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March

Pacifica Radio, history, shows and controversy

This is Pacifica Radio

Pacifica Radio has been one of the largest radio networks in the United States in recent decades and its importance remains enormous today despite the time elapsed. It has given voice to figures of all kinds of political and ideological trends and artists from all genres who sought a platform in order to be heard. However, such popularity does not make this organization to be free from controversy that, like its history and shows, we would also like to explore with the greatest possible respect.

Next, we will talk about the most outstanding to observe about this radio station since its beginnings from 1946 to this day, since talking about Pacifica Radio is also talking about communication in the United States and the role played played by Latino culture and music in all of this.

Logo of Pacifica Foundation
Logo of Pacifica Foundation

Beginnings of Pacifica Radio

Pacifica Foundation is a non-profit organization that owns five independent radio stations financed from listener contributions. It is widely known for its progressive and liberal tendencies and is located next to KPFK in Los Angeles, California.

This organization is also responsible for managing everything related to Pacifica Network, which, in turn, runs much more than a hundred affiliated stations with all kinds of shows and content, although it specializes on political and social issues to varying degrees. It is the oldest radio network in the country and the oldest non-profit network in the world, which speaks of Pacifica’s relevance compared to other media.

It was founded in 1946 by E. John Lewis and Lewis Hill after the Second World War. Both men were totally anti-war and refused to perform military service as conscientious objectors. They joined other pacifists to create Pacifica Foundation, whose first station started to air on April 15, 1949 in Berkeley, California.

Being true to the beliefs with which they started this project, the founders gave voice to all those who were against the Korean War the following year along with many other minorities who could not find means of communication to express their views contrary to the majority position of the time.

The station started operating in several cities over the years due to its enormous success and the following radio stations were created in several cities: KPFA/94.1 and KPFB/89.3 in Berkeley, California (San Francisco Bay Area), KPFK/90.7 in Los Angeles, WBAI/99.5 in New York, KPFT/90.1 in Houston and WPFW/89.3 in Washington, DC.

Lewis Hill, co-founder of KPFA and Pacifica Radio
Lewis Hill, co-founder of KPFA and Pacifica Radio

Operation

Pacifica is governed by a board of directors that sets out the policies that determine the organization and oversees the network operations. The board is comprised of representatives from each of the stations that comprise the foundation, as well as directors elected by the Pacifica community.

The members of this board are elected and replaced every three years and have regular meetings to discuss issues related to the operation of the foundation and decision-making regarding the management of the network. It is from there that the use of resources donated by the audience is being decided.

The board members are as follows:

Lydia Brazon (Chair), representing KPFT in Houston, Texas

Sabrina Jacobs (Vice-Chair), representing KPFA in Berkeley, California

Alex Steinberg (Secretary), representing WBAI in New York City, New York

Donald Goldmacher (Treasurer), representing KPFA in Berkeley, California

Christina Huggins, representing WPFW in Washington, D.C.

T.M. Scruggs, representing WBAI in New York City, New York

Janet Coleman, representing WBAI in New York City, New York

Cerene Roberts, representing KPFA in Berkeley

Pacifica Foundation’s Latino shows

If there is something Pacifica Radio has stood out is for the enormous space provided to the Latino community to spread its music and culture in general. That is why there have been many shows entirely dedicated to these topics and whose hosts have been Latinos or children of Latinos.

KPFA has Luis Medina and Emiliano Echeverría, who are in charge of hosting the show ”Con Sabor”, which specializes in artists and news related to salsa, Latin jazz, Afro-Cuban and Afro-Caribbean music, among other genres. In addition, they also interview these artists, provide the audience with the musical calendar and offer concert tickets.

Broadcasters Luis Medina, Chata Rodríguez, and Emiliano Echeverria
Broadcasters Luis Medina, Chata Rodríguez, and Emiliano Echeverria

In the case of KPFK, the Latin community has the well-known show ”Canto Tropical” hosted by Kathy Diaz and Hector Resendez, whose work is focused on promoting the main Latin music genres such as Latin jazz, Afro-Cuban music and salsa. They also focus on interviewing and giving space to both local and foreign artists to promote their talent and be made known to the widest possible audience.

Host of ''Canto Tropical'' Kathy Díaz and host of ''Alma Del Barrio'' Eddie López
Host of ”Canto Tropical” Kathy Díaz and host of ”Alma Del Barrio” Eddie López

On WBAI, ”Salsa Con Candela” is a weekly celebration of the rich history and diversity of the salsa music genre. The show hosted by DJ Candela includes a mix of classic and contemporary songs, as well as interesting and enlightening interviews with artists and important figures in Latin music culture.

Another noteworthy Latin program is ”Salsa y más” on KPFT, which explores in detail the world of salsa and other important Latin genres. The program hosted by DJ Leonard Trujillo, as well as ”Salsa Con Candela” also offers a mix of Latin and contemporary songs along with interviews with local and international artists.

And finally, WPFW has ”Latin Flavor”, a program dedicated to the most important Latin genres such as salsa, Latin jazz and many others. The show hosted by DJ Jim Byers explores the cultural and historical roots of Latin music and provides a platform to present new artists from around the world.

Locutor Jim Byers
Locutor Jim Byers

Controversy

Since the beginning of this foundation, its stations have been embroiled in a series of scandals that have not gone unnoticed by telecommunications and the community at large, especially political and ideological. Among the many events suffered by Pacifica, we cannot fail to mention the requests from the government to obtain the recordings of some shows, controversial interviews such as the one with Che Guevara, reports about embezzlement of funds, financial crisis, among many other things.

In 2020, it was learned that some Pacifica listeners, volunteers and donors have created an organization called Pacifica Safety Net with which they seek to expose mishandling and attitudes of Pacifica’s board members, whom they accuse of compromising the main mission of the station network. The members of this group have filed a lawsuit against this board for prevarication and mismanagement, assuring that the board’s lack of leadership resulted in the loss of many revenues in the station network and, therefore, caused a serious problem of solvency in the organization.

KPFA's building
KPFA’s building

A great example of this mismanagement is the reduction from 120,000 to 40,000 members the network has today, as was the case in just a few years. There are also many complaints about the type of programmes broadcast by the network in recent years due to their high content of hate, conspiracy theories, racism and a lot of things that did not represent the values upon which Pacifica Foundation was based.  

In that sense, the members of the aforementioned committee make an urgent call to all members of the radio network to recover these spaces to go back to the main mission of the foundation, which unfortunately has been taken by other interests completely unrelated to those of the donors, workers and listeners.

In 2019, the network was able to get a $3 million loan that would allow it to pay part of the debt accumulated up to that date, but the possibility of the foundation achieving long-term financial stability is not even close to being a fact. Due to mismanagement, the foundation is not able to pay this amount back, so it is forced to cut costs. This reduction in income is causing the board of directors to seek to sell the building where WBAI operates, which had been given by the Empire State Realty Trust (ESRT) in exchange for a rental agreement that is quite detrimental to the foundation from the point of view of current and former workers.

The Empire State Building, where WBAI FM is located now
The Empire State Building, where WBAI FM is located now

Wit regard to this issue, Mexican broadcaster Jesse ”Chuy” Varela, who worked for several years at KPFA, told us a little about the irregularities presented both there and at other stations where he worked. The radio professional points out that there have always been serious communication problems between administrations and workers. ”The board always thinks they can do something better with the money raised and spend a lot of resources without notifying the audience about what they are doing. When you ask for money from the listeners, they have to trust that when they give it to you, you are going to put it to good use” declared Varela.

”I knew of many cases where executives who had meetings in different cities, stayed in expensive hotels and ate in exclusive restaurants. I consider this is an abuse and a lack of respect for those who donate their money. I have seen this in all the stations where I worked unfortunately. In this sense, trade unions play a fundamental role to avoid these kinds of problems” the broadcaster continued.

Announcer Jesse ''Chuy'' Varela at KCSM Jazz 91
Announcer Jesse ”Chuy” Varela at KCSM Jazz 91

As for other announcers and former Pacifica Radio employees or managers, they did not want to make comments in this respect. We presume that this could be because of possible reprisals due to the power accumulated by the largest radio network in the United States.

It should be noted that everything written here is based on testimonies of others that have not yet been confirmed, so we neither confirm nor deny any of the facts as presented here.

Read also: Two radio programs of the salsa movement in California

Interview with Colombian singer-songwriter Potty Lozano

Conversation with Potty

It is a great honor for us to announce that we have spoken with the talented and prodigious Colombian singer and songwriter Potty Lozano, better known as Lozano, who had the kindness of spending a few minutes of his time to talk about his story, his former groups, his release as a solo artist, his current projects and much more.

Here are the most important details of the nice chat we had about the most interesting aspects of his career.

Potty Lozano singing on stage
Potty Lozano singing on stage

Arrival in the United States

Potty has been living in the United States for over 30 years to further advance his career, which began in his native Colombia. That same year in which she came to the United States, the Kambaro Orchestra, a group where she participated, won the ”Congo de Oro” prize in the category of ”New Orchestra Of The Year”. The aforementioned award is one of the most important in Colombia and is given as part of of the world famous Carnivals of Barranquilla.

The reason why he left his native country is that he wanted to look for new airs and go international as a romantic salsa artist, something that would be extremely complicated if he continued to live in the same place. Thanks to the hard work of the artist, he managed to sign with the record label FONOVISA/MUSIVISA and turn his situation around.

It was the beginning of very successful years, touring Mexico and across the entire European Union and constant professional growth as time progressed.

When did you decide to go solo?

Lozano has said that it was precisely the award he won with the Kambaro Orchestra which motivated him to make progress in other areas of the music field. Another of his main motivations was the success of his song with the Cachaco Orchestra ”Si Tú Supieras”, which led him to continue making romantic salsa for a few more years under the label FONOVISA until the cessation of his contract with this record company. ”That’s when I decided to make some changes in my independent musical life with my own style, have the power to decide, choose songs to please myself and be free to make fusions between Latin Jazz, Bosa, Bolero Jazz and some Caribbean fusions” said the artist.

Potty Lozano next to songwriter and musician Francisco Zumaque
Potty Lozano next to songwriter and musician Francisco Zumaque

When asked about the best time for an artist to pursue a solo career, he replied that artists gradually mature both musically and personally, leadings them to the point where they feel ready to take that important step and decide that there is a high probability of success. ”There is a click or reset in your senses and you do what you think you have to do, but the important thing is to get it right”, he added.

Differences between commercial salsa and non-commercial salsa

Regarding this important issue, the singer-songwriter replied as follows: ”I love traditional salsa and it is the basis of everything that follows. I am from that generation, but I also grew up in an atmosphere of jazz, bosa, bolero, Colombian street genres and a lot of American pop music, so my brain mixes all that set of rhythms and fuses them in several ideas presented in workshops with my music producers. That’s why I don’t make COMMERCIAL radio music, which every day is more disposable and meaningless, my target has always been cultural, music with soul, harmony, intelligence and possitive messages and effects, but above all, pleasant the ear as music should be”.

He also pointed out that he mixes these genres according to his own musical tastes and the music he listened to when he was a child. All of this with the support from the members of his work team, who are on the same page, although they contribute their own ideas.

Potty Lozano during an interview
Potty Lozano during an interview

”Aquel Loco Miami”

In terms of his latest single ”Aquel Loco Miami”, he told us that ”it is the preamble to a CD in which we are working on, whch is also full of melting pots and rhythms such as salsa jazz, a little conventional salsa with fused touches and more modern salsa using fusions”.

Aquel Loco Miami is a song penned by BRAULIO, a famous Spanish singer and songwriter who is allowing me to record several of his songs. It is a chachachá song where there is no apology to the crime or what happened in Miami in the 70s/80s/90s. It’s just to remind the new generations that negativity can also bring positive things and Miami was in his time the Mecca of Rumba and enjoyment and, despite the violence there was space room for fun”-

Read also: Almost two years of Leon Gast’s departure to another plane

Steffen Kuehn and Christian Tumalan talk about their musical roots and orchestra

Preamble

This time, we are going to talk with German producer, arranger, composer and trumpet player Steffen Kuehn and Mexican bandleader, composer and musician Christian Tumalan. Both are at the head of the Pacific Mambo Orchestra and share the role of co-executive director of Pacific Mambo LLC and Pacific Mambo Records. Also, each has his own record label and separate musical achievements, but unify their skills to make the group they have in common one of the best in the United States.

Both expressed their points view about the orchestra, the work they do in it and what each one has done in music in general. These views reveal that quality, professionalism and adaptability are the main values on which the orchestra they lead is based.

Steffen Kuehn at the Tempo Latino Festival in France
Steffen Kuehn at the Tempo Latino Festival in France

A bit of Steffen’s story

The start of the conversation focused on the beginnings of Steffen Kuehn, who ackowledges having been a musician all his life, since he started playing the trumpet when he was just eight years old. He attended the University of North Texas to start his formal music education and learned to arrange music, compose and specialize more in the trumpet. He now focuses on is teaching trumpet, playing for the orchestra, arranging, selling music for television and movies, among other activities (all  have to do with music).

When we talk about his written publications, he mentioned a instruction book to help beginners to play the trumpet some years ago. Today, He is working on a second book and a new record production. What he has planned for Pacific Mambo is to make about 10 songs for its new album, of which two have already been made.

Christian’s musical background

Christian told us a bit about his musical training and confirmed that he studied piano for more than 10 years. He has also played piano since the age of 14 when he was in high school and started much more formal musical training at the age of 15. It can be said that he was already an expert at playing both instruments after a decade of much dedication and practice.

When asked about his roots in jazz, he commented to us that almost all jazz musicians have some training in classical music and direct access to technical elements with the instruments. His goal in learning about classical music was not to become a performer dedicated only to that style, but to gain as much knowledge as possible about music in general and to improve his piano skills.

Christian Tumalan plating the piano
Christian Tumalan plating the piano

How do you apply German and Mexican heritage to the music of the orchestra?

As for this interesting subject, both artists pointed out that polka music and Mexican banda music were very similar in terms of sounds and instrumentation used for both. In Steffen’s case, he was always very interested in going to the United States to learn and study about jazz, how and where it originated. He comments that, if he had wanted to study classical music, the best places would have been Germany, France and Italy, as many of its greatest exponents come from there.

Both Christian and I went to the root of how the jazz movement started, how it originated and developed over the years. However, I studied Latin music here in the United States and my Colombian roommate at the time explained to me a lot of things and introduced me to a lot of Latin rhythms I have ever heard before,” said Kuehn.

They both started to introduce jazz and this knowledge to the music of the orchestra. About this, Christian said that the mixture of rhythms was like ”a battle of entities” in which they were looking for what works and what does not work, since not everything can be mixed. ”What I usually do is combine my knowledge in classical music with my own Big Band arrangements,” Christian said.

”The fact that we have musicians from various countries in Europe and Latin America has helped us a lot to see different perspectives. Also, due to the number of musicians we are, we can play in different styles that other groups cannot” added Steffen.

Christian Tumalan and Steffen Kuehn during an interview with Jesse Chuy Varela
Christian Tumalan and Steffen Kuehn during an interview with Jesse Chuy Varela

Skills they look for in their musicians

Steffen pointed out that the first thing they look for in their musicians is the chemistry we can have with them. In this sense, he mentioned that he has met excellent musicians with whom he does not get along with at all, which makes the work environment very heavy. Therefore, he does not take them into consideration for the orchestra because, if there is no chemistry and an atmosphere of respect, everything else does not work.

Another thing that the performer considers important is the spirituality of music, which many times is not attained by all musicians. When a musician opens up to the spirituality of the music, that’s when the magic happens and the chemistry hits us. We are very fortunate to have so many musicians who share this feeling and have reached that point as we have,” he added.

How do you share roles in the orchestra?

Christian commented that both he and Steffen were very good in different areas separately. Steffen has a quite charismatic way of communicating with people and knows how to earn the respect of others very quickly, while I focus more on the technical and musical aspects of the group. I think that complements us very well”. He also said that the German was very good with information and details such as tours, hotels, flights, names, taxes, among other things.

When Steffen’s came to talk about his partner, he said that he knew a lot about everything to do with music technology, stage direction, tempos, editing, mixing, video, audio and many other things. He confesses that he is unable to do many of these things, so they are left to Christian.

Read also: Multi-Percussionist Carlos Navarro and his Son Y Clave Orchestra

Orlando Poleo a teacher from Sarria direct to France

Virtuoso Multi-Percussionist Orlando Poleo from Sarria to the World.

Orlando Poleo with a long trajectory in Venezuela, he has been standing out for his talent with a music that develops between jazz, Cuban son and Afro-Venezuelan rhythms.

He learned to master the Afro-Venezuelan percussion of Barlovento with one of his best disciples, the great percussionist Miguel Urbina.

In 1987, he moved to Cuba, where he deepened his knowledge of Afro-Cuban rhythms, with emphasis on bata drumming.

Orlando Poleo a teacher from Sarria direct to France
Virtuoso Multi-Percussionist Orlando Poleo from Sarria to the World

Orlando Poleo learns to play Afro-Puerto Rican percussion, bomba and plena with Cachete Maldonado, Giovanni Hidalgo and Anthony Carrillo.

Descarga y Alegría with Poleo in 1991, Orlando arrives in Paris where he is requested by well known orchestras of the local Latin scene: Alfredo Rodriguez, Azuquita, Ernesto “Tito” Puentes, and at the same time he is invited by international artists touring Europe: Eddie Palmieri, Arturo Sandoval, Mongo Santamaria, Kip Hanrahan, Archie Chepp, Chico Freeman.

He meets the French singer Danny Brillant who proposes him to accompany him on his tour in France and French-speaking countries.

With his group “Chaworo“, created in Paris and joined in 1997 by the Venezuelan vocalist Carlos Esposito, Orlando Poléo plays in many festivals, including the famous “Jazz in Marciac”.

The famous French singer Bernard Lavilliers invites him to the “Francofolies de Spa”, Belgium, and to the Arenas de Nîmes.  On December 10, 1998, he participates with Tracy Chapman, Youssou N’Dour, Peter Gabriel, Bruce Springsteen, Kassav’, among others, in the great celebration of the fiftieth anniversary of Amnesty International in Paris-Bercy.

He performs with Chaworo at the Midem in Cannes in 1999 and obtains a real triumph. In Deauville, he shares the bill of the festival “Swing in Deauville” with Joe Cocker and Joan Baez.

VirtuVirtuoso Multi-Percussionist Orlando Poleo from Sarria to the World
Learn to master the Afro-Venezuelan percussion of Barlovento with one of his best disciples, the great percussionist Miguel Urbina.

He also has a long experience in pedagogy since he taught for ten years in Conac from 1981 to 1991 and in Fundarte from 1992 to 1991 in Caracas until his departure to Paris France in the same year, in France and internationally he has given master classes of Latin percussion in conservatories, schools of different styles of music, he has also been a jury of final exams in different institutions.

Since 2001 he has been part of the teaching staff of the prestigious Music School (CMDL) of the great French violinist Didier Lockwood, recently deceased.

Orlando Poleo, is considered one of the best percussionists of the Latin jazz movement worldwide and has recorded three albums distributed by Sony France: “El buen camino“, “Sangre Negra” and “Lo bueno de la vida” and the fourth album “Curate” distributed by the Cacao Musica label.

In France, in a town two hours away from the capital, Saint Cyr Sur Loire, there is a percussion classroom in a classical music school that bears his name.

He meets the French singer Danny Brillant who proposes to accompany him on his tour in France and French-speaking countries.
Multi-Percussionist Orlando Poleo from Sarria to the World

Orlando, continues to teach Afro-Caribbean percussion in France and also in the whole world he is requested to give master classes, workshops, etc.

In 2004 Orlando creates Afrovenezuelajazz to continue evolving in the fusion of various styles of traditional Venezuelan music such as La Fulía and Quitipla de Barlovento, Joropo, La gaita de furro de Maracaibo and other Latin American styles with Jazz and other musical horizons using traditional Venezuelan percussion instruments and other Caribbean countries, most of the repertoire of the group is completely original and that is another interesting feature of this project.

It is important to highlight that in 2012, the Amphitheater “ORLANDO POLEO” was inaugurated in the Endogenous Nucleus “Tiuna El Fuerte” located in the parish of El Valle de Caracas.

In that same year he was invited by the Tokun Orchestra to accompany figures of the stature of Larry Harlow, José Alberto “El Canario”, Tito Allen, Luigi Texidor and Alfredo De La Fe for two memorable concerts.

Orlando Poleo receives on May 16, 2016 another great recognition from the French Senate (Senate medal) for his eminent contribution to the relations between Venezuela and France and is invited along with the other awardees from the other Latin American countries to a reception at the Palais de L’Élysée (presidential palace) by the former President of France Francois Hollande.

Since 2015 he is part of the famed group of the great Cuban flutist Orlando “maraca” Valle and his Latin Jazz All Stars and have toured the United States, France, Lithuania, and Havana Cuba.

He is currently recording his fifth album and is scheduled for release in summer 2019.

Orlando was invited to give a musical conservatory on March 2, 2018 at Unearte.

A teacher from Sarria direct to France

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.