Ramon Espigul Menendez

Ramon Espigul Menendez: A principal reference

Was Ramón Spigul a good student? Now We know

I was terrible, I just liked, History my background and Literature, Mathematics, Physics and Chemistry were always a torment, which assumed irresponsible responsibility. I gave good troubles to my parents for this item.

What about the Arts? Because son and grandson of two prominent figures of culture…Tell me about the artistic dynasty called.

Yes I was raised in an environment where music and drama were strong. My grandfather, actor Black Theater customary for more data; composer, director and owner of companies that took the joy of harvest time in Cuba, was the example of discipline that my father taught me as child and is not met because he died in 1952.

It maximum was´´The function can not be frozen´´and thus always lived, like my father, actor, composer and director. Both has a specialty and my grandfather spoke nuts earned the name of Nut King. Meanwhile, in his more than 22 years as an exclusive artist for RCA Victor Record, was not just a time that American executives asked him to learn English to do it in that language, it would take to Broadway. Never did by custom and by maintaining a name, my grandfather, my father, my son who works as a sound producer of Radio Taíno.

How is the link with the media?

My mother used to listen to the radio when she did the house chores. Hence comes the memory of songs, boleros, ballads, tangos, sones, danzones and cha cha cha, that after I have served in my work. She sang along to the radio, my father who had all heard said she was out of tune. For me she sang like the angels.

How about the radio?

Yes I feel because I was 21 years and a son and I need to work. My father was an adviser in the drama Revolutionary Armed Forces (FAR) and then combine that activity in the General Staff of Navy and military construction and realized immediately that he had nothing to do with any specialty for which there existed. I confess that I could not ever pull a straight line on paper. More then spoke with Louis Martin, Director of Radio Rebelde, and January 4, 1972 between the Radio and producer of a program the took the air and over 7 years was maintained for 10 to 11pm Sunday. A year later I began to direct.

When was his promotion to director?

On July 1972 with a program to create more Luis Martin was called´´Kids Day´´. More Martin got the best memory, not only as director but as a friend; he was the profession that I have: Radio Program Director. I can never forget, not for that, but as a human being.

Then we can say that their initial training as a director was completely self learning.

I did not know anything about art, but my visits to the theater with my father, who talked at home and meeting with theater friends of my father in tertulias after the function for which they attended and where I was silent witness with anecdotes and theater criteria. Nothing more. Every morning I came to Radio Rebelde O and 23 Street in the basement of the Ministry of Justice in the hole as we used to call it affectionately at 8 or 8:30. I sat in the lobby and to wait for a director to replace missing. I was trying to do Bolo as he was known in the past, especially among the actors. That way all my programs Rebelde less dramatized seriate.

What are the companions who help him more in the beginning?

First of all, those who were already stars as Oscar Luis Lopez, Juan Romero, Pablo Verbitzki, David Campos. As I hand musical education and two other stars: Carlitos Mas and Jorge Luis Valdes Val: I got such programs. Concerning Cuban music Grau Luis Jover and still clung to the knowledge of Manuel Villar. My first musical opportunity was given by Valdes Val one day that he was on vacation in 1963 and I directed ´´Programa De´´.

I assume that you are a direct challenge to stars like Ana Margarita Gil and Hector Fraga, a program that accounts for a large national audience.

I said you send the scripts? No brother you write, Valdes told me Val. Terror immediately. Musical productions and was more or less, since  Charlie had given me the opportunity to produce some musical programs to be exercised and teach the technique of this complex work, which many do not appreciate and think that is just indiscriminately putting musiquita. As I said it was more difficult to manage those people in the study. Gladiators were armed to the teeth with whom I had to face. Ana and Hector it was very good, people have always been straightforward and willing to help those who arrive. I almost copied Valdes Val scripts. I admit that on my way to write much of El Flaco and rack as we called him friendly. Always Douglas Fernández, the first radio announcer with I worked.

Tell me about the programs you do in the first moments.

´´Festival de aficionados´´and ´´Fiesta infantil´´, and ´´Adelante America´´ that I start producing and directing in 1963. Then, by substitution, one day went ´´Un dia sucedio´´ or ´´La Guantanamera´´. Juan Manuel Pons, the director heard the program and requested that I was substituted for any other case and talk to me for attending his recordings. It was a space, imitation of that years ago made Calandria and Joseito Fernández about the blood facts at this moment with other topic. I was in charge of drama situations and ´´La Guajira Guantanamera´´ played by Palmas y Cañas group directed by Miguel Ojeda, it was the first time I faced with Cuban folk music and the decimas that I hated.

Who were the poets?

Celina Gonzalez, Radeunda Lima, Ana Maria Chomat, some times Juana Maria Casas´´the butterfly´´ and Carmelina Barberis. I still hated the decimas with the best known Cuban folk singer but one day Mas Martin suggest me to start directing´´Good morning farmer ´´ leaving at 6 am. Coup the grace for me? Do not you want soup? Take three cups!

Moreover, as he attended the remote with my friend Orlando Campos, excellent recorder of ´´En Orbita´´ and ´´Vivimos en Campo Alegre´´; Rubiera, El Ñato, a priest of the tenth and peasant poetry, I became a substitute him in this important area. The final hit to get as far as a farmer and love today I love.

Later you continue studying?

Yes I graduated from Havana University and finished second year of Theory and Music Theory, music appreciation and some trumpet.

You descend from a family of artists. How it takes to be the son of Espigul?

I must say that bothered me for a long time being´´The son of Espigul. It was no to late I realized that responsibility, that day I felt proud to come from a family of artists, kind and quality. False modesty aside. I think it is a yearning to praise it I know I am Espigul long but I am very happy for having long carried the name Son of Spigul. Because he was my biggest critic and because although I never wanted a son in his own half, was happy with the steps on the Radio. I had the opportunity to work with him as assistant director in the Festival Supporters of the FAR and directed a play´´Prison story of Argentine playwright Osvaldo Dragun in military construction to which I got a prize. It was very demanding, a professional in your area.

Anecdotes, sometimes training aid, educate. How do you see?

Yes… I was waiting for Jorge Rivera, to record in a borrowed studio of Radio Liberation. I had not realized that was arrested with Enrique Santiesteban, who took a break in the recording of the Theater ICRT Channel 6.He asked me what was happening and explained that he was suspending the recording because I was missing a player.

Then looking at the clock told me: Give me the script Espigul giving me time´´. Seeking my hesitation, I asked again: What happen? Give me the script and go to study´´I followed the same until I decided to tell. Henry the problem is that the character has only two sandwiches. He looked at me smiled put my hand on the shoulder and with the voice of father told me: Son the players are half sandwich, if not ask your father. Come on.

This resulted in the landing of staircase Jorge Rivera. I saved the bell. In fact not only where the two sandwiches for Santiesteban as an actor, he was afraid to confront this man directing the action. He saw the arrival of Rivera gave the script, went to the television studio and then slowly he said said´´ Espigul, always remember what you have said and give to your dad a hug.

You are director of Radio Rebelde and Radio Taino even when German Pinelli was there. What did you remember?

Pinelli and Espigul families were closed. Sol Pinelli used to dance with my father and worked in the company of my grandfather as an actress. This great man of the speech he never failed to bring the scripts to their knowledge and wisdom, with the simplicity that characterized it and always with grace Cuban owned.

I remember I had problems in the mouth and not in their best days of reading, had been wrong several times and I…How could I stop German Pinelli? Stopped to correct himself. I then requested permission to adjourn for a moment and asked me who was speaking on the radio.

You direct many programs. What do you consider the most significant?

During my 37 years of my career I have directed many programs such as ´´´Frequency 650´´ of Radio Liberation, a two hour Saturday program from 5 to 7;´´Musica y Juventud´´and others.

Can you mention some actors and actresses?

Coralita Veloz, Frank Gonzalez, Fidel Perez Michel, Obelia Blanco, Yolandita Ruiz, Rosa Maria Medel, Mireya Guillot, Eduardo Macias, Julio Alberto Casanova, Mayito Rodríguez, Carlos Gonzalez, Ana Luisa Rubio and Carlos Gilí.

Are you also a musical producer?

Yes, I produce the independent production´´Mi negra se porta mal´´by Caña Santa septet.I am very grateful to my parents, my wife and my coworkers.



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