Still, the international success of “Selena,” “Loud” and similar podcasts has inspired other studios to follow suit. “In the end I may not like J Balvin’s politics,” she adds, “but he is important to reggaeton history.”
“History is a story, and it’s not necessarily a positive one,” says reggaeton historian and podcaster Katelina Eccleston, who consulted on “Loud” and conducted artist interviews, placing special emphasis on the genre’s Black and working-class origins. When people say I can’t rep my culture because it doesn’t rep everyone? That’s how they keep our stories out of the mainstream.” But if David Chase got to make six seasons of ‘The Sopranos,’ we should have space to talk about people we grew up with, and the complexities of their humanity. “Of course it’s unfortunate that most stories we hear about Latinos involve criminals. “While working on ‘Chalino,’ some people were like, ‘Do we want to tell another narco story?’” says Galindo. Creators express anxiety over painting their cultures with too broad a brush.
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Yet as Latin American stories gain traction not just in the States but on global platforms like Spotify, the question of how to responsibly represent these ethnic groups can be a daunting one. “There’s no point in being super competitive at this time, in this industry.” “What we do is still relatively new and we’re still building our audience,” says Futuro’s Bishop. Instead of dividing the attentions of their audience with competing podcasts, the producers joined forces. Futuro, as it turned out, pitched NPR on a Selena podcast as well. Garcia was a senior editor at WBUR, the public radio station in Boston, when she first pitched “Anything for Selena” to NPR in 2017. “It’s wonderful that my mom can understand the work I’m doing.” “People tell us how the Spanish versions helped their families connect with their interests,” says Garcia, now an executive editor at Futuro Studios.
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Based in New York City, the nonprofit multimedia news organization was founded in 2010 by journalist Maria Hinojosa, host of “Latino USA,” the longest-running national Latino news program on public radio.Īs “Latino USA” accumulated a sizable audience through NPR, Futuro expanded its digital footprint by partnering with the politics website Latino Rebels and, later, producing limited series like the 2020 podcast “Anything for Selena.” In an artful fusion of investigative journalism and memoir, host Maria Garcia spliced critical analysis of the Tejano singer’s cultural and commercial afterlife with memories from her own girlhood in El Paso, told in both English and Spanish. “For so long, podcasts have been envisioned and created for this very small group of white, affluent people,” says Marlon Bishop, vice president of podcasts at Futuro Studios, the new creative wing of Futuro Media Group. reached 62.1 million in 2020 - up from 50.5 million in 2010, according to the Pew Research Report - podcasters have an incentive to better captivate listeners from these communities, as Galindo did his parents. Since the Hispanic and/or Latino population in the U.S.
In 2015, an internal study conducted by NPR reported that 67% of people who listened to its podcasts were white.
At the top of both Apple’s and Spotify’s podcasts charts, “My Favorite Murder” and “Serial” contend with established news programs like NBC’s “Dateline” and the New York Times’ “The Daily,” along with conservative-centered talk shows from Ben Shapiro and Joe Rogan. Hosts of today’s most popular podcasts in the U.S. Selena helped me find confidence and pride in who I am.