The introduction of radio to Puerto Rico dates back to 1916, with commercial stations first appearing in 1922. It was the third jurisdiction in the world to be retrofitted with radio transmitters. The archipelago also hosted the second station in Latin America. As such, Puerto Rico had transmissions before Washington D.C., despite the latter being responsible of designating the coordinates of local stations. During the early years, pioneers like Antonio Torres Martinó and Teófilo Villavicencio lead what was an experimental stage, which has been loosely documented. This was followed by the "Golden Age", which has been variably stated to cover the 1930s-40s or extend into the 1950s. The arrival of television during the mid-20th Century displaced the technology to the second place among the local media, but it continues to retain a large presence to the present day despite the advent of the internet. In Puerto Rico, May is recognized as the Month of Radio.
History First transmitters and radioaficionados As far back as 1916, amateurs had begun experimenting with the construction of small transmitters and receptors. Among them was Joaquín Agusty, who had studied the literature that he could order, such as Electro Importing Company magazine that allowed him to assemble a makeshift receptor (which included an electric coil, battery, bronce wiring, a condenser, and an antenna supported by bamboo posts) at San Juan, with which he received his first transmission. After being interrupted by World War I, he continued tinkering as he continued intercepting signals. By 1920, Agusty (who remained the only with the technology to send messages) joined Jesús T. Piñero, Facundo Bueso, Luis Rexach, J. Maduro Ramos and his stepson Enrique Camuñas in creating the Porto Rico Radio Club. That same year, Camuñas became the first Puerto Rican to receive a radio aficionado license, being followed by the rest. Agusty also created a magazine, Puerto Rico Radio News. Amateur receptors reportedly received signals in international code and KDKA. The sound, which was completely foreign to the general populace, attracted superstition.
WKAQ begins the commercial era By August 1922, there were around six amateur stations at Puerto Rico, when the first formal station began being assembled at Tanca street in San Juan. During the following months the staff, among whom was Agusty, began assembling the equipment including a 500-watt transmitter and a couple of steel towers (one 90 feet tall and the other 180). The tests that were conducted proved successful. On December 3, 1922, Agusty himself hosted WKAQ's first official transmission (the fifth of its kind in the globe) which opened with a rendition of La Borinqueña. The participants were nervous and wondering if they were being heard, but the show went on with an inaugural speech by Emilio del Toro Cuebas and music by Isabel Soria, Elsa Rivera Salgado, Antonio Vidal, Rafael Balseiro, Carmen Sanabia de Figueroa and Pepito Figueroa. Soon after, the public began calling the station and confirming that it was on the air. Agusty offered a speech in his role as president of the PRRC, before another music spell closed the transmission. The first remote transmission took place the same evening, Joaquín Burset's (the station's artistic director) orquesta live from Cine Rialto. The shows held at La Cafetera, an establishment frequented by WKAQ's staff, were also frequently aired.
Meanwhile, sales boomed in the metropolitan region of Puerto Rico with radio devices being bought by both individuals and businesses. Those that could not afford them, began visiting acquaintances that did. In more rural areas, the development was seen with more skepticism, while a superstitious minority still remained. The Puerto Rican danza (including the work of Juan Morel Campos) was ever present in the music shows and featured among those of Rachmaninoff and other foreign genres like foxtrot and opera. Agusty constantly recruited artists to perform for WKAQ, including a cameo by Antonio Paoli.
Conferences, conventions, religious programming and news of events were also part of WKAQ's programming. Francisco Quiñones became the first "popular singer" to perform for the station, helping it reach the masses. Besides being the administrator, Agusty also worked as director and announcer during this stage. Afterwards, Sanabia and Pepito were joined by her other son, Narciso, and became a recurring act along the Rialto and Jesús Figueroa orquestas. Trying to employ the hours were the interference of foreign stations was at its lowest, Agusty began a successful midnight show with the collaboration of Augusto Rodríguez and Rosa María Berrios. Despite having to drive the artists home himself, the show's audience reached Spain and Checoslovaquia. By 1923, WKAQ was hosting original special programming, like the Christmas show.
The early years included the participation of artists like Rosa María "Rosita" Berríos, Reynés Agudo, Josefina Guillermety, Gladys Peters, Padre Laburu, Rafael Agudo. Early programa included Los Jíbaros de la Radio, La Tremenda Corte, Los Embajadores del Buen Humor and El Tremendo Hotel, with Rafael Agudo being a fixture in them. WKAQ continued a variety programing, which also included sports, until 1928. A paid tribune for defunct political party Alianza Puertorriqueña was the first political show aired locally, after which a convention of the Socialist Party was also covered. The experience they acquired locally allowed them to have opportunitie abroad, Pepito and Narciso Figueroa participating in the first radio show ever aired in Spain. He had taken the role after declining an initial offer from the Radio Corporation of Puerto Rico. He was joined by Manolo Ochoa, who began working as an amateur for the station.
During its first decade, the station earned listeners in Canada, Cuba, the Dominican Republic and the United States. However, the progress of the medium was systematic and slow. During its first years, WKAQ operated at a loss, since it was still not commercially oriented (it featured programming similar to WJZ, while Burset began bringing in new artists), and only one hour per week. Afterwards, this improved to three. The weather report, especially during the hurricane season, was a priority and would warrant special transmissions. After Agusty retired, Manolo Ochoa succeeded him in leading WKAQ.
By 1928, WKAQ had spent over $91,000. Two years later, the station's potential for commercial programming was evident since 25,000 listeners were joining on 4,000 devices. The first radio novela (also the first radio drama), Los Misterios de Paris, was sponsored by a perfume store. By this decade, horse races were popular and gathered high ratings, but forced Agusty to build a remote amplifier. Compañía de la Luz, Revista Alma Latina, Arturo Somohano, Hermanos Berríos among other shows aired as radio had gathered widespread adoption throughout Puerto Rico.
The Diplo era Starting in the 1930s, a number of figures participated in radio, coming to the medium from theatre and other artistic manifestations. Teófilo Villacencio, who became prominent as a radio host during the 1930s, convinced Luis Muñoz Marín to use radio as a propaganda tool. Local radio had also captured the attention of stations abroad and on October 31, 1930, New York-based WGY aired a Puerto Rico special. The industry also experienced several changes during this timeframe, Cecilia Torres became the first woman to take over a control board, doing so for WNEL. On April 2, 1931, WKAQ transmitted a Pedro Albizu Campos transmitted a speech at the behest of Federico E. Virella, distancing from the more popular and giving voice to a political group that was not part of the establishment. This marked the beginning of a tendency of other political parties using radio as a means to promote their platforms.
Four more stations were created in Puerto Rico; one at San Juan, Mayagüez and two at Ponce. Figures like radio hosts Teófilo Villaviciencio, Rafael H. Benítez, Pedro José Martínez, José Antonio Martinó and Antonio Cruz y Nieves, among others, gained prominence within the expanding industry. The consecutive passing of hurricanes San Felipe and San Ciprián in 1932 destroyed one of WKAQ's towers, briefly hindering the booming industry. Payo Acosta built an unauthorized station at Cayey, trough which several figures including comedian Ramón Rivero (better known for his stagename "Diplo") debuted. In 1934, newspaper La Correspondencia sponsored a radio periodical transmitted trough WKAQ. The show, hosted by Rafael Quiñones Vidal, later moved to WNEL. His son, Rafael Quiñones Borrás served as radio host. Director Víctor M. Molina hosted Radio Souvenir. Domingo Díaz and his eponymous son hosted the station's noon show. Meanwhile, horse race narrator Pedro Martinó Suárez directed Radio Arte.
On November 17, 1934, Juan Pizá's WNEL became the second station to operate (500 watts) at San Juan, with its Calle Sol headquarters being inaugurated in a ceremony that included the participation of several government and religious officials. It later became the first local station to affiliate itself with the Transradio News Services and National Broadcasting Company. WNEL also gained notoriety for bringing in foreign artists along programming such as Reinaldo Paniagua's La Hora Social. WNEL eventually moved to Calle San Francisco and improved to 2500 watts during daytime and 1000 watts during nighttime. José Arzuaga served as the station's chief technician, while Juan Oteyza was the chief of control. WNEL's radio hosts were Camilo Fraticelli, Rafael Benliza and Raymond Costello. By 1935, the government had begun to acquire air time as part of a program affiliated to the Department of Instruction.
While theater plays were adapted for radio, airing trough WKAQ and WNEL, comedy would soon earn the top spot. Radio theater featured the likes of Lucy Boscana, Rafael Oller, Lolita Lázaro, Guillermo Bauzá, Esther Palés, Cecilia Cavero, Alfonso Miranda Sr., Juano Hernández, Madeline Williamsen, Alfonso Miranda Jr., Olga Lugo, Walter Bothwell, Adelaida Gatell, Rafael Agudo and Ramón Pardo. Radio comedians included Enfraín "Pan Doblao" Berrios, Tavín Pumarejo and Osvaldo Seda. El Tremendo Hotel featuring Rivero, grew to be the highest rated show and focused on his figure so much that it became colloquially known as "Diplo's program". As technology continued to advance, the local stations invested in new equipment. Initially, phonograph records were used for the station and sponsors. These, however, were susceptible to heat and other forms of damage. Wire recorders were introduced afterwards, but proved just as unreliable and abandoned shortly afterwards. Ultimately, the reel-to-reel tape recorder was the first device that allowed for reliable recording.