By Arquímedes Romo Pérez

~ The voice of Morón ~ born in April 1931, is inserted in the already traveled design of the precursors and maintains the traditional characteristics of the historical stage: short wave transmitter, without reproducing machines, absence of audio console and microphone of coal, through which all kinds of programs are carried out.

When broadcasting music, it should be done by placing the microphone in front of the speaker of the victrola or gramophone.

There is not properly a radio program conceived or prepared previously; the entire work is mounted on the spontaneity and knowledge of the director.

When 10 years after the departure of the CMJP the CMJX enters the radio events of the municipality, even in much of the country the initial ideas are preserved and the criterion of artisanal realization subsists, since there is an almost total absence of essential technical means today for artistic-radial creation. A large part of the programs that appear on the first grid of Radio Morón are ideas of the inexperienced workers themselves, and they respond to the cultural and creative levels of their creators, all empirically trained and without prior knowledge of the environment.

The incipient artistic work is subjected to these great obstacles, which, directed to a wide receiving universe, is marked by the social reality of the time: generalized ignorance, youth without a future, women dedicated to the home and discriminated against, peasants and workers without possibilities; this way this listening public receives the station making it their own and, in addition to receiving it, they participate, write letters, want to hear their name, seek contact and friendship with those new friends who come to their house every day.

The peasant programs are the most listened to and the poets loved and admired, the popular music spaces do not cease to reiterate the fashionable danzones, while the most popular announcer of the new station, Rafael (Chicho) Morales, host of ~ Meridano Campesino ~, ~ Taking Hatuey ~ and ~ La Jamaicana Billetera ~, is immortalized with two other spaces that win the favor of that noble audience: ~ In a corner of Mexico ~ and ~ Melodías del Plata ~.

Knowing the mass of listeners who accompany him daily and follow his programs, Morales unfolds and, just as he stars in the space of the Jamaican Billetera, in an acting role, he moves every afternoon imaginatively, from Morón to the Federal District and from there to ~ My dear Buenos Aires ~. In both spaces, his oral expression takes him to the level of a national of those brother Latin American countries, Mexico and Argentina, he makes an acceptable imitation of the intonational characteristics of both nationalities and leaves an imprint that takes so much on the listener that he becomes his idol. .

In this stage where the commercial prevails, each space with a proven audience increases its value, without the concept of quality prevailing. The first thing in the radio system of the commercialized age is that the offer is liked, using any means: red list, blackmail, gossip, ignorance, adultery, etc., everything that happens in a suffering and mistreated society has space in this tribune where the brand, the entity or the product is the most important thing, no matter the value of the art, or the beauty of the packaging.

Today when we are separated by more than half a century from the early days of the media in Cuba, we can become aware of the world of ignorance that radio surpasses by remembering that, among the most listened to programs in the entire nation, is ~ La guantanamera ~ whose content does not has another attraction to present, with all its cruelty, the most horrifying bloody event of the day or ~ The Clavelito program ~, an inconsequential repentista poet, who finds the lazy way of life on a microphone and becomes famous as a fortune teller, by have all the people of Cuba place a glass of water on their radio set and ask for their wishes.