6. For further information, see “Two 17. Julia Hollar, “Dropping Dobbs: A Hundred Most Subscribed Channel Victory for Media Activism, and the Rankings List by Subscribers,” Challenge Ahead,” NACLA, January 4, VidStatsX, http:// http://vidstatsx.com/ 2010, https://nacla.org/news/dropping- youtube-top-200-most-subscribed- dobbs-victory-media-activism-and- channels challenge-ahead 7. Interview, advocacy leader, January 8, 18. Ibid. 2010, via phone.

19. Interview, Lovato, 2013. 8. Interview, Jeff Gomez, via phone, June 22, 2013.

9. Ibid.

10. Ibid.

42 THE LATINO MEDIA GAP