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Speaker 1: Some of the biggest global hits in music over the

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Speaker 1: last few years have come from Latinos and Latinas. There

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Speaker 1: is of course Bad Bunny Group of Frontera and Tokisha,

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Speaker 1: and that's just to name a few. These Latino and

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Speaker 1: Latina artists are not afraid to push the limits of

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Speaker 1: the US music industry, including singing en Espanol. But before

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Speaker 1: today's musical explosion in Latini Dave, there was another era

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Speaker 1: where Latinos and Latinas were highly visible. It was just

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Speaker 1: a few decades ago, actually, in the eighties, during what

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Speaker 1: was known as the Decade of the Hispanic.

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Speaker 2: From coast to coast.

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Speaker 1: However, they are America's fast growing minority.

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Speaker 3: Hispanic spend more than thirty billion dollars on consumer goods

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Speaker 3: each year.

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Speaker 1: Our wide ranging cultures, demographic shifts, and consumption power were

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Speaker 1: being noticed back then, and there was one musical genre

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Speaker 1: that demonstrated all of these forces in one It was Dejano.

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Speaker 1: Dejano music was evolving from regional roots music to global sensation,

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Speaker 1: and there was one man at the center of it.

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Speaker 1: He was behind and on the screens as well. He

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Speaker 1: was helping to turn aspiring Tejano artists into De Hanno superstars.

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Speaker 1: His name Johnny Canales minis partisan. Johnny debuted the Johnny

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Speaker 1: Canales Show in nineteen eighty three and it would eventually

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Speaker 1: be played on Univicion so Aalez. And it was one

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Speaker 1: day in nineteen eighty five when a little known corpus

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Speaker 1: Christy teenager would visit the Johnny Canalis Show for the very.

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Speaker 3: First time permanent pat Okay Scucendo and Mexico.

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Speaker 2: Los pat.

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Speaker 1: Her name was Selena Quintana, her band Los Dinos. It

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Speaker 1: would be the first of many appearances of Selena on

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Speaker 1: Johnny Canalis Show.

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Speaker 2: Are we Ready?

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Speaker 1: Are you ready?

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Speaker 2: We're ready for you?

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Speaker 1: How about Bitty Bitty bomb.

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Speaker 2: Take it away? Yes.

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Speaker 1: Johnny would end up being a key figure in Selena

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Speaker 1: rising to become the biggest star of the Hanno music.

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Speaker 1: Dejano was on top of the world and Selena was

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Speaker 1: its shining star. But we all know how Selena's life

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Speaker 1: was cut short.

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Speaker 4: We have a woman ran in the lobby, and.

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Speaker 1: Some say that de Hanno music died with Selena, But

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Speaker 1: if you look more closely, it's a lot more complicated

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Speaker 1: than that, because the story of de Hano is also

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Speaker 1: in a way, the story of migration of cultures coming together,

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Speaker 1: of the tension of assimilation or the resistance of it

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Speaker 1: in the United States and de Hanno. It paved the

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Speaker 1: way for the musical genres that are taking over the

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Speaker 1: charts today, from regaton to Latin pop. Johnny Canalis died

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Speaker 1: last year on June twelfth, but a new film about

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Speaker 1: his life and the industry of Pejano music is helping

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Speaker 1: to keep his legacy alive.

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Speaker 2: Today, you got it, Take it Away, Let's see.

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Speaker 1: You from Fuduro Media and PRX. It's Latino USA. I'm

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Speaker 1: Maria Josan. Today we're going to take a look at

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Speaker 1: the origin of the evolution and the legacy of the

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Speaker 1: Hanno music and the impact that Johnny Canalis had on it.

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Speaker 1: Adrian Aredondo and Midna Bets are the co directors of

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Speaker 1: the film Take It Away, The Rise and Fall of

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Speaker 1: the Hanno Hollywood. Adrian and Midna joined me today for

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Speaker 1: a conversation about the impact of the Hanno music and

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Speaker 1: the outsize role that Johnny Canalis played in it. Adrian

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Speaker 1: Aredondo and miRNA Beets, welcome to Let You Know, USA.

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Speaker 2: Thank you so much.

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Speaker 3: Maria.

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Speaker 2: Thank you many. It's an honor to be here with you.

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Speaker 1: So here's my relationship with dejano music. Basically, as a

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Speaker 1: little girl, starting from the time that I was like seven,

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Speaker 1: our family would get in a car in Chicago and

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Speaker 1: we would drive all the way to Mexico, and that

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Speaker 1: meant we had to drive through the state of Texas.

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Speaker 1: And once we got through the second southern half of

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Speaker 1: the state, immediately when I'd be fiddling with the radio dial,

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Speaker 1: you'd start to hear music in Spanish. And so for me,

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Speaker 1: this relationship was estamo serga Mexico.

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Speaker 2: We are near Mexico.

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Speaker 1: South Texas is where you hear music in Spanish on

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Speaker 1: the radio, and in our family we called it mussi, grancera,

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Speaker 1: all of it. So can you just give us the

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Speaker 1: definition of Tejano music, because you start your documentary by saying, hey,

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Speaker 1: it's American music.

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Speaker 4: Yeah, I think to do that we have to talk

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Speaker 4: about Mexican music as a whole. As you'll see in

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Speaker 4: the film, the accordion is not a Mexican instrument. It's

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Speaker 4: an instrument that came from polka's from Germany, from the

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Speaker 4: Czech Republic.

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Speaker 2: And what ends up happening in.

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Speaker 4: The United States when you have all these migrant communities

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Speaker 4: is that you have German and Czech immigrants who are

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Speaker 4: also in these migrant towns with Mexican immigrants, and in

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Speaker 4: order for all of them to have the sense of

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Speaker 4: home and nostalgia, they start creating music at cantinas and

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Speaker 4: from there they end up mixing all the instruments together

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Speaker 4: and this genre is born. It has the sort of

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Speaker 4: the underlying elements of Mexican music, where you have a

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Speaker 4: corrillo it's telling you a story, pabrancheedai it's very folky.

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Speaker 4: You have certain elements for mariacci. But then you also

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Speaker 4: have because it's Tejano music and it's American, you have

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Speaker 4: this influence of country, of blues, of rock and roll,

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Speaker 4: and that's what creates Tejano music. It's almost like this

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Speaker 4: reflection of what America is. It's a melting.

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Speaker 1: Potan Because you grew up on the border, maybe you

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Speaker 1: can take us to the first time that you remember

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Speaker 1: hearing the music and how you understand it now.

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Speaker 5: My first experience with the Hano music was in Las

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Speaker 5: Pulgas deal in South Texas. I would go to the

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Speaker 5: flea markets over there, we call them bulgas, and usually

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Speaker 5: while you're there shopping, there's a lot of food and

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Speaker 5: there's a lot of music. And I recall seeing the

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Speaker 5: Tejano bands at the bands at Las Boulgas and they

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Speaker 5: would play, and I recall seeing accordions for sale and

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Speaker 5: just thinking that they were the most beautiful thing I've

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Speaker 5: ever seen. But the older I get, I stopped going

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Speaker 5: to I start moving out of Texas for work, and

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Speaker 5: those themes and motifs sort of stayed with me, right

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Speaker 5: And when we got to making this film, outside of

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Speaker 5: talking about how do we present Johnny Canals, how do

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Speaker 5: we present the music, Miran and I had a lot

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Speaker 5: of conversations as to how do we present the spirit

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Speaker 5: of what this culture and this community really is. And

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Speaker 5: so in the movie, we visit a lot of flea markets,

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Speaker 5: all of the bolagas. We have an o to the accordian.

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Speaker 5: Our entire movie is composed with music from accordions that

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Speaker 5: we use as orchestral instruments and present them differently. So

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Speaker 5: all of these first memories really lend themselves to be

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Speaker 5: the spirit of the movie.

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Speaker 1: So, miRNA, one of the things that you documented is

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Speaker 1: the so called migrant farm worker circuit, right, and these

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Speaker 1: are mostly Latino and Latina migrant farm workers, which we're

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Speaker 1: moving from crop to crop, from state to state. But

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Speaker 1: the music, they had this whole thing going on. They

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Speaker 1: were making connections, playing making people happy after a long

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Speaker 1: week at work. So can you talk about the migrant

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Speaker 1: farm workers circuit and how this actually made the music

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Speaker 1: grow because it was always moving from one place to another.

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Speaker 4: The migrant circuit is actually one of my favorite parts

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Speaker 4: of the entire film. I think it's fascinating how you

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Speaker 4: have this group of people that's following the path of

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Speaker 4: farm workers. And I also think that there is something

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Speaker 4: to be said about the joy and beauty that come

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Speaker 4: from these communities. So much of the narrative and the

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Speaker 4: media about these communities is these are the people that

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Speaker 4: pick our fruits, our food. We have to be grateful

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Speaker 4: for them, and that's the end of it. But I

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Speaker 4: think what's fascinating about the migrant circuit is that it

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Speaker 4: almost humanizes the people at our border of that do

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Speaker 4: these jobs that potentially traditional Americans don't want to do,

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Speaker 4: and it adds a completely different layer to them. And

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Speaker 4: so I love that this was a story that was

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Speaker 4: part of making the genre as big as it became

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Speaker 4: because it's so unexpected and not something that happens today.

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Speaker 1: When we come back, we hear from Adriana and Midna

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Speaker 1: about the lasting impact that Johnny Canalis had on the

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Speaker 1: industry and where Spanish language music is headed. Now stay

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Speaker 1: with us. Hey, we're back and I'm going to continue

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Speaker 1: my conversation now with and mietn up it is. They

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Speaker 1: are co directors of the film Take It Away. The

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Speaker 1: Rise and Full of the Hannah Hollywood. Another one of

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Speaker 1: my favorite moments in the film. It's the part where

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Speaker 1: you show how Johnny Canalez expanded beyond South Texas. He

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Speaker 1: was now being seen on Univision and people would make

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Speaker 1: posters and they would be holding up the posters and

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Speaker 1: it would say we love you to our family in

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Speaker 1: someplace in Michigan and it would turn out to be

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Speaker 1: a prison. Or there's one that you capture, which is Saluday,

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Speaker 1: which is holding up a sign that says we love

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Speaker 1: you Paraguay. It was literally making a poster saying a message,

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Speaker 1: holding it up while you're in the audience when the

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Speaker 1: camera comes to you. I mean, it's just such a

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Speaker 1: beautiful moment. That captures again, it's not just about the music,

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Speaker 1: it's about everything that goes around the music.

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Speaker 5: The johnniy G Cannilis Show was almost religious in the

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Speaker 5: way that communities would come out every single Sunday. It

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Speaker 5: was like a church service, right and you went there

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Speaker 5: to see Johnny be the outstanding entertainer that he was.

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Speaker 5: You would go to see Selena or like your favorite artist,

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Speaker 5: but you also would go there to see your best friend,

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Speaker 5: your cousin, your dia, your deal, make new friends, and

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Speaker 5: also you would go there to have yourself be seen

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Speaker 5: by the rest of the communities around the world who

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Speaker 5: were there to watch the show. And over time the

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Speaker 5: show gained this amazing reputation for being not just an

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Speaker 5: inner place for entertainment, but a place for community. In

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Speaker 5: our film, we were able to meet with one mother

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Speaker 5: who grew up going to the Johnny Gannallis show, and

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Speaker 5: while she was at the Johnny Gannallis show, her father

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Speaker 5: who was in prison. They weren't quite able to communicate,

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Speaker 5: but through the show she was able to make signs

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Speaker 5: and she was able to hold them up to the

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Speaker 5: cameras and communicate with him. Because everybody at the prison

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Speaker 5: was watching the Johnny Gannallis Show, and they were able

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Speaker 5: to not only talk to each other, but spread messages

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Speaker 5: of love of support. And it's just an amazing thing

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Speaker 5: to know that the show expanded beyond Johnny gnas himself.

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Speaker 1: So can you talk a little bit about Johnny Canalez

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Speaker 1: And you know he makes this transition from playing at

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Speaker 1: Cantinas himself to basically becoming the opera of Tejano music.

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Speaker 5: He really was ahead of his time and he is

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Speaker 5: the American dream. Johnny Canalis started his life as a

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Speaker 5: farm worker with his father, out in the fields, and

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Speaker 5: he ended his life a star maker. He introduced the

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Speaker 5: world to Selena, He introduced the world to Bronco, he

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Speaker 5: introduced the world to Bobby Bulilo, he introduced the world

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Speaker 5: to Ramonayala. And now you have all of these superstars

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Speaker 5: who thirty years ago, nobody quite knew who they were,

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Speaker 5: where they were going to go. But Johnny did because

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Speaker 5: he was not only a vagrant worker. He was a musician,

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Speaker 5: He was a hustler, he was bilingual, he was a

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Speaker 5: very loving, kind person, and once he reached a sort

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Speaker 5: of level where he could have a platform, all he

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Speaker 5: did was bring other people in and he did so

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Speaker 5: at a cost that he assumed himself. Nobody paid him

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Speaker 5: for his TV show. I mean, the man added to

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Speaker 5: the show himself. Eventually he would make it a family

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Speaker 5: show with Nora and his children, who would help them

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Speaker 5: bring artist's book, artists clean the stages, turn on the lights.

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Speaker 5: And in our film, I think many people see the

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Speaker 5: level of quality that he was presenting and they just assume,

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Speaker 5: oh my god, this must have been some type of

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Speaker 5: Univision production from the beginning. But that was only ten

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Speaker 5: years into his show. Fifteen years into his show.

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Speaker 1: So I want to take a step back for a

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Speaker 1: moment to understand the reach of Tejano music. Because there

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Speaker 1: were so many music labels, there were award shows that

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Speaker 1: were happening in South Texas, entire radios stations dedicated to

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Speaker 1: this genre. It was the farm Workers Circuit, it was

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Speaker 1: the Johnny Canals Show. Even though the rest of the

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Speaker 1: United States didn't quite know that.

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Speaker 2: It always has been everywhere.

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Speaker 5: I just don't think people have acknowledged it visibly in

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Speaker 5: the way they do today. So for example, today you

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Speaker 5: have artists like Beyonce, who was on her major tour

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Speaker 5: supporting her new work but her tour is very much

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Speaker 5: at the Hanaud tour. If you look at the visuals,

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Speaker 5: the language, the presentation of it, it's exactly what was

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Speaker 5: being presented thirty years ago by Johnny Canal. If you

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Speaker 5: look at artists like Grupra Fromtta today, they are the

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Speaker 5: children of the producers who made Selina's music. It was

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Speaker 5: really amazing to see how it was everywhere, not just

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Speaker 5: in Texas. I think Techcanods were just really proud to

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Speaker 5: finally have something that was sticking to the larger culture.

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Speaker 1: So I am Mexicana, raised in Chica, then I end

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Speaker 1: up in New York. I mean, honestly, the eighties were

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Speaker 1: all the salsa music. There were not many Mexicans in

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Speaker 1: New York City at this time, so Selena for me

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Speaker 1: comes a little bit later. I'm wondering, did you learn

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Speaker 1: anything new about his relationship even with Selena while you

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Speaker 1: were working on the documentary, Because Johnny Canalis played a

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Speaker 1: big role, frankly, in getting Selena out there.

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Speaker 4: I think most people know that Johnny was the first

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Speaker 4: person that brought Selena to Mexico. I think also a

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Speaker 4: lot of people know that he was the one that

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Speaker 4: led her to learn to speak Spanish. You can see

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Speaker 4: it on the show when he kind of teases her, Selena,

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Speaker 4: if you want to be an international star, you have

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Speaker 4: to learn how to speak Spanish.

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Speaker 3: Well. Selena soalava and Espanola.

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Speaker 2: The narrow, the narrow, I would have. Maybe the thing.

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Speaker 4: That people didn't know about Selena and Johnny is that

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Speaker 4: they had this really beautiful relationship where he almost felt

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Speaker 4: like a mentor to her with this theo energy.

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Speaker 2: And you can tell.

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Speaker 4: How much her passing affected him in the homage that

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Speaker 4: he created for her in the tape where he talks

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Speaker 4: about her passing and he says goodbye to her.

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Speaker 2: You know that you will goodbye, He will see you later.

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Speaker 2: Who got it? They get away.

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Speaker 1: The thing about Selena's passing is that it leads to

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Speaker 1: a big shift in Tejano music.

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Speaker 4: Right.

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Speaker 2: A lot of record labels lost interest.

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Speaker 1: There was this sense that as more Latinos, more Mexicanos

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Speaker 1: are coming in, that music should be quote unquote pure,

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Speaker 1: it should be a hundred percent Mexican. And all of

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Speaker 1: this created tension among artists who had depended on Johnny

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Speaker 1: Canalis and his sponsorship and the public walk us through

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Speaker 1: this time period because people were mourning the death of Selena,

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Speaker 1: but her death was actually having a huge impact on

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Speaker 1: what was happening commercially with this music.

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Speaker 5: It took us about five years to make this film.

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Speaker 5: You know, about three and a half years we were

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Speaker 5: fully with Johnny Canalis, the latter half of the part.

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Speaker 5: Johnny Canalis passed away, so there was a lot of

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Speaker 5: i think unopened doors that sort of revealed themselves and

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Speaker 5: opened up throughout his passing, as did when Selena passed away,

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Speaker 5: visiting Selena Auditorium where Johnny had his funeral, his public funeral,

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Speaker 5: being there to film that attracted so many of the

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Speaker 5: same people and fans and audience members who were at

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Speaker 5: Selena's funeral as well, and the way that the community

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Speaker 5: embraced both of these artists, I'm positive is something I

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Speaker 5: would ever experience in my life again. It felt political,

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Speaker 5: it felt musical, it felt cultural, and it felt really heavy.

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Speaker 5: A lot of people felt like they knew Selena and

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Speaker 5: Johnny Canalis personally, even though they may have never met them,

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Speaker 5: maybe just because they were in the audience so many

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Speaker 5: times watching them.

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Speaker 2: They were impacted by their stories and their musicality.

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Speaker 5: And when they passed they've really felt like they lost

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Speaker 5: the part of themselves. So for me, something I learned

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Speaker 5: about Selena was the real truth of the impact that

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Speaker 5: she had on the community the North Star, that she

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Speaker 5: was not just for Johnny, but for so many of

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Speaker 5: the artists who were on his show, who were inspired

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Speaker 5: to be musicians because they would see her performing at

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Speaker 5: his show. Even when we interviewed Abraham Gintania, Selena's father,

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Speaker 5: for our film, he still holds a lot of heaviness

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Speaker 5: in his heart when it comes to the role that

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Speaker 5: Johnny Canalis played in her career. So for me, it

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Speaker 5: was really eye opening to connect with the spirit of

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Speaker 5: Selena through Johnny Cannalis, through the archival research, through watching

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Speaker 5: a lot of the behind the scenes footage that the

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Speaker 5: world has never seen that we include in our movie.

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Speaker 5: After Selena passed, you know, Bobby Boulito in the film

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Speaker 5: really really sort of goes into it and he talks

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Speaker 5: about how the industry collectively got depressed.

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Speaker 2: The record labels got a little.

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Speaker 5: Bit of that wind punched out of their gut because

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Speaker 5: the most visible person all of a sudden was gone.

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Speaker 5: The rug got pulled out from everybody at the same time,

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Speaker 5: and at the second that that happened, the larger, broader

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Speaker 5: audience immediately moved away to the next big thing, and

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Speaker 5: so many Tihano artists were feeling like, hold on, she

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Speaker 5: was just one of a thousand of us, What about

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Speaker 5: the rest of us?

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Speaker 2: And Johnny canals.

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Speaker 5: At the same time, his television shows arted to be

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Speaker 5: programmed a little bit more globally nationally, and he started

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Speaker 5: introducing a lot of Mexican artists, artists from Latin America,

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Speaker 5: So really the Takano artists had this one to punch

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Speaker 5: where they lost Alena. The television show started to migrate

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Speaker 5: to more international music. Technology started to come up and

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Speaker 5: the Internet started to dominate airwaves, and our film really

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Speaker 5: goes into that sort of twenty year black hole where

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Speaker 5: Takana was figuring itself out up until today where it's

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Speaker 5: started back up to being at the top of the charts.

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Speaker 1: You did get a chance to spend some time with

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Speaker 1: Johnny Gannaliz himself. You saw him when he was towards

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Speaker 1: the end of his life. He was sick, kind of

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Speaker 1: abandoned and ignored, which is really really sad. So tell

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Speaker 1: us what it was like to be with Johnny and

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Speaker 1: what you take away from spending that time.

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Speaker 4: It did feel like Johnny was forgotten to a certain extent,

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Speaker 4: But I think more than it being sad, I think

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Speaker 4: there was something actually really beautiful about who he was

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Speaker 4: at the end of his days and who he's always been.

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Speaker 4: And I think the most beautiful thing about Johnny is

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Speaker 4: that the person that you see in the archival tapes,

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Speaker 4: not just the times where he's talking to the camera,

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Speaker 4: but the times he's talking to the audience honestly about

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Speaker 4: what's happening and he's not even paying attention to the cameras,

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Speaker 4: is the same exact person that he was days before

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Speaker 4: he passed away. He never changed who he was, the

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Speaker 4: values that he had of being the kind of person

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Speaker 4: who is for the people and cares about people. That

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Speaker 4: never changed and that was really cool to see when

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Speaker 4: we were interviewing him the last few times before he passed.

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Speaker 1: How do you see Dejano music now? And I assume

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Speaker 1: that's why you wanted to make the documentary. You wanted

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Speaker 1: to say, hey, in case anyone has any doubts, is

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Speaker 1: he huge and it's not going anywhere at the end?

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Speaker 5: Oh completely Latin music. I would say even more so

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Speaker 5: in the condo music. Latin music today is peak pop.

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Speaker 5: Bad Bunny's number one, fort that is number two. These

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Speaker 5: are the biggest chart topping artists in the world. But

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Speaker 5: we both, in our discussions about making this movie agreed that, hey,

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Speaker 5: this didn't just happen overnight. Latin artists and the visibility

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Speaker 5: of what we're doing didn't just appear out of nowhere

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Speaker 5: and all of a sudden we're number one. No, it

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Speaker 5: actually started about thirty forty fifty years ago, and prior

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Speaker 5: to technology, prior to all of these distribution companies who

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Speaker 5: now are pouring millions of dollars into marketing strategies and

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Speaker 5: into live streams and into concerts and festivals, there was

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Speaker 5: Johnny Connalist who was doing all of those on his own.

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Speaker 5: And our film makes the argument that had Johnny Cannialists

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Speaker 5: not started the Johnny Gonnalist Show and lived his path

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Speaker 5: of truth through his experience as a migrant person, none

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Speaker 5: of these artists today would be number one. And if

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Speaker 5: you watch the film, you can see exactly how culture, immigration, politics,

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Speaker 5: telecommunication network changes and deals, how all of those things

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Speaker 5: were navigated by Johnny to create a platform that gave

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Speaker 5: a generation a voice and then once that platform disappeared,

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Speaker 5: those artists got less visible and a little bit lost.

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Speaker 5: And today, now that platforms exist again, they're able to

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Speaker 5: be back on top, which just reinforces our argument that

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Speaker 5: if you give Latinos a platform, we will reach the top.

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Speaker 1: Adienne Nitna, thank you so much for speaking with me

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Speaker 1: on Latino USA.

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Speaker 2: And congratulations, Thank you so much, Maria. We're so happy

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Speaker 2: to be here and talking to Thank you so much.

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Speaker 1: That was Adrian Arredondo and mi Na Beets. They are

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Speaker 1: co directors of Take It Away, The Rise and Fall

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Speaker 1: of s Dejano Hollywood. Johnny Canalis passed away last year

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Speaker 1: on June twelfth in Corpus Christi, Texas. He was eighty

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Speaker 1: one years old. May he rest in peace in pastisconce.

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Speaker 1: This episode was produced by Renaldo Leanos Junior. It was

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Speaker 1: edited by Andrea Ropez Crussoo. It was mixed by JJ Carubin.

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Speaker 1: The Latino USA team also includes Roxanna Guire, Julia Caruso,

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Speaker 1: Jessica Ellis, Victoria Estrada, Dominique Inestrosa, Stephanie le Beau, Luis Luna,

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Speaker 1: Julietta Martinelli, Marta Martinez, Monica Morales Garcia, Dasha Sandoval, Mour

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Speaker 1: Saudi and Nancy Trujillo Fernanda. It is our managing editor,

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Speaker 1: Bennide Ramirez, Maria Garcia and I are co executive producers

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Speaker 1: and I'm your host Mariano Possa. Join us again on

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Speaker 1: our next episode. In the meantime, I'll see you on

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Speaker 1: social media. Pamin stagra yatu savis esta approxima no yes.

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Speaker 4: Latino USA is made possible in part by the Annie E.

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Speaker 4: Casey Foundation, creates a brighter future for the nation's children

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Speaker 4: by strengthening families, building greater economic opportunity, and transforming communities.

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Speaker 2: The Ford Foundation, working with visionaries on the front lines

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Speaker 2: of social change worldwide, and the John D. And Catherine T.

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Speaker 2: MacArthur Foundation,