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he impact of Latins and their music on America is certainly nothing new. Ethnomu- sicoligist John Storm Roberts cites in his book, "The Latin Tinge," how almost all of the major forms of popular music in the U.S. -Tin Pan Alley, stage and film music, The Latinization jazz, rhythm & blues, western, rock -have been influenced throughout their develop- ment by element of Latin origin for the past 100 years. The phenomenal success of Spain's international singer, Julio Iglesias, is one that has taken 15 years to cultivate. It comes as no small wonder that an artist of Iglesias' stature would desire to win the heart of America. But at what price? As with probably other superstars, Iglesias' fans are highly possessive of him. They have had to share him with those Of American Pop who have only until recently discovered him. Many Hispanics, especially long -time admirers, find it difficult to accept Igle- sias' crossover efforts. Odd as it may seem, the magic of Ju- lio's verve and versatility "en ingles" rings foreign and unnat- ural to ears accustomed to hearing him in Spanish for so JULIO IGLESIAS: His acceptance by main- many years (though Iglesias does record in other languages). stream America may Can you imagine Frank Sinatra doing it his way or loving New well serve to further York in Spanish? Perhaps, but our ethnocentric tendencies open the doors of place limits on certain things. opportunity. Whatever the process of cross-fertiliza- tion of American music by Latins has entailed, the present indicates that Lat- ins are fast becoming an integral part of the industry. It is a more subtle partici- pation, one lacking the fleeting hype and dazzle of several decades past. The acceptance of Iglesias by mainstream America may well serve to further open the doors of opportunity for out- standing Hispanic talent. Consider the fact that throughout the years Latins have helped shape American popular music through their endeavors while influencing the artistic efforts of non -Hispanics as well. The legendary Dizzy Gillespie once wrote: "If it weren't for Mario Bauza, I would have not gotten into Latin -Jazz." Gilles- pie is recognized as the first major jazz personality to experi- ment with Latin rhythms as a pioneer of Cubop during the 1950s. There were a number of other major figures during that era: Stan Getz, Charlie Parker, George Shearing, Nat "King" Cole, Dave Brubeck and Cal Tjader, to mention a few. Yet, Latin musicians were primarily responsible for bring- ing Latin -Jazz to the forefroont. Two key figures were Alberto Socarras and Frank "Machito" Grillo. There have been many others, of course. Jose Mangual, Sr. swung during the Be- Bop era and during the years that saw the rise of Afro -Cuban music. Mangual's bongos helped decorate the sounds of Ma- chito, Charlie Parker, Cannonball Adderly, Sarah Vaughan and Herbie Mann. The popularity and effect of Latin music has long been an international phenomenon. The most enduring influences came from four countries: Cuba, Argentina, Brazil and Mexi- co. Of these, the impact of Cuba's habanera style, one source of the Argentinian tango (itself a mass rage during the early 1900s) and an element that directly touched jazz and other American idioms. Whatever the process of cross -fertilization of American MENUDO: Their youth appeal, wholesome image, and RCA's worldwide music by Latins has entailed, the present indicates that Lat- marketing thrust are propelling the group to new international heights. ins are fast becoming an integral part of the industry. It is a more subtle participation, one lacking the fleeting hype and dazzle of several decades past. The far -reaching significance of Latin musicians in Los An- geles alone is exhausting. These were established artists who evoked national, if not worldly recognition during the 1940s and 1950s: Rene Touset, Eddie Cano, Xavier Cugat, Miguel - ito Valdes, Desi Arnaz, Johnny Martinez, Chico Sesma, Mo- desto Duran, and countless others. The Latino rock movement of the last several decades makes up another facet of the Latinization of American mu- sic and fusion of Latin rhythm & blues. There was Ritchie Va- DYANGO lens ( "Oh Donna ", "La Bamba"), Cannibal & the Headhunt- ers ( "Land Of A Thousand Dances "), The Midniters ( "Whitti- er Boulevards "), Sam the Sham & the Pharoahs ( "Wooly RUBEN BLADES CAMILO SESTO Bully," "Little Red Riding Hood "), the Ronettes ( "Be My Baby "), Jay & the Americans ( "Come A Little Bit Closer "), Rudy Martinez & the Mysterians ( "96 Tears "), & the Sir Douglas Quintet ( "She's About A Mover," "Mendocino "). The 1970s gave birth to successful groups that special- ized in the Latin -rock area: Azteca, El Chicano, Malo, Tierra, and Carlos Santana whose own penetration into mainstream America has yet to be rivaled. Although the Latinization of popular, rock and country mu- sic has taken a substantial prominence on both coasts of America, California's artistic community must be viewed as the genuine catalyst. And it is in Los Angeles where the larg- est measure of fusion elements are initiated or incorporated by Latino artists. The far -reaching impact of these musicians and singers re- volves around a solidly established legacy. Numerous Latino artists of major standing, in addition to upcoming talent, 4 H (Continued on page TA -37) SHEENA EASTON and LUIS MIGUEL in golden LOS LOBOS duet. www.americanradiohistory.com.

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