Soccer jersey worn by a member of the girls Los Jets soccer team from Jordan-Matthews High School. The Los Jets soccer team was formed in 2002 in Siler City, North Carolina as a growing influx of Latino families moved to the area. Competing in a Southern football town, Coach Paul Cuadros and the team often fought through ugly stereotypes from the predominantly white and African-American communities in which they played. Cuadros united the team through hard work and dedication and won the state championship in 2004, only two years since forming. Through success the team found increased support from the school and the community.
Signed by the engineers who built it, this IFB (interruptible feedback) circuit board let producers at KMEX-TV in Los Angeles (Univision) talk to journalists while they were on the air. Reporters wore ear pieces that fed through the circuits on the board and they could hear the broadcast, but also be interrupted by program producers who might signal them when to start, break for commercial, or wrap up a report. Because Spanish-language television stations both often worked on tight budgets for equipment and did lots of on-location shows, this board was created by the engineers at the station to design what they needed and make it affordable. The engineers were Richard Morse, chief engineer, Jeff Staigh, assistant chief engineer, and Alan Landaker, engineer/designer.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Firmada por los ingenieros que la construyeron, esta placa de circuito IFB (retroalimentación interrumpible) permitía a los productores de KMEX-TV en Los Ángeles (Univision) comunicarse con los periodistas mientras estaban en el aire. Los reporteros usaban audífonos que se alimentaban a través de los circuitos en el tablero y podían escuchar la transmisión, pero también ser interrumpidos por productores de programas que podían indicarles cuándo comenzar, hacer una pausa para un comercial o terminar un reportaje. Debido a que las estaciones de televisión en español a menudo trabajaban con presupuestos limitados para equipos y realizaban muchos programas en el exterior, los ingenieros de la estación crearon esta placa diseñada de acuerdo con sus necesidades y de manera accesible. Los ingenieros fueron Richard Morse, ingeniero jefe, Jeff Staigh, asistente de ingeniero y Alan Landaker, ingeniero / diseñador
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Eduardo Kachskovsky had a long career at KMEX-TV (Univision) starting in 1980 and serving the Latino community. He worked from 1989 to 2004 in various roles from producer/director to creative director of live news and events. Such events ranged from award shows and political debates to the annual Rose Parade. Spanish-language TV stations were committed to co-sponsoring and televising events that promoted education, health, and civic understanding among communities of viewers. In addition, they invested in the needed staff, reporters, and technology to go on location and connect audiences to live events.
If there was an event in LA, “Kach” was probably there. His collection includes not only press badges and a KMEX jacket, but also photographs and an oral history.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Eduardo Kachskovsky desarrolló una extensa carrera en KMEX-TV (Univision) a partir de 1980 y sirvió a la comunidad latina. Se desempeñó en distintas funciones de 1989 a 2004, desde productor / director hasta como director creativo de noticias y eventos en vivo. Dichos eventos iban desde entregas de premios y debates políticos hasta el Desfile de las Rosas anual. Los canales de televisión en español se comprometieron a copatrocinar y televisar eventos que promovieran la educación, la salud y el entendimiento cívico entre las comunidades de televidentes. Además, invirtieron en el personal, los reporteros y la tecnología necesaria para trasladarse hasta los lugares y conectar a las audiencias con los eventos en vivo. Allí donde hubiera un evento en Los Ángeles, probablemente estaría "Kach". Su colección incluye insignias de prensa y una chaqueta KMEX, al igual que fotografías y una historia oral.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
A men’s black button down shirt made of cotton with images of the Statue of Liberty, the Empire State Building, and airplanes throughout. This shirt was found in a remote part of the Sonoran Desert near the Mexican border. The past 20 years has seen a rise in unauthorized border crossing, border enforcement procedures, and debates about who and how migrants should be let into the country.
As the US federal immigration enforcement strategy known as Prevention Through Deterrence (PTD) increased the security presence around urban ports of entry in the mid-1990s, there was a shift in undocumented migration towards more remote regions of the American Southwest. Those making the perilous journey through this inhospitable desert landscape faced extreme temperatures (summer temperatures as high as 100° F/38° C and winter temperatures approaching freezing), rugged terrain, abuse from coyotes (human smugglers), and the risk of getting caught by the Border Patrol.
The site where this was found likely served as a way station used by human smugglers or a site of Border Patrol apprehension. Typical items found at these sites include personal hygiene products such as combs, backpacks, excess clothes, and empty water bottles.
Chain used by Coach Paul Cuadros beginning in the third and winning season as a motivational tool for his team. Before each game, the team would gather in a circle and hold onto the chain in a symbol of unity. The Los Jets soccer team was formed in 2002 in Siler City, North Carolina as a growing influx of Latino families moved to the area. Competing in a Southern football town, Coach Paul Cuadros and the team often fought through ugly stereotypes from the predominantly white and African-American communities in which they played. Cuadros united the team through hard work and dedication and won the state championship in 2004, only two years since forming. Through success the team found increased support from the school and the community.
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Era tan reconocido que a menudo se le pedía que participara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.