MARTÍN: Uno, dos, tres, quatro.

♪ ♪ ♪ ISAZA: Tu número en un papel, ♪ ♪ recuerdos de una canción.

♪ ♪ Tardes pretendiendo ver television.

♪ ♪ ♪ ♪ Primero siente la piel, ♪ ♪ y luego lo siente el corazón.

♪ ♪ Por ti iré a tu calle, ♪ ♪ me hace ver que.

♪ ♪ VILLAMIL: Recuerdo por qué me enamoré.

♪ ♪ BOTH: Recuerdo lo que te enamoró.

♪ ♪ VILLAMIL: Pero estoy llamando porque ♪ ♪ muero por saber.

♪ ♪ ALL: ¿Cómo estás?

♪ ♪ No sé por qué pero pensé en los dos.

♪ ♪ Moría de ganas de escuchar tu voz.

♪ ♪ Se siente igual, nada cambió.

♪ ♪ ¿Cómo estás?

♪ ♪ Sigues viviendo en el 506.

♪ ♪ Donde dejamos el primer amor.

♪ ♪ Con 16, todo cambió.

♪ ♪ Recuerdo por qué me enamoré.

♪ ♪ Recuerdo lo que te enamoró.

♪ ♪ Pero contestaste y ya se me olvidó por qué... ♪ ♪ ISAZA: Se acabó.

♪ ♪ ALL: Oh-oh oh-oh, oh-oh oh-oh.

♪ ♪ ISAZA: Se acabó.

♪ ♪ ALL: Oh-oh oh-oh, oh-oh oh-oh.

♪ ♪ ISAZA: Se acabó.

♪ ♪ ALL: Oh-oh oh-oh, oh-oh oh-oh.

♪ ♪ ISAZA: Se acabó.

♪ ♪ ALL: Oh-oh oh-oh, oh-oh oh-oh.

♪ ♪ ISAZA: Se acabó.

♪ ♪ ALL: Oh-oh oh-oh, oh-oh oh-oh.

♪ ♪ ISAZA: Se acabó.

♪ ♪ ALL: Oh-oh oh-oh, oh-oh oh-oh.

♪ ♪ Se acabó.

♪♪♪ ¡Buenas noches!

Nosotros somos Morat, somos Colombianos, orgullosamente Latinos.

Esta canción se llama "Faltas Tú".

Dice... ♪ VILLAMIL: ¿De qué me sirve que haya fiesta.

♪ ♪ Si te llamo y no contestas?

♪ ♪ ALL: Porque me faltas tú, faltas tú.

♪ ♪ VILLAMIL: Y hace más de un mes.

♪ ♪ ISAZA: Que soy un cero a la izquierda.

♪ ♪ Que salir me sabe a... ♪ ♪ ALL: Porque me faltas tú, faltas tú.

♪ ♪ ISAZA: Yo no sé estar bien si faltas tú.

♪ ♪ VILLAMIL: Importa el mes ni la estación.

♪ ♪ BOTH: Igual yo aquí te esperaré.

♪ ♪ Por más que tú digas que no.

♪ ♪ Yo sé que sí vas a volver.

♪ ♪ Porque eres una en un millón.

♪ ♪ ¿Cómo es que te voy a perder?

♪ ♪ ¿Cómo aceptar que se acabó?

♪ ♪ ♪ (drum solo) ♪ VILLAMIL: ¿De qué me sirve que haya fiesta.

♪ ♪ Si te llamo y no contestas?

♪ ♪ BOTH: Porque me faltas tú, faltas tú.

♪ ♪ VILLAMIL: Y hace más de un mes.

♪ ♪ ISAZA: Que soy un cero a la izquierda.

♪ ♪ Que salir me sabe a... ♪ ♪ ALL: Porque me faltas tú, faltas tú.

♪ ♪ ISAZA: Yo no sé estar bien si faltas tú.

♪ ♪ BOTH: Si faltas tú.

♪ ♪ Si faltas tú.

♪ ♪ ISAZA: Yo no sé estar bien si faltas tú.

♪♪♪ (audience cheering and applause).

ANNOUNCER: Welcome to the 37th Hispanic Heritage Awards!

Tonight, we honor: Carmelo Anthony, Julio Torres, Los Ángeles Azules, Rea Ann Silva, and Carolina Herrera, with a special celebration of the legacy of Roberto Clemente.

With Performances and appearances by: Morat, Nathy Peluso, Los Ángeles Azules, Cimafunk, Ximena Sariñana, John Leguizamo, Emilio Estefan, and more!

Please welcome your host, Annie Gonzalez.

ANNIE: Don't stop clapping now!

(audience applause).

Hello!

You guys!

Morat?

Were you not dancing in your seats?

I felt like I was a 16-year-old girl just rocking out back there.

Oh my God.

It feels great to be back here again, guys, history courses through these walls, and what an honor for us to be here and to take up space and contribute with our rich culture.

(audience applause).

Each of tonight's honorees has made impactful contributions to their respective industries.

Whether it's been reimagining of sound to help foster in new generations, or convincing executives to give them money to tell fantastical stories that narrate the absurdity of life, and let's be real, everything is a little absurd right now, right?

(laughter).

Or how about redefining how we see ourselves in the clothes that we wear, each of our honorees are blazing new trails for Latino communities everywhere.

In fact, our first honoree tonight was literally a Trail Blazer... no?

(laughter).

That's okay, that's okay.

I'm an actress, I don't do sports.

He, he thought it was cool, it's fine.

Alright.

To help me introduce our first honoree, please welcome stars of the upcoming series "Landman" on Paramount+ and Marvel's "Captain America: Brave New World", Paulina Chávez and Danny Ramirez.

(audience cheering and applause).

DANNY: Tonight, we celebrate a legend, one of the greatest to ever step on the hardwood.

As a freshman, he led the University of Syracuse to their first-ever National Championship, and then went on to have an extraordinary 19-year career in the NBA.

During that time, he became a 10-time All-Star and one of the most prolific scorers the game has ever seen.

But his greatness didn't stop there.

He helped Team USA bring home not one, but three Olympic gold medals, setting a remarkable... (audience applause).

Setting a remarkable eight U.S. Olympic Men's Basketball records in the process.

His name resonates far beyond the court, across the world, Carmelo Anthony.

(audience applause).

PAULINA: Lots of folks are really surprised when they find out that Carmelo is Puerto Rican.

(audience cheering).

Yep, which is wild to hear, because this guy is so Puerto Rican, the first sport he fell in love with wasn't basketball, it was baseball.

But the thing that makes him more Puerto Rican than anything, is his commitment to the people of the Island.

And one thing that's been consistent throughout his career, besides putting up points, has been giving back to the communities where he plays and ensuring they can thrive and find joy in the game he loves so much.

DANNY: Let's hear about all this from the man himself and learn more about our 2024 Sports Award Honoree: Carmelo Anthony.

(audience cheering and applause).

CARMELO: This Hispanic Heritage Award is, is big for me because, it's a constant fight for me, with, like, yeah, I'm, I'm, I'm Latino, like, I'm Afro-Latino, like, it's, it's, this is who I am.

It's like, "Oh, Melo, I didn't know you was Puerto Rican."

It's like, "Man, I'd done had a Puerto Rican flag on my hand since I was 19 years old."

You know, this award is, is special for me in the sense that the Hispanic community get a chance to say "He's one of us.

He's representing us as a people, us as a community, us as a whole."

This is an honor to, you know, to my dad, too, because his death allowed me to go on this journey of discovery.

I knew my dad was Puerto Rican, my sisters, my aunties, and everybody was Puerto Rican, and then on this side that I was actually growing up with was Black.

There was no you're Black or you're Puerto Rican, like, we are all one family.

So that's, that's how I grew up.

I lost my dad when I was 2, 3.

My dad been a part of the Young Lords for a long time.

So, he was a part of those groups that was constantly fighting for, you know, what's right for Puerto Rico.

So I was on the road of discovery for about ten years on my Puerto Rican side, while I was still going back to the Island.

I found what was our purpose, like well, what is our family purpose?

What is my what is my ancestors' purpose?

It was always, they always gave back, they always was in the community.

They always was the community.

And it gives you, you know, a newfound energy to, to, to want to reunite kinda that family.

So, me having a better understanding of my roots changed a lot for me.

It changed the way I thought about basketball.

It changed the way I thought about sports.

I'm big in community, so if I feel that, that energy from the community, like Imma embrace that.

Denver was about reviving, getting the blood pumped back into that community.

I wasn't ready to like, go out there and like, "Oh, I'm about to win the National NBA title."

Like it was just like, "No, I want to put this blue powder blue uniform on and bring this new energy to Denver.

And we going to go win 40 some games, 50 games every year.

And like just let's revive this."

New York was all business.

It was more strategic.

It was more intentional.

And, and, and with that, your game become that.

You maturing as a player too, right?

So you at your peak, you know, you're reaching your peak.

After New York: OKC, it was just like, "Damn, we in OKC now, okay, what's going on out here."

But Houston's situation wasn't, it just wasn't it.

It was, just a, wasn't a right fit.

And, and then Portland, I met Portland in the time in my life, in my career where I felt like I needed Portland and I felt like Portland needed me.

Portland, I found a home.

I found the community again.

In year 17, 18, like, it's, it's hard to do.

Then L.A. was just like, we have an opportunity to go play with each other, man, me, me and Bron, is just, "Hey, we always wanted to do it.

We always want to, you know, try to see if we can do it.

We did it on Olympics.

Let's try it now."

Sports was the only thing that kind of gave me and my community, like, it was like a stress reliever, in a sense.

Growing up, you saw the worst of the worst people, or you saw the best of the best people and everybody in between, and you saw every level of a, of personalities in those environments.

So, I was one of those kids who was hoping somebody came back and did something in my neighborhood.

So, so I'm, I'm there.

I'm, I'm, I'm down on the ground in Puerto Rico.

The people see me like it's, it's we, we talk and we have community events, basketball courts, it's been, you know, I got almost 16 basketball courts in Puerto Rico, across Puerto Rico, and I'm, I'm putting in the work in every single day to try to get those messages out there, to try to have better environments for, you know, for my fellow Puerto Ricans.

So I got to thank, you know, my dad for, you know, allowing me to go on this journey and being a part of that community because that's a, it's a special community.

For people who's on a journey of discovery, they trying to find knowledge of self, like just take your time.

Gather all the information that you can possibly gather, but sit down and take your time and, and, and put it together yourself.

Don't be afraid to go on a journey, because we really got to know who we are.

And if you don't go on your own personal journey to find out who you are, nobody else is truly going to tell you who you are.

ANNIE: This year, the Hispanic Heritage Awards is presenting its first posthumous honor to another stellar Puerto Rican athlete.

To help us celebrate the Legacy of Roberto Clemente, please welcome Clemente's son Luis Roberto Clemente, joined by Freestyle Icon, Lisa Lisa, and host of "American Historia" on PBS, John Leguizamo.

(audience cheering and applause).

♪ ♪ JOHN: If you know me, you know how much I love history, especially Latin history, because Latin history is American history.

(audience cheering).

And it's important that everyone knows the impact of those who came before us.

Which is why we're here to celebrate one icon whose legacy is all around us.

(audience applause).

LISA LISA: Roberto Clemente was born in Barrio San Antón in Carolina, Puerto Rico in 1934.

The youngest of 7, he worked the sugar cane fields with his siblings and his father.

LUIS: But dad's passion and talent for baseball lifted him from the fields, first joining the Puerto Rican Amateur League as a teenager, before getting picked up by the Pittsburgh Pirates in 1955, where he would remain with the Pirates for the rest of his 18-year career as number 21.

JOHN: And what a career.

3,000 career hits.

(audience cheering and applause).

Four National League Batting Titles.

12 Gold Glove Awards.

And 2 World Series Titles.

(audience applause).

LISA LISA: But his story is more than an impressive baseball career.

His sport was a vehicle for his mission.

LUIS: As a Black and Latino man playing in the Majors in the 1950s and 60s, Clemente was on the front lines of the Civil Rights Movement, using his platform to address racial injustice head-on.

JOHN: He demanded equal treatment for Black and Latino players and advocated for recruiting more Puerto Rican and Dominican players who'd been overlooked because of their accents and skin color.

LUIS: Inspired by a special guest to our family farm in Puerto Rico, Dr. Martin Luther King, dad became a voice for the voiceless.

Even addressing the media in Spanish after his 1971 World Series Victory, the first time anyone had spoken Spanish on a nationally televised broadcast in the U.S. (audience cheering and applause).

LISA LISA: And after Dr. King was assassinated, Clemente organized his teammates to postpone the start of the 1968 season in Dr. King's memory, spurring the League to postpone until after Dr. King's funeral.

He was a hero to many, but tragically, his life was cut short.

JOHN: Just before Christmas in 1972, an earthquake struck Managua, the capital of Nicaragua.

LUIS: Dad had been in Managua only three weeks prior, so he was particularly devastated by the news.

LISA LISA: Like the man of action he was, Roberto Clemente did what he could, sending three planes full of aid.

Most of that aid never made it.

JOHN: But determined to make sure the aid got there where it was needed, Roberto Clemente personally joined the fourth flight.

And on December 31, 1972, his plane crashed off Isla Verde de Puerto Rico immediately after take-off.

LUIS: His passing hit our family, and the country very hard.

But in their grief, people found meaning in our Father's legacy.

In a special election, he became the first Latino to be inducted into Baseball's Hall of Fame.

And in addition to the countless other recognitions, streets, parks, schools that bear his name, so does MLB's annual Roberto Clemente Award, given to the player who "best exemplifies the game of baseball, sportsmanship, community involvement and individual contribution to his team."

LISA LISA: And while his legacy is carried on through his sons and the Roberto Clemente Foundation, it is also due to the relentless advocacy by his late wife Vera that his work lives on.

Bringing access and love of the game to boys and girls in the U.S. and Puerto Rico.

JOHN: And so, it's in the memory of Roberto Clemente and his continuing legacy that we present, our first posthumous Hispanic Heritage Award to Roberto Clemente Jr and Luis Clemente on their father, and mother's, behalf.

(audience cheering and applause).

NAVA: Hey Harvey.

HARVEY: Hey Nava.

NAVA: I'm not sure if you know this, but making media is kinda hard.

HARVEY: Hmmm, yeah, uh, I kinda heard that, yes.

Uh, I also heard that it's even harder in the U.S. if you're Latine.

NAVA: And queer, and if you're not even from this country.

HARVEY: Right, okay, wow, wow, wow, wow, jeez, okay, so how are we supposed to do it then?

NAVA: I think we just have to write and direct a feature about our experience with the immigration system.

HARVEY: Okay.

NAVA: Get Tilda Swinton and Isabella Rossellini involved.

HARVEY: I'll call her, yeah.

NAVA: And sell it to A24.

HARVEY: Okay.

NAVA: Then write and direct a surrealist comedy series and sell that to a major streamer, oh, and pick-up four Emmys nominations for SNL along the way.

HARVEY: Oh (sighs).

NAVA: Yeah.

HARVEY: Okay, is that all?

NAVA: I dunno, that's just how our next honoree did it.

And he managed to do it without compromising his, Julio-ness.

HARVEY: Okay, wow!

Well let's see if we can learn a thing or two from our 2024 Vision Award Honoree Julio Torres.

(audience cheering and applause).

JULIO: The common thread with either convincing relatives to give me a couple hundred dollars to stitch together to come here, or convincing an executive to let me do something, is that the common answer seems to be, "I don't get it, but it seems like you get it.

And I think there might be something here.

So here you go."

I came to the U.S. because I wanted to be a writer of TV and film.

I feel like those familiar with, the process of getting a student visa know that after you graduate you have a year to work within your area of study and maybe if you're lucky enough, find a sponsor that will co-sign a work visa, moving forward.

My year was about to be up and I felt like I was spending so much time just desperately trying to find a job and I was like, "I'm not spending enough time fostering that creative side of myself, which is the reason I'm in New York in the first place."

Then suddenly it dawned on me that stand-up was a way of showcasing writing in a way that didn't necessitate me knowing anyone in the industry.

I like, Googled "New York City open-mic" and there's like about five or six that happened every single night.

I got a manager from that and then, and then you get to apply for all of these TV jobs that are sort of gate kept.

I applied to be a writer there, in the sort of traditional way that one applies to be a writer there.

I did not get the job.

I kept doing stand-up.

Two years went by, and then one of the head writers reached out.

This time, I auditioned, which was great because I got to perform my writing.

Uh, and then that got me, a little gig as a guest writer.

And then I was hired full-time.

And I didn't really start, being of any service to either the show or to myself until I realized that I shouldn't be writing the kinds of things that I thought they wanted.

But I should be writing the kinds of things that only I know how to do.

And then that made it so, I felt like I had very like, uncompromised pieces of myself in the show.

That's something that I'll always be grateful for; not only that I got to work there, but that I got to work there in the way that I did.

I had been wanting to do a feature for a long time, but working at "Saturday Night Live" and for "Los Espookys" made it so I didn't really have the time to write it.

And then, you know, we were all forced to stop physically going to work.

In 2020 I wrote both "Problemista" and most of "Fantasmas."

I like making work that it feels like it says something about life today, I keep coming back to like, the indignities of, like, bureaucracy and the artists within a capitalist system.

I think that good fantasy or sci-fi, or surrealism, like, articulates something about the anxieties of the society that are viewing them.

And I think that that is the reason those tools are available to artists is to just communicate something about life today.

Artists just want to enter worlds where they feel seen, and they feel like they contribute something and they feel like they can make something new and interesting.

My joys in making this work is not only attracting like very established, very respective, like, award-winning actors, but also just giving friends or people that I've met in passing that I think are very interesting, an opportunity to go one-on-one with these people and, become those people themselves.

What, what I've learned is from putting out these projects is how lucky I am and how beautiful it is to be so quickly embraced by the communities that I belong in.

The word representation gets thrown a lot in my industry and usually what corporations mean, like that is that they change the packaging of the product.

But to me, it's about different kinds of people from different kinds of life to create work in the ways that they know how and in ways that, uh, wouldn't have been imaginable, have had you not hire these people.

Uh, I want to go away for a little bit and just write.

Otherwise, I'm not going to have a job.

I have to go think of the next thing, which I'm very excited about.

It's a very, it's like the happiest part of the process for me to imagine what the next thing might be.

♪ BACKGROUND VOCALS: Policía, llévenla.

♪ ♪ ♪ (audience cheering and applause).

♪ NATHY: Policía, abran las rejas.

♪ ♪ Que me voy a confesar si usted me deja.

♪ ♪ Prefiero ser maleante que pendeja.

♪ ♪ Y para eso hay que tener valor.

♪ ♪ Policía, lléveme presa.

♪ ♪ Que si es perpetua, a mí no me interesa.

♪ ♪ Sí, es verdad que yo maté a ese hombre.

♪ ♪ Pero lo maté, lo maté de amor.

♪ ♪ No fue con la pistola, ♪ ♪ tampoco con el puñal.

♪ ♪ Fue que le negué mis besos ♪ ♪ y él se murió por eso.

♪ ♪ Porque no se los quise dar.

♪ ♪ BACKGROUND VOCALS: Aquí les dejo esta moraleja.

♪ ♪ Pa' estar con él prefiero estar tras las rejas.

♪ ♪ NATHY: Tranquilo, policía, ♪ ♪ que a mí no me va a faltar.

♪ ♪ Quien me dé una visita, una visita conyugal.

♪ ♪ BACKGROUND VOCALS: Aquí les dejo esta moraleja.

♪ ♪ NATHY: ¡Cucú, cucú!

♪ ♪ BACKGROUND VOCALS: Pa' estar con él prefiero ♪ ♪ estar tras las rejas.

♪ NATHY: ¡Salsa!

♪ ♪ ♪ ¡Cucú, cucú!

♪ ♪ ¡Cucú, cucú!

♪ ♪ ♪ ♪ NATHY: Desde la punta del zapato hasta ♪ ♪ arriba de la cabeza.

♪ ♪ Yo ya salí por tu puerta, ♪ ♪ yo no vuelvo a entrar por esa.

♪ ♪ BACKGROUND VOCALS: Policía, llévenla presa.

♪ ♪ NATHY: Por mi noble humanidad me llaman ♪ ♪ "delincuente."

♪ ♪ BACKGROUND VOCALS: Policía, llévenla presa.

♪ ♪ NATHY: Por eso no me importa que ♪ ♪ me aten los grillete'.

♪ ♪ Que me pongan la fianza, me sobran los billete'.

♪ ♪ BACKGROUND VOCALS: Policía, llévenla presa.

♪ ♪ NATHY: Ese hombre no respire.

♪ ♪ Llamen a la policía.

♪ ♪ ♪ ♪ ¡Cucú, cucú!

♪ ♪ BACKGROUND VOCALS: Cuando el amor no te da Libertad.

♪ ♪ Es una cárcel, una enfermedad.

♪ ♪ NATHY: ¡Cucú, cucú!

♪ ♪ BACKGROUND VOCALS: Cuando el amor no te da Libertad.

♪ ♪ ALL: Hay que matarlo.

♪ ♪ NATHY: Con frialdad.

♪ ♪♪♪ Yes-ah!

(audience cheering and applause).

ANNIE: Please welcome Grammy nominated singer and actress Ximena Sariñana and host of "La Frontera with Pati Jinich" on PBS, Pati Jinich.

(audience cheering and applause).

PATI: Los Ángeles Azules have been a part of some significant milestone in their careers and of so many singers and of so many people in Mexico and all throughout Latin America.

XIMENA: I collaborated with them in the early days of the Cumbia Sinfónica when we performed their greatest hits with the Mexico Symphony Orchestra about 10 years ago.

And our song together from that show has over 1.2 billion views on YouTube.

(audience cheering and applause).

PATI: That is incredible and since then, they've played with everyone from Natalia LaFourcade to Juanes to Alejandro Fernández.

And were even the first Cumbia band to play Coachella!

(audience cheering and applause).

XIMENA: Although, before their renaissance and the new collaborations, they'd been making people dance and fall in love with their music for over three decades at that point.

PATI: And I think now is a good time for everyone else to learn more about our 2024 Arts Awards Honorees.

(audience cheering and applause).

ELÍAS: Yo creo que es algo muy bonito que esta fundación, nos haya visto de hacer Cumbia para todo el mundo, Porque es una Cumbia que enamora a toda la gente y que baila toda la gente.

Yo creo que es algo muy bonito para nosotros y es un gran reconocimiento que nos están dando.

GUADALUPE: Somos originarios de la delegación de Iztapalapa, en el barrio de San Lucas es donde nacimos y donde estuvimos de niños muchos años.

ALFREDO: Mi mamá era la que representaba al grupo, no más la dueña del grupo.

Yo empecé a tocar el acordeón, ya después pues ya todos, todo el grupo empezó a tocar ya sus instrumentos, mi hermano Jorge ya también tocaba el acordeón, el piano, o sea, ya todos empezamos y ya, y ya se empezó a formar, andábamos en todos los eventos, este particulares, nosotros solos andábamos tocando.

GUADALUPE: Nosotros pues éramos un grupo versátil, pero nos gustaba mucho la Cumbia y creo que hasta la fecha lo hacemos bien.

ELÍAS: El grupo, así como dice mi hermana, era un grupo versátil que tocábamos de todo rock and roll, chachachá, mambo.

Cuando veíamos que íbamos a tocar en los bailes, en las en las fiestas particulares, nos dábamos cuenta que cuando tocamos una Cumbia la gente se paraba a bailar más.

Tocábamos un rock and roll y unas cuantas parejas, eh, bailaban rock and roll.

Pero una música de una melodía tropical sí bailaba toda la gente.

Entonces decidimos irnos por el género de la Cumbia.

La compañía donde estábamos nosotros nos daba siempre lapsos de grabación.

No querían que dejar huecos de un año o dos años, que saliera un disco nuevo.

Nos avisaron que iba a entrar este, vamos a meter otro género y pues metieron el duranguense.

Y el duranguense en México llegó muy fuerte y en Estados Unidos, y fue el que desplazó completamente toda la música.

Toda la gente quería duranguense por todos lados.

No queremos Cumbia.

Entonces nos aferramos al poquito trabajo que teníamos y no soltar la Cumbia.

PEPE: Yo hablaba a muchas oficinas y me decía no por ahorita no, no estamos aceptados y todos a colgar, a colgar.

Pero nunca me rendí, seguí buscando.

Y marco a una compañía "Señorita soy Pepe de Ángeles Azules y que les busque una empresa de representación".

Dice "¿Quién habla?"

"¿De qué grupo eres?"

Le digo "Los Ángeles Azules".

¿Pepe?

¿De los Ángeles Azules?

Yo a ti te conozco y a tus hermanos.

Yo estaba en otra compañía donde estaban antes.

El director ya te dio la cita, que se vengan, que te traigas a tus hermanos, seguir sacando música para que se siga enamorando la gente.

JORGE: "Cómo Te Voy a Olvidar" es un tema que este que nació en el '97, pero es es un tema que se fue dando poco a poco en los países este, hasta que el tema se quedó en el gusto de muchos países, gracias a mi hermano Pepe que nos llevó a Ocesa Seitrack, nos dice sabe qué van a grabar con Sinfónica.

Cuando hacemos la colaboración con la Sinfónica, con "Cómo Te Voy a Olvidar", con "17 Años", con "Juventud", con "Entrega de Amor", es esa la Cumbia Sinfónica de lujo.

Cuando entra Kinky con "Cómo Te Voy a Olvidar", entra Jay de La Cueva con la de "17 Años".

"El Listón de Tu Pelo" con Denise Gutiérrez.

Cumbia Sinfónica es hasta la fecha el disco más vendido y ese fue el impacto.

ELÍAS: Nadie no había vendido tanto disco como Los Ángeles Azules en esta época.

Ahora hay gente nueva para nosotros, aparte de de la tradicional, y eso fue un impacto para nosotros muy grande, porque tuvimos más views en todos lados, más vistas del tema y pues hasta la fecha ahorita Los Ángeles Azules nos ha ido bien con toda la juventud.

GUADALUPE: Muchas gracias a la Fundación por fijarse en Los Ángeles Azules.

CRISTINA: Cuando vamos a trabajar a Estados Unidos, a todos los latinos les damos un poquito de México.

Gente que no puede volver a ver a su familia, que no puede volver.

Nosotros vamos representando a México, entonces se sienten como si estuvieran en casa.

JORGE: Eso es un arte, un arte de que la gente cante, baile, este, festeje con nosotros.

ELÍAS: Y yo creo que es algo que nosotros nos sentimos muy orgullosos de ser mexicanos y que se ha dado a conocer en todo el mundo, en nuestra música.

Yo creo que es un legado muy importante que se tiene para México y con eso siempre digo listos para el mundo porque son Los Ángeles Azules.

(audience cheering and applause).

(accordion solo).

(trombone solo).

(accordion solo).

(trombone solo).

ELÍAS: Vamos a bailar todos venga.

♪ JORGE: Amor, amor, amor.

♪ ♪ Amor, amor, amor.

♪ ♪ Quiero que me vuelvan a mirar tus ojos.

♪ ♪ Amor, amor, amor.

♪ ♪ Amor, amor, amor.

♪ ♪ Quiero volver a besar tus labios rojos.

♪ ♪ Cómo no acordarme de ti.

♪ ♪ De qué manera olvidarte.

♪ ♪ Si todo me recuerda a ti.

♪ ♪ En todas partes estás tú.

♪ ELÍAS: ¿Que dice?

♪ JORGE: Si en una rosa estás tú.

♪ ♪ Si en cada respirar estás tú.

♪ ♪ Cómo te voy a olvidar.

♪ ♪ Cómo te voy a olvidar.

♪ ♪ Si besando la cruz estás tú.

♪ ♪ Rezando una oración estás tú.

♪ ♪ Cómo te voy a olvidar.

♪ ♪ Cómo te voy a olvidar.

♪ ♪ Si te clavaste aquí en mi corazón.

♪ ♪ Y de amor, has llenado mi alma.

♪ ♪ Y tu sangre corre por mis venas.

♪ ♪ Y mi sangre me hace estremecer.

♪ Yo contigo.

¿Y donde estan?

¡Grito!

ELÍAS: Llaven las manitas arriba.

♪ Hey, hey, hey.

♪ ♪ ALL: Hey, hey, hey, hey, hey, hey.

♪ (trombone solo).

(accordion solo).

(trombone solo).

♪ JORGE: Esta noche nos acompañarte a cantar.

♪ ♪ ¡Se la sabe!

♪ ♪ ¡Tengo que dice!

♪ ♪ Seís.

♪ ♪ ALL: Amor, amor, amor.

♪ ♪ Amor, amor, amor.

♪ ♪ Quiero que me vuelvan a mirar tus ojos.

♪ ♪ Amor, amor, amor.

♪ ♪ Amor, amor, amor.

♪ ♪ JORGE: Quiero volver a besar tus labios rojos.

♪ ♪ Cómo no acordarme de ti.

♪ ♪ De qué manera olvidarte.

♪ ♪ Si todo me recuerda a ti.

♪ ♪ En todas partes estás tú.

♪ ELÍAS: ¿Que dice?

♪ JORGE: Si en una rosa estás tú.

♪ ♪ Si en cada respirar estás tú.

♪ Cómo.

♪ AUDIENCE: Como te voy a olvidar.

♪ ♪ ALL: Cómo te voy a olvidar.

♪ ♪ JORGE: Si besando la cruz estás tú.

♪ ♪ Rezando una oración estás tú.

♪ Cómo.

♪ AUDIENCE: Como te voy a olvidar.

♪ ♪ ALL: Cómo te voy a olvidar.

♪ ♪ JORGE: Si en una rosa estás tú.

♪ ♪ Si en cada respirar estás tú.

♪ ♪ ALL: Cómo te voy a olvidar.

♪ ♪ Cómo te voy a olvidar.

♪ ♪ JORGE: Si besando la cruz estás tú.

♪ ♪ Rezando una oración estás tú.

♪ ♪ ALL: Cómo te voy a olvidar.

♪ ♪ Cómo te voy a olvidar.

♪ ELÍAS: ¡De Itzapalapa para todos los Hispanos!

(audience cheering and applause).

♪♪♪ ISABEL: ¡Buenas noches!

LISA: Oh my God, buenas noches, you look so beautiful.

ISABEL: Thank you so do you, Lisa.

LISA: My God, but I think you need a touch-up, para te.

ISABEL: Oh, por favor, gracias.

LISA: Okay.

ISABEL: Can't leave home without it.

LISA: Right, how do I look?

ISABEL: Beautiful, beautiful.

LISA: Do I need a touch-up?

ISABEL: Yes, just a touch-up.

LISA: Por favor.

(audience laughs).

ISABEL: Well for so many Latinos, the American Dream is entrepreneurship.

And con ganas we grow our ideas into thriving businesses to lift up our families, communities and America's economy.

Latinos, Latinos are leading the way with the highest rates in a decade, strengthening neighborhoods and creating jobs!

LISA: Wow, what's wild about our next honoree is that I'm pretty sure that everyone, everyone wearing make-up tonight used her invention.

(audience cheering and applause).

It has become such a staple for every make-up artist, beauty influencer, drag queen, anyone who cares about what they put on their face, that it created an entire product category, and is currently sitting in the Smithsonian American History Museum.

I am honored to get to introduce you all to my beautiful girlfriend and the 2024 Entrepreneurship Award Honoree, Rea Ann Silva.

REA ANN: There is no reason why a pink, egg-shaped sponge should have me sitting talking to you right now in Bethlehem, Pennsylvania, outside of the grace of God.

The simple fact of having Latina aunts, mothers, cousins, there is no way of escaping beauty because in our community and in our heritage, beauty is such, an important part of who we are and how we express ourselves.

I just remembering about to graduate from high school and my mom was like, "What are you going to do?"

And I was like... And she said, "Well, I found this school in downtown L.A., and you love fashion."

Of course I love fashion because she implanted it in my brain.

She throws me into this apartment in downtown L.A. and says, "You got to get a job."

She said, "Let's go down to the department store."

Because she actually had worked at department stores.

I started making a couple friends at the, you know, cosmetic counters and kind of seeing what they were doing, and I thought I could do that.

One of the girls that I met was a makeup artist and did some part-time production work, which introduced me to a whole other aspect of makeup artistry and a way for you to make money.

We're talking about the MTV generation, I would subsequently get all the jobs with people of color, rappers, R&B, black actors, black actresses.

When I created Beautyblender, I had just come off of working on a show called "Moesha" with Brandy Norwood, the singer.

I was hired to come in because the show "Girlfriends" was going to be the first show being shot and broadcast in high-def, and at that time all shows were shot in film.

When high-def came around, everything changed.

They were looking for something that was going to look as if these women just woke up the way they looked.

When I created these prototypes that we would hand-cut for every show, they would just walk away.

They sprouted little legs and walked off, but it was the actors stealing them, and then they would come back and say, "Hey, can we get a couple more for our my mother, my sister, my brother, whatever?"

I realized I need to find a way to scale.

I need to find a way to actually manufacture this product.

I would go to different stores and look at sponges.

This one name kept coming up: Victoria Vogue.

So I just called the number.

I call Cathy my "Makeup Momma" because none of us would be sitting here right now if it wasn't for Cathy.

She took my call.

She listened to my whole, pitch about Beautyblender.

At first she was like, "Well, kid, you know, we hold all these patents.

I'm sure we have you covered."

And I said, "Great, then you have nothing to lose."

I sent my prototypes to her.

I get this call from her, and she's like, "Well, kid, I gotta tell you, it's like the palm slap to my forehead.

Why didn't we think of this?"

And I said, "'Cause you're not a makeup artist!"

And so she was like, "So here's the deal.

I want to help you.

My company is advising me against it, but they've also charged me with innovation.

And this is the most innovative thing that I've seen come across my desk since forever.

I totally get it."

And that was the beginning.

She stuck with me through the process of finding a manufacturer and getting it made.

Couple of the first stores that took Beautyblender in as a retail product were pro-based stores.

They started getting non-pro people coming in buying Beautyblender.

So I started hearing that, and I thought, "Wouldn't it be amazing if I could crossover into a consumer market?"

I found the buyer, at Sephora, and I sent her product.

Sephora was one of my first retailers.

Today I still own Beautyblender 100%, and the zig-zag is still there.

To be an entrepreneur, you need to have God, grit, and resilience because the valleys are deep and the highs are high.

I, I think my perseverance and my independent spirit really came from coming from people that hustled and knew how to work and knew that nobody was going to give them a break.

So when, when I get an honor like this, I go through every emotion like, "What am I going to say?

What am I going to do, why do they want me?

Are they sure they're right, I don't know."

It was like when the Smithsonian came to me and said, "Hey, you know, we want to talk to you because we, we recognize that, you know, the product you invented changed an industry."

And was like, "Are you sure you're talking to the right person?"

You go through these moments of, "It's just me."

They're, they're big "wow" moments.

They're, like, getting a little misty right now.

I mean, it just makes the whole zig-zag worth it.

♪ ♪ ♪ Dame un cuchi cuchi.

♪ ♪ Aaah!

♪ ♪ CIMAFUNK: Pégate con flow, pégate con flow.

♪ ♪ ALL: Pégate rico así; que es lo mejor pa' ti.

♪ ♪ Aaah!

♪ ♪ CIMAFUNK: Pégate con flow, pégate con flow.

♪ ♪ ALL: Si te da pena, nos pegamos a tu manera.

♪ ♪ Vamo' a darnos, cuchi, cuchi cuchi, cuchi, ♪ ♪ cuchi, cuchi, cuchi.

♪ ♪ CIMAFUNK: Sí, pégate con flow, pégate con flow.

♪ ♪ Vamo' a darnos.

♪ ♪ ALL: Cuchi cuchi cuchi cuchi cuchi cuchi.

♪ ♪ CIMAFUNK: Pégate con flow.

♪ ♪ BACKGROUND VOCAL: Pégate con flow.

♪ (vocalizing).

Mira.

♪ Te traje un poco de cuchi pa' que lo disfrutes baby.

♪ ♪ Una mezcla de mela'o con flow pa' ♪ ♪ que te pongas sexy.

♪ ♪ Todavía no has probado y ♪ ♪ ya te estás poniendo crazy.

♪ ♪ El cuchi crea adicción; ♪ ♪ dale suave, gózalo.

♪ ♪ Que esto es pa' ti, pa' mi.

♪ ♪ Pa' darnos toda la noche.

♪ ♪ BACKGROUND VOCALS: Cuchi cuchi con funky.

♪ ♪ CIMAFUNK: Pégate así, veras, ♪ ♪ como tu cuerpa busca el roce.

♪ ♪ Ay ay ay.

♪ Okay.

♪ Al momento te pones como que loca con el cuchi.

♪ ♪ Andas todo el tiempo preguntando por el cuchi.

♪ ♪ Que si en la bodega sacaron el cuchi.

♪ ♪ Ahora dices que no duermes pensando en el cuchi.

♪ ♪ Aaah!

♪ ♪ Pégate con flow.

♪ ♪ BACKGROUND VOCALS: Pégate con flow.

♪ ♪ CIMAFUNK: Sí lo mejor pa' ti.

♪ ♪ Hey.

♪ ♪ Pégate con flow, pégate con flow.

♪ ♪ Si te da pena, nos pegamos a tu manera.

♪ ♪ Vamo' a darnos.

♪ ♪ Woo, uh.

♪ ♪ Oooh.

♪ ♪ Pégate con flow, pégate con flow.

♪ ♪ Vamo' a darnos.

♪ ♪ Cuchi cuchi.

♪ ♪ Darnos cuchi cuchi.

♪ ♪ Pégate, whoa-oh.

♪ ♪ Hey.

♪ ♪ Ya comiste y te quedaste... ♪ ♪ ya la diste y te enganchaste, ♪ ♪ te lo digo yo... ♪ ♪ no hay tiempo pa' chuchichiate!

♪ ♪ Uuuuu... ♪ ♪ ya ta' lista pa' la acción.

♪ ♪ Dale encanto ponte pal' calentón, ♪ ♪ en el cuchicheo puesto pa' la cuestión, ♪ ♪ siempre terminamos en la bailoaaaaaa!

♪ ♪ Aaah.

♪ ♪ BACKGROUND VOCALS: Cuchi.

♪ ♪ ALL: Aaah cuchi cuchi.

♪ ♪ CIMAFUNK: Dame, dame cuchi cuchi.

♪ ♪ ALL: Aaah, cuchi cuchi.

♪ ♪ CIMAFUNK: Oh, dame cuchi cuchi, ♪ ♪ dame cuchi cuchi.

♪ ♪ ALL: Aaah, cuchi cuchi.

♪ ♪ CIMAFUNK: Yo tengo cuchi, aaah.

♪ ♪ ALL: Aaah, cuchi cuchi.

♪ (vocalizing).

♪ ALL: Aaah, cuchi cuchi.

♪ (vocalizing).

♪ ALL: Aaah, cuchi cuchi.

♪ ♪ CIMAFUNK: Dame, cuchi cuchi.

Dame, cuchi, cuchi.

♪ ♪ ALL: Aaah, cuchi cuchi.

♪ ♪ CIMAFUNK: Todo la noche esta pa' cuchi.

♪ ♪ Todo la noche esta pa' cuchi.

♪ ♪ Dame, cuchi.

♪ ♪ Hey.

♪ ♪ ALL: Aaah, cuchi cuchi.

♪ (vocalizing).

♪ ALL: Aaah.

♪ ♪ CIMAFUNK: Dame cuchi cuchi.

♪ ♪ ALL: Aaah.

♪♪♪ (audience cheering and applause).

ANNIE: I see how D.C. gets down!

Y'all are freaky, I like it!

To introduce our final, and most stylish honoree, please welcome Presidential Medal of Freedom winner and past Hispanic Heritage Award Honoree, Emilio Estefan.

(audience cheering and applause) EMILIO: Tonight for me is a, is a incredible night to introduce one person that you can say one name, you can say, "Carolina," everyone knows "Herrera," which is amazing.

All over the world.

(audience cheering).

Well, I am extremely proud, you know, she didn't have to change her name to become famous all over the world.

And that takes a lot of courage at the, the beginning, when we start in this country.

Was difficult, but you know something: we live in the best country in the whole world, and God bless America because of that.

I can tell you one thing, I mean, not only did she create the elegance and the class to the world, she does so many things with her foundations, she does so many things, and she's so quiet, she wants to keep things very private.

But I want the world to know that you are an incredible woman, you bring a lot of pride, and we love you so much, and we are blessed.

And to, tonight, we achieved the "American Dream."

So thank you to the United States that gives us that opportunity.

Now, take a look at this.

We will see something that is beautiful.

NINA: When I grew up, fashion was not a large industry in Colombia.

There weren't many role models at the time.

That is, except for Carolina Herrera.

It really meant so much to me to see that a woman from Latin America could make it in this glamorous world.

She was revered not only by being a designer, but also because she was such an incredible social force.

Oscar de la Renta had been in the business for about 15 years at the time of Carolina's first runway show.

Fashion was so much smaller and more exclusive and closed off world than it is right now.

And it absolutely wasn't the diverse landscape you see today.

Carolina was able to make her mark not just because of her immense talent, but because of the captivating image she also cultivated personally.

WES: Originally, this creativity kind of manifested itself with her in how she dressed herself.

She quickly gained a reputation as being a style icon.

And it wasn't long before someone, I believe it was Diana Vreeland said to her, "Your talent and design skill is too big just for your own wardrobe.

There are other women who want to look like you too."

She designed her first collection as a mother of four in 1981 and showed it at the Metropolitan Club in New York.

NINA: The collection was immediately picked up by the major department stores and then it's all history from there.

She invented feminine power dressing.

She did not see any contradiction between feminine and powerful.

And I believe that is the reason her designs were so intriguing and they were so, important for women.

I mean, she has dressed everyone from Jackie Kennedy to Michelle Obama.

And she, like many Latin American women, has so much pride in the way she puts herself together.

And that pride and that detail comes through in her collections.

WES: In many ways, she is American fashion, right?

She really embodies the idea that great fashion is more than a piece of clothing.

And the fashion industry is the ultimate form of storytelling, of optimism, of celebrating, the potential to create beauty around us.

NINA: Her endurance has been real.

37 years at the helm of her business.

That is a long run.

I know that she has been a huge inspiration for young Latin designers, who see her as an example of what success in this industry can look like.

WES: So many young students, when they enter FIT or Parsons or Pratt, they're doing so with the dream of one day being a Carolina Herrera.

It's a great source of pride for her and for all of us at the house that Herrera has many initiatives, such as sponsorship programs for young, Latino students at FIT.

PALOMA: My family, they didn't cry as Jasmin's family did, but they understood like how significant it was because it's Carolina Herrera.

JASMIN: Honestly, if it wasn't for her, I don't think I would be in fashion.

I didn't have enough money to actually come to my dream school, which is FIT.

And with the scholarship alone, I have learned so much.

I was able to meet a whole bunch of wonderful professors who are within the industry.

Having the opportunity to actually go to fashion shows, which I thought wasn't going to happen for like a million years.

Just living my dream, making like the little girl inside of me really happy.

NINA: I think American fashion owes her a great debt for being an important voice in the diverse fashion ecosystem.

She is a true trailblazer, a leader, and her designs have become part of the fabric of the American fashion industry.

PALOMA: She really has paved the way for Latina designers.

She not opened the doors, like busted the doors open!

JASMIN: Thank you so much for everything you have done, honestly, for inspiring each and every one of us and creating beautiful, beautiful works of art.

WES: She absolutely deserves this award from the Foundation, as far as I'm concerned, she deserves every award.

We're all so lucky to, to live in a world that has been made more beautiful by Carolina Herrera.

ANNIE: It's so amazing and beautiful to be here with you guys tonight.

What an honor.

Thank you for letting me be your host, for gracing the stage.

I'm so proud to be Latina, to be Chicana, to be Mexican.

We come from across the globe, Mexico, Puerto Rico, Venezuela, El Salvador, Argentina, right, Cuba, Colombia, but what's special is our Latinidad, and that can't be quantified.

I hope that you leave here feeling more proud of who you are, whether you don't speak enough Spanish, or all you speak is Spanish, no one can take that away from you.

When one of us succeeds, we all succeed.

Remember that.

(audience cheering and applause).

And now, to perform their hit song "Mis Sentimientos," and give us all something to dance to, please welcome back Ximena Sariñana and our 2024 Arts Award Honorees Los Ángeles Azules!

(audience cheering).

♪ ALL: Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ Bom, bom, bom.

♪ ELÍAS: Aplaudir los manos rima todas venga.

♪ ALL: Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ ♪ ♪ ♪ ELÍAS: Los Ángeles Azules.

Ximena Sariñana.

♪ ♪ ♪ BOTH: Ahora más que nunca.

♪ ♪ Te necesito junto a mí.

♪ ♪ No abandones mi amor.

♪ ♪ Que me entregado a ti.

♪ ♪ No podré sobrevivir, necesito tu calor.

♪ ♪ Ahora más que nunca.

♪ ♪ Te necesito junto a mí.

♪ ♪ No abandones mi amor.

♪ ♪ Que me entregado a ti.

♪ ♪ No podré sobrevivir, necesito tu calor.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ XIMENA: Ole, la, la, la.

♪ ELÍAS: Aplaudir con manos rima todos se dice.

♪ ALL: Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ ALL: Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ Bom, bom, bom, bom, bom, bom, bom.

♪ ♪ ♪ ♪ ♪ (audience cheering) (audience clapping rhythmically) ELÍAS: De Itzapalapa para el mundo.

♪ BOTH: Me duele al saber.

♪ ♪ Que he sido un paso más.

♪ ♪ En tu sendero de amor.

♪ ♪ Y que te vas a marchar.

♪ ♪ Sin motivo ni razón, lo dice mi corazón.

♪ ♪ Me duele al saber.

♪ ♪ Que he sido un paso más.

♪ ♪ En tu sendero de amor.

♪ ♪ Y que te vas a marchar.

♪ ♪ Sin motivo ni razón, lo dice mi corazón.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Es fácil para ti el abandonarme.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ Llevándote mis sentimientos.

♪ ♪ XIMENA: Ole, la, la, la.

♪ ELÍAS: Los Ángeles Azules.

♪♪♪ Muchos gracias.

(audience cheering and applause).

(audience cheering).

(music plays through the credits).