to the popularization of the bolero throughout North and South America during the 1930s and the 1940s through live concerts and performances on international radio networks. Included in this group were the Mexican operatic tenors: Juan Arvizu and Nestor Mesta Chayres. Their collaborations in New York City with such musicians as Alfredo Antonini, Terig Tucci, Elsa Miranda and John Serry Sr. on the CBS radio show Viva América also introduced the bolero to millions of listeners throughout the United States. Also noteworthy during the 1940s and 1950s were the performances of Trio Los Panchos, which featured the artistry of musicians from Mexico and Puerto Rico including: Chucho Navarro, Alfredo Gil and Hernando Avilés. Boleros saw a resurgence in popularity during the 1990s when Mexican singer Luis Miguel was credited for reviving interest in the bolero genre following the release Romance. Bolero fusions José Loyola comments that the frequent fusions of the bolero with other Cuban rhythms is one of the reasons it has been so fertile for such a long period of time: "La adaptación y fusión del bolero con otros géneros de la música popular bailable ha contribuido al desarrollo del mismo, y a su vigencia y contemporaneidad." (The adaptation and fusion of the bolero with other types of popular dance music has contributed to their development, and to its endurance and timelessness.) This adaptability was largely achieved by dispensing with limitations in format or instrumentation, and by an increase in syncopation (so producing a more afrocuban sound). Examples would be: Bolero in the danzón: the advent of lyrics in the danzón to produce the danzonete. The bolero-son: long-time favourite dance music in Cuba, captured abroad under the misnomer 'rumba'. The bolero-mambo in which slow and beautiful lyrics were added to the sophisticated big-band arrangements of the mambo. The bolero-cha, 1950s derivative with a chachachá rhythm. The bachata, a Dominican derivative developed in the 1960s. The lyrics of the bolero can be found throughout popular music, especially Latin dance music. Vietnam Bolero music has also spread to Vietnam. In the 1930s, the nation grew fond of modern music, which combined Western elements with traditional music. Vietnamese bolero is generally slower tempo compared to Hispanic bolero, and is similar in style to Japanese enka and Korean trot. Such music was romantic, expressing concepts of feelings, love, and life in a poetic language; this predisposition was hated by Viet Minh, who