The Los Angeles Times from Los Angeles, California • 316

CALENDAR SPECIAL REPORT i MEDIA BATTLE FOR EAR OF THE LATINO Continued from First Page Recently, a series of objections were filed with the Federal Communications Commission (FCC) by the U.S.-based Spanish Radio Broadcasters of America (SRBA) calling for an investigation of the Spanish-language TV giants the Spanish International Network (SIN), the only Spanish -language network in the United States, and the Spanish International Communications Corp. (SICC), owner of five U.S. Spanish-language stations and SIN's biggest client to determine, specifically, if the percentage of foreign ownership of SIN and SICC exceeds federal law. While the hearings, which are due to begin early next year, will deal with details of corporate control, wider issues of use and influence of the media may be raised, and discussed with some irony. Scholars have developed the thesis of cultural imperialism around the question of media control a concept that says that by dominating the media of a foreign population, one nation can exercise undue influence over the population of another.

Often it is applied in discussions of U.S. media abroad. In the early 1900s, expansionist-minded President William Taft advised U.S. investors in Mexico to dominate media there. Their successes still are evident today in the communications industry south of the border where North American movies, TV and English-language cablevision originating in Texas are popular.

But in 1974, 37 U.S. TV series, including "Ironside," "The FBI" and "The Fugitive," were banned from the airwaves in Mexico for excessive violence and for promoting non-Mexican values. Now the tables seem to be turning. As Spanish -language communication continues to grow in this country, the debate over media control and alleged Mexican influence here is likely to become more heated. Behind the growth of Spanish -language TV in the United States lies a braid of enterprise, inspiration and determination that weaves together the United States and Mexico and to some degree Latin America in an amazing web.

The web's strands now entwine the Spanish International Network, the Spanish International Communications Corp. and an emerging body of competitors as other smaller Spanish -language TV companies enter the field. Given birth 19 years ago by three powerful Mexican businessmen, imported Spanish -language TV was an idea originally scorned by the U.S. TV establishment. Now it has become a serious competitor for a widespread audience.

Little wonder. The United States already is the fourth largest Spanish -speaking nation in the Western Hemisphere. Next to Mexico City, the second-largest single group of Latinos in the world is found in Los Angeles. Since 1950, Latinos have grown from 6.9 of the local population to 28.8 and by 1984, Latinos are expected to comprise more than a third 37.5 of the city's population. According to one study by the U.S.

Department of Commerce, 65 of those people who identify themselves as of Latino descent prefer to speak Spanish at home, as do 50 of the Latinos in college. Today, approximately half the city's elementary-school enrollment is Latino; by the year 2000, probably the majority of the people living in Los Angeles will be Spanish-surnamed. The local increase in demand for Spanish-language television can be measured by two significant recent events. In August, KMEX Channel 34 expanded its Spanish-language programming to 24 hours and in September, KBSC Channel 52 converted to a part-time Spanish-language station for 74 hours a week. (After 7 p.m.

weekdays, after 5 p.m. Saturdays and after 2 p.m. Sundays, ON TV sub-cription programming takes over the channel.) And with the inauguration of KBSC as a Spanish -language station, something dynamic happened in Los Angeles for Spanish-speaking audiences: choice. "My children watch cartoons and children's shows in both English and Spanish," said Rosa Perez, 27, whose young son hid shyly behind her skirt in a central Los Angeles food market. "I like whatever shows good things, programs that teach something.

I like to have a choice." "My family watches Channel 34 every day," said Socorro Esparza, 20, who stopped by a taco stand with her cousin to chat about TV in Los Angeles. "Channel 52 should publicize itself more." On the periphery of the competition is KSCI Channel 18. Owned by Global Television Inc. and based in West L.A., it recently increased its Spanish-language programming to nine hours a day during the week. Programming is both locally produced (including on-location local reporting) and purchased from independent distributors in Mexico.

But a major contest for Spanish-language viewers is shaping up between KMEX and KBSC, with the struggles likely to illustrate on the local level the many national and international forces shaping Spanish-language television in the United States. The drama is heightened by the FCC investigation of foreign influence into SIN, with which KMEX is affiliated, and into SICC, the owner of five Spanish -language stations including KMEX. KMEX is but one element in a matrix of Spanish-language TV originating for the most part in Mexico and packaged in SIN's New York offices. In Los Angeles, where SIN programming is interspersed with local programming and news, the mix breaks down, according to KMEX executives, to about 55-60 SIN content. The rest is divided between locally originated public service programming, news, commentary and programs supplied through independent sources.

(These ratios have not been updated since KMEX became a 24-hour station and began repeating many of its daytime shows after midnight, significantly increasing the percentage of packaged programming.) Meanwhile, KBSC, owned by the San Diego -based electronics firm, Oak Industries, and financed to a great extent by its cable operations, acquires its programming from the government-owned XHEF Channel 13 in Mexico City. Programs are selected by Carlos Barta, who is based at Oak's New Jersey station, WHTN Channel 47; however, KBSC has the option to make other selections direct from XHEF. "We are in communication with them at least once a week," said John Mohr, Rene Anselmo, part-owner of the Spanish International Network (SIN), says, "Television is a unifier. The media bring identity to culture." KBSC general manager, who estimates that 80 of its programming comes from XHEF, including two feature films daily, most of them U.S. -made and dubbed in Spanish.

"We have our choice of first-run programs and all that they have in their library. Naturally, it's an advantage to have the ability to sell two markets-New York and L.A. We have seen how successful 47 is with its local approach. It beats (the New York) SIN (competitor) easily." Because KMEX and KBSC to a great extent duplicate the TV rivalry in Mexico City between the Televisa and Mexican government-owned commercial station, much of the drama in the local industry originates in that capital. Consider the genesis of SIN and KMEX.

The cast included a powerful Mexican publisher, a former Mexican president, a prominent Mexican electronic-media magnate and an international SE HABLA 1 ESPANOL IN 1 TELEVISION 1oday a flick of the wrist propels 2 I Los Angeles audiences from one 3 JL culture to another without the hassle of jet lag or international customs procedures. Just choose a vehicle from a wide range of drama, variety, mystery, romance, contests, news or talk shows and turn on Spanish-language television, By 6 a.m. KMEX Channel 34 has pulled many children out of bed to watch "Agenda S.O.S.S.A.," a program pro- duced in Mexico City. "Contacto" (Contact), a news magazine, follows at 6:30 a.m. on Mondays, replaced by newscasts throughout the rest of the week.

From 7 a.m. to 10 a.m. viewers are of-2 fcrcd "Mundo Latino" (Latin World), a Mexico" Honeymoon in Mexico a Spanish -speaking Shirley Temple experienced a series of romantic mishaps and was rescued by the equally fluent Franchot Tone.) KMEX repeats "Agenda S.O.S.S.A." at 10 a.m. and then swings into "Los An-gele Ahora" (Los Angeles Now), a local talk show with invited guests followed immediately by "Concurso de la Televl-lon" (Television Contest), a game show produced in Mexico City. At 11:30 a.m., KSCI Channel 18 opens its schedule offering a religious program Monday and Friday and "Comunldad al Dla" (Community Update) on Tuesday, Wednesday and Thursday.

KMEX counters with "Marta Lloren," a popular telenovela set in a Puerto Rican barrio where confusion over her parentage and questions about infidelity are ruining a virtuous woman's chance for happiness with the man she loves. At the same time KBSC entices viewers with "Canada de Cuentoi Mexlcanos" (A Basket of Mexi- national public affairs and variety program live from KMEX studios. But weekday competition for Spanish -language fans heats up after 8:30 a.m. when KBSC Channel 52 breaks into the arena with public service programming. "Nuestra Comunldad" (Our Community) and "Corona Uited" (the city of Corona and You) alternate throughout the week in this time slot.

By 9 a.m. KBSC has moved into its entertainment format with the telenovela "La Sombra de Belinda" (The Shadow of Belinda), a suspenseful dramatic series with aspects of the supernatural the characters In the story are threatened by the spirit of a woman believed to be dead. "Cine de la Suerte" (Lucky Movie) at 10 a.m. introduces Spanish-language viewers to KBSC's daily raffle that gives away cash and major appliances. At this time, KBSC presents one of its two weekday daily movies usually a North American film dubbed in Spanish.

(Recently, for instance, in "Luna de Miel en can Stories), which dramatizes some of Mexico's best short stories. By noon, L.A. viewers can choose between movies, variety shows and tele-novelas for the rest of the day. Evening brings a selection of comedies. KSCI offers the earliest on a daily basis at 6:30 p.m.

"Histories de Papa Mama" (Tales of Father and Mother) a situation comedy set in Mexico. But on Wednesdays KBSC pushes comedy to 4 p.m. with "Candil de la Calle" (Street Lamps), a comedy variety hour. KMEX showcases comedies throughout the week at 8:30 and 9 p.m., alternating on some days with variety shows. These situation comedies have a wide assortment of plots.

"Mi Secretarla" (My Secretary) focuses on the misadventures of women in a secretarial pool; "Casa de Huespedes" (Boarding House) highlights hilarious incidents in the lives of the tenants; "Hogar, Dulce Hogar" (Home, Sweet Home), uses the over-.