JAM: April/May 2002 Issue: Q&A with Robert Barrientos

ROBERT BARRIENTOS

JAM talks with KKFI's GM about turmoil, housecleaning, and (jazz) harmony in a world of difference.

JAM: Let's begin with some background on your career. How about a chronology of what led up to your appointment as general manager of KKFI.

RB: Well, before coming to KKFI, I was the marketing and sales director at the American Heartland Theater. That was from about 1995 to 2000. From 1989 to 1994 I was the marketing and development director at KCUR. And I owned my own art brokering and frame company from 1982 until I sold it in '89. I was the general manager of a public radio station in El Paso, Texas from 1980 until 1982. And prior to that I worked in public radio at KMUW and commercial television, the ABC affiliate, in Wichita, Kansas. I was also the local producer for "Jazz Alive" in conjunction with the Wichita Jazz Festival from 1974 to 1979.

JAM: OK, back to the present. Now that you are at the helm at KKFI, we probably need to address all the turmoil that rocked the station last year in the wake of your arrival. What was that all about?

RB: I was trying to get everybody into compliance. It was primarily about that.

JAM: What do you mean by "compliance?"

RB: FCC compliance. CPB compliance.

JAM: CPB stands for...

RB: Corporation for Public Broadcasting.

JAM: Would you like to address the controversy in more detail? After all, it was quite prominent in the press there for a while. Kinda still is.

RB: In 1999, when I interviewed (for the job) -- and believe me, it was going to mean taking quite a (pay) cut, but I wanted the challenge because I felt the future of radio in the coming years would be challenging with the all new technologies, such as satellite radio and webcasting on the internet -- at that time, in 1999, when I was thinking everything through, I realized that it could be a very exciting opportunity. I thought: no matter if you were a commercial station or a non-commercial station, everyone was going to be equal because of the new technology. Just like what happened with radio when FM became the dominant frequency.

Anyway, when I interviewed in November of '99, I was told several important things: that KKFI had started a capital campaign; that since 1997, the station was supposed to move and that a committee had been formed to look for a new location; that another committee had been formed to develop a design for the new facility as well as a budget for the move itself.

There was also a committee that was supposed to raise the money: the capital campaign.

Along with all that, I was also informed that KKFI had already submitted its vacancy notice; you have to notify the landlord a year in advance, according to the lease.

Again, this was in November of '99. And that's what I was told they had done.

Well, when I finally got the job in June of 2000, the first week I was there (laughs) I said, "So, how's the capital campaign going?" Do you know how much money they'd raised? $1200. Did they have a (new) facility? Nope. Had a decision been made on a new location? Nope. Was there a new design? And a budget for the move? Nope.

Like I said, this was in June of 2000. We had already given our vacancy notice, and guess what? No one had talked to the landlord. So again, not only were there compliance issues, but: you can't run a business like that!

I then had to try to negotiate an extension of the property lease. And I also had to decide if it was reasonable for us to have a capital campaign, no matter what kind of lease extension I negotiated! Also, no one had done an inventory here at the station to see what equipment could be moved and what couldn't! The so-called "committee" that was supposed to do that never did.

And then I was told that the FCC had sent us a warning back in 1998 that we needed to get the tower painted. In June of 2000 they hadn't even gotten any bids! So I had to take care of that, too. And then I found out that, guess what: KKFI didn't even have a budget process! Nor did they have a voucher system in place! Nor were the business and corporate records here at the station.

JAM: So, in other words, you inherited a real mess...

RB: (laughs) Oh, I haven't even finished yet! Then I received a letter in October of 2000 from the Corporation of Public Broadcasting informing us that we were going to be penalized because, since 1998, they had been trying to get the attention of the board and the past management about problems with (the size of) the audience. We were then penalized 25% of the money we receive from the CPB, we were decertified to a lower level, and they gave us a strong warning that if we continued with these low numbers, we would be completely decertified by the Corporation of Public Broadcasting. And the CPB pays our royalties to ASCAP and BMI!... in addition to giving us certification and credibility. We were looking at a $50,000 hit there.

And on top of all this, I learned that there were problems with KKFI's by-laws! So yes, I took on something that I wasn't really prepared to do.

JAM: We could go on and on about these things, but it's the near-revolution by KKFI staffers that ended up in the press that probably needs more clarification. Why has there been so much resistance from the troops?

RB: Because for a lot of them it's a control issue. When they were in control, they got to do whatever they wanted to do. Then I came in and said: No. You now have a professional manager. And just because you've been here a long time doesn't mean you don't have to follow rules and regulations.

Like I said, for the past year and a half, a great deal of what I've done has had to do with compliance issues. Here's another example. There were also matters to do with copyright. Before I arrived it was not unusual to hear things broadcast that had no clearance! Now, we all know how important it is for someone who owns an artistic license to get paid. And to not take care of that is against the law! From such simple things as that, to complying with state regulations about where records were being kept, there was a lot of housecleaning to do. And some of the older staffers have resisted the change.

JAM: OK, let's move on to the main theme of this issue: jazz on local radio. Any general observations you'd like to make, now that you've spent some time at one of the area's most established stations?

"Right now, it is very important for this community -- with all the different jazz-related institutions like the Folly Theater, 18th & Vine, the radio stations, and the clubs that have really supported local jazz musicians -- to start working together! There are more areas where we're alike than where we're different!"

RB: Coming back (to radio), and becoming engulfed once again in the local music scene, I was really shocked by the lack of (listener) support. That was the first thing that struck me.

JAM: It should probably also be stated that jazz is only a portion of KKFI's programming...

RB: That's true.

JAM: ...but it still stands, while other stations with jazz formats have either completely folded, like KCMW, for example, have altered their formats, or have abandoned jazz altogether. Do you have any thoughts on why this is happening? In Kansas City of all places?

RB: It isn't something that's only happening here. It's happening nationwide. A lot of it depends on the definition of "jazz." At a station like ours, we try to offer more of a mix, because I really do think that's how most people listen to music. They don't just listen to one genre, they listen to a lot of different things.

JAM: Are you saying that certain stations have had difficulty because of lack of diversity?

RB: No. What has been shocking for me is how so many listeners will say, "THAT isn't jazz, but THIS is." You can't do that anymore! Right now, it is very important for this community -- with all the different jazz-related institutions like the Folly Theater, 18th & Vine, and the radio stations, the clubs that have really supported local jazz musicians -- to start working together! There are more areas where we're alike than where we're different! I'll give you a good example of the cynicism that's been around for the last 20 years: Pat Metheny! I've heard people say: "That's not jazz! It's New Age music!" That kind of thinking is divisive. Like I said, we need to support such diversity. And we need to support community bricks and mortar institutions like the Folly (Theater) and 18th & Vine.

We also need to support the local bands. And the clubs that support them.

But back to diversity. There are too many people trying to say what jazz is and what it is not. And we can't do that anymore! Another example: Even though some people say they don't play "true jazz," 106.5 The City is very successful in a commercial world. And again, even in that case, there are more ways we are alike than not.

JAM: What can KKFI do to further promote such harmony in a genre with so many differences?

RB: One of the things we're doing goes back to what I said about how people listen to music, and the diversity most people like. It ties into why we've started our "heritage format," which recognizes Kansas City's historical and cultural background, which is part of our mission statement. The fact is you cannot separate jazz and blues. They are both so closely tied together in the city's history, that we have to look at both genres together. Along with rock! And bluegrass! And gospel! Because without gospel and folk, we wouldn't have a lot of the different musical genres we have today! Beyond Kansas City, we have to consider that our heritage in music incorporates many different things. And what we're trying to do at KKFI is tie them all together and demonstrate the different influences. I think that is very important.

JAM: Is part of the role of a public radio station to educate the listeners?

RB: If we can show how two types of music like blues and jazz are closely related, and do it without being too pedantic or monolithic, then I think our listeners will be able to see the common thread and say, "Hey, I can see how jazz and whatever are more connected than I thought!"

JAM: Are you optimistic about the future of KKFI? And assuming the answer is yes, why?

RB: I am optimistic. Because even though we have some challenges right now, this is an exciting time to be in radio. I'm seeing a larger emphasis on local music as a big part of our future. And I've asked everybody here bring more local artists to the station. I want us to live up to our name: Kansas City's public radio.
Along with that we also have to be inclusive. Which means that we need to have more people coming onto the station to express themselves. We're also going to have to be innovative. We have so much competition out there for people's time -- cable television, satellite radio, all the different AM and FM formats. But we can take the necessary risks to be innovative in how we use the medium. And it will continue to be a mix! It has to be! It's exciting to be at that point right now.

RETURN TO APRIL/MAY 2002 MAIN INDEX

© Kansas City Jazz Ambassadors 1996-2002. All rights reserved.






	Search our site:		ROBERT BARRIENTOS JAM talks with KKFI's GM about turmoil, housecleaning, and (jazz) harmony in a world of difference. JAM: Let's begin with some background on your career. How about a chronology of what led up to your appointment as general manager of KKFI. RB: Well, before coming to KKFI, I was the marketing and sales director at the American Heartland Theater. That was from about 1995 to 2000. From 1989 to 1994 I was the marketing and development director at KCUR. And I owned my own art brokering and frame company from 1982 until I sold it in '89. I was the general manager of a public radio station in El Paso, Texas from 1980 until 1982. And prior to that I worked in public radio at KMUW and commercial television, the ABC affiliate, in Wichita, Kansas. I was also the local producer for "Jazz Alive" in conjunction with the Wichita Jazz Festival from 1974 to 1979. JAM: OK, back to the present. Now that you are at the helm at KKFI, we probably need to address all the turmoil that rocked the station last year in the wake of your arrival. What was that all about? RB: I was trying to get everybody into compliance. It was primarily about that. JAM: What do you mean by "compliance?" RB: FCC compliance. CPB compliance. JAM: CPB stands for... RB: Corporation for Public Broadcasting. JAM: Would you like to address the controversy in more detail? After all, it was quite prominent in the press there for a while. Kinda still is. RB: In 1999, when I interviewed (for the job) -- and believe me, it was going to mean taking quite a (pay) cut, but I wanted the challenge because I felt the future of radio in the coming years would be challenging with the all new technologies, such as satellite radio and webcasting on the internet -- at that time, in 1999, when I was thinking everything through, I realized that it could be a very exciting opportunity. I thought: no matter if you were a commercial station or a non-commercial station, everyone was going to be equal because of the new technology. Just like what happened with radio when FM became the dominant frequency. Anyway, when I interviewed in November of '99, I was told several important things: that KKFI had started a capital campaign; that since 1997, the station was supposed to move and that a committee had been formed to look for a new location; that another committee had been formed to develop a design for the new facility as well as a budget for the move itself. There was also a committee that was supposed to raise the money: the capital campaign. Along with all that, I was also informed that KKFI had already submitted its vacancy notice; you have to notify the landlord a year in advance, according to the lease. Again, this was in November of '99. And that's what I was told they had done. Well, when I finally got the job in June of 2000, the first week I was there (laughs) I said, "So, how's the capital campaign going?" Do you know how much money they'd raised? $1200. Did they have a (new) facility? Nope. Had a decision been made on a new location? Nope. Was there a new design? And a budget for the move? Nope. Like I said, this was in June of 2000. We had already given our vacancy notice, and guess what? No one had talked to the landlord. So again, not only were there compliance issues, but: you can't run a business like that! I then had to try to negotiate an extension of the property lease. And I also had to decide if it was reasonable for us to have a capital campaign, no matter what kind of lease extension I negotiated! Also, no one had done an inventory here at the station to see what equipment could be moved and what couldn't! The so-called "committee" that was supposed to do that never did. And then I was told that the FCC had sent us a warning back in 1998 that we needed to get the tower painted. In June of 2000 they hadn't even gotten any bids! So I had to take care of that, too. And then I found out that, guess what: KKFI didn't even have a budget process! Nor did they have a voucher system in place! Nor were the business and corporate records here at the station. JAM: So, in other words, you inherited a real mess... RB: (laughs) Oh, I haven't even finished yet! Then I received a letter in October of 2000 from the Corporation of Public Broadcasting informing us that we were going to be penalized because, since 1998, they had been trying to get the attention of the board and the past management about problems with (the size of) the audience. We were then penalized 25% of the money we receive from the CPB, we were decertified to a lower level, and they gave us a strong warning that if we continued with these low numbers, we would be completely decertified by the Corporation of Public Broadcasting. And the CPB pays our royalties to ASCAP and BMI!... in addition to giving us certification and credibility. We were looking at a $50,000 hit there. And on top of all this, I learned that there were problems with KKFI's by-laws! So yes, I took on something that I wasn't really prepared to do. JAM: We could go on and on about these things, but it's the near-revolution by KKFI staffers that ended up in the press that probably needs more clarification. Why has there been so much resistance from the troops? RB: Because for a lot of them it's a control issue. When they were in control, they got to do whatever they wanted to do. Then I came in and said: No. You now have a professional manager. And just because you've been here a long time doesn't mean you don't have to follow rules and regulations. Like I said, for the past year and a half, a great deal of what I've done has had to do with compliance issues. Here's another example. There were also matters to do with copyright. Before I arrived it was not unusual to hear things broadcast that had no clearance! Now, we all know how important it is for someone who owns an artistic license to get paid. And to not take care of that is against the law! From such simple things as that, to complying with state regulations about where records were being kept, there was a lot of housecleaning to do. And some of the older staffers have resisted the change. JAM: OK, let's move on to the main theme of this issue: jazz on local radio. Any general observations you'd like to make, now that you've spent some time at one of the area's most established stations? "Right now, it is very important for this community -- with all the different jazz-related institutions like the Folly Theater, 18th & Vine, the radio stations, and the clubs that have really supported local jazz musicians -- to start working together! There are more areas where we're alike than where we're different!" RB: Coming back (to radio), and becoming engulfed once again in the local music scene, I was really shocked by the lack of (listener) support. That was the first thing that struck me. JAM: It should probably also be stated that jazz is only a portion of KKFI's programming... RB: That's true. JAM: ...but it still stands, while other stations with jazz formats have either completely folded, like KCMW, for example, have altered their formats, or have abandoned jazz altogether. Do you have any thoughts on why this is happening? In Kansas City of all places? RB: It isn't something that's only happening here. It's happening nationwide. A lot of it depends on the definition of "jazz." At a station like ours, we try to offer more of a mix, because I really do think that's how most people listen to music. They don't just listen to one genre, they listen to a lot of different things. JAM: Are you saying that certain stations have had difficulty because of lack of diversity? RB: No. What has been shocking for me is how so many listeners will say, "THAT isn't jazz, but THIS is." You can't do that anymore! Right now, it is very important for this community -- with all the different jazz-related institutions like the Folly Theater, 18th & Vine, and the radio stations, the clubs that have really supported local jazz musicians -- to start working together! There are more areas where we're alike than where we're different! I'll give you a good example of the cynicism that's been around for the last 20 years: Pat Metheny! I've heard people say: "That's not jazz! It's New Age music!" That kind of thinking is divisive. Like I said, we need to support such diversity. And we need to support community bricks and mortar institutions like the Folly (Theater) and 18th & Vine. We also need to support the local bands. And the clubs that support them. But back to diversity. There are too many people trying to say what jazz is and what it is not. And we can't do that anymore! Another example: Even though some people say they don't play "true jazz," 106.5 The City is very successful in a commercial world. And again, even in that case, there are more ways we are alike than not. JAM: What can KKFI do to further promote such harmony in a genre with so many differences? RB: One of the things we're doing goes back to what I said about how people listen to music, and the diversity most people like. It ties into why we've started our "heritage format," which recognizes Kansas City's historical and cultural background, which is part of our mission statement. The fact is you cannot separate jazz and blues. They are both so closely tied together in the city's history, that we have to look at both genres together. Along with rock! And bluegrass! And gospel! Because without gospel and folk, we wouldn't have a lot of the different musical genres we have today! Beyond Kansas City, we have to consider that our heritage in music incorporates many different things. And what we're trying to do at KKFI is tie them all together and demonstrate the different influences. I think that is very important. JAM: Is part of the role of a public radio station to educate the listeners? RB: If we can show how two types of music like blues and jazz are closely related, and do it without being too pedantic or monolithic, then I think our listeners will be able to see the common thread and say, "Hey, I can see how jazz and whatever are more connected than I thought!" JAM: Are you optimistic about the future of KKFI? And assuming the answer is yes, why? RB: I am optimistic. Because even though we have some challenges right now, this is an exciting time to be in radio. I'm seeing a larger emphasis on local music as a big part of our future. And I've asked everybody here bring more local artists to the station. I want us to live up to our name: Kansas City's public radio. Along with that we also have to be inclusive. Which means that we need to have more people coming onto the station to express themselves. We're also going to have to be innovative. We have so much competition out there for people's time -- cable television, satellite radio, all the different AM and FM formats. But we can take the necessary risks to be innovative in how we use the medium. And it will continue to be a mix! It has to be! It's exciting to be at that point right now. RETURN TO APRIL/MAY 2002 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2002. All rights reserved.