¿Cuáles han sido los momentos históricos de 70 años de la tv en Colombia?

WEBVTT

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I am Roberto Pombo welcome to my
questions an average rush program sponsored by the

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KFAM theater and read much more than
theater. Television in Colombia celebrates seventy years

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in which soap operas, news,
humor shows and musicals have left a mark.

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What have been the most iconic programs
on Colombian television? It is the

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varied and diverse programming. Social media
has taken away TV' s terrain.

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For this chapter we spoke with screenwriter
Juana Uribe, actress Victoria Beltrán, television

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producer and director Jimm Pérez and journalist
Santiago Rivas I am Roberto Pombo. And

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this is chapter eighty- six of
my questions welcome warning, this chapter has

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a high content of nostalgia. If
you are or younger than thirty years of

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age, you will require the help
of someone older for references. I'

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m going to venture to make a
comparison. The scoll that habit of surfing

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infinitely on social networks is the sapping
of the new generations. In case you

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are very young, I would like
to tell you that sapping is what is

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known as channeling, sitting in front
of the TV, grabbing the remote control

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and spending minutes and hours simply passing
channels. Then you see nothing but short

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fragments of commercials, news, repeated
movies and commercial teleshopping, soap operas football

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matches that were repeated as a coachman. The real purpose of sapping was not

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to find something to watch on television, but to wander through programming without a

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specific purpose rather than to blank the
mind. But with the arrival of streaming

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platforms like Netflix, Amazon, Maximum
Largo, etcetera, the sapping dies one

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goes to the fixed looks to the
seriously the film that Kieri puts it maximum,

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leaves it ringing background of white noise. But there' s no chance

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of passing programs anymore, but holy. And it' s so much that

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we miss that activity that there are
even applications exclusively for passing TV channels.

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Even if we don' t have
a TV. When these content platforms arrived

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on demand, we thought that television
was dead, that each person would hire

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one or two services to stop paying
for TV for CABLEY but although it seemed

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that way at first, and platforms
like a Netflix and Prime managed to scare

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the channels, everything went back to
commerce. To talk about television in Colombia

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is to talk about many references of
what we are beyond the flag, the

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national shield or the anthem. In
the programming of these seventy years that Colombian

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television fulfills, there are other patriotic
symbols and it is that seventy years is

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said easy, but they are thousands
and thousands of programs of all kinds.

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The television came in the mandate of
Gustavo Red Pinilla, coincidentially on the first

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anniversary of the coup d'état, which served to bring him to power

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and as one would expect from any
politician or n o n ns without hesitation,

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and emerged with the idea of being
a means of propaganda for his government.

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That is why he was in charge
of the Office of Information and Propaganda

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of the Presidency of the Republic.
On that day only four hundred receivers witnessed

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the inauguration of that public service for
the country. However, the idea of

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red Pinilla with television was that it
would serve as a vehicle for achieving national

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unity and overcoming the political conflict that
was happening in the country at the time.

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But that propaganda purpose was no longer
the main motive and over time they

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realized a more important educational and cultural
role. At that time, the rule

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was not that almost everyone could read
and write, and the then Red President

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Pinilla believed that this lack of education
was an obstacle to the country' s

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progress. That is why, over
time and in other governments, he was

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playing a more educational and cultural role. But before the television was in the

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1970s. First it was television theater, as at the time it was Uría,

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there was technology and technical knowledge.
What they were broadcasting were plays.

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Lively from this was pioneered by Japanese
theater director Xsano, who arrived in the

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country hired by President Rojas Melilla to
train directors and actors in the new format

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of theater and television. An unconfirmed
rumor is that just two months later,

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his invitation to be in the country
was revoked because of his sympathy for communism.

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Then, the television model changed to
an educational model that lasted several decades

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in which the country became a continental
power, in decades like the eighty-

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nineties, about two thousand four,
years in which it was settled in revision.

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However, in the eighties and nineties, Colombian television had great educational programs

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such as Naturalia and Professor Yarumo.
The programming had what was known as telemasters,

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such as Gloria Valencia de Castaño and
Professor José de Recasens, who taught

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mathematical writing and biology and to learn
about geography and history. The world on

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the fly was a revolutionary r program
that, through travel chronicles of Héctor Mora,

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taught us the world without leaving the
house. But there are also recent

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examples of programs that, while not
having the format of traditional classes, have

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been tremendously educational. Listen to this
and tell me if you are familiar with

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portales through him who stops so much
flat head of stone for a player to

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the southwest and here is committing the
idiomatic quifa dea promptly to one hundred and

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twenty zero cults of gatinase gratinized to
the southeast of here to fight for justice

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and gothic hatred. Super Professor O
became one of the most famous cultural figures

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on national television. If it doesn' t ring a bell that he is

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an animated character who tells the story
of Charles Arturo O Coro, who received

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from his grandfather supernatural powers and the
noble mission of fighting idiomatic ignorance. This

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series premiered at two thousand and six
on channels of public interest. I already

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had a big hit. He even
had two sequels. In two thousand ten,

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the year in which the two-
hundredth anniversary of independence was celebrated and

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he had a series in which he
solved two hundred questions about the independence posed

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by two hundred children from all over
the country and about eleven years ago he

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premiered professor exceeded recharged where he talks
about the energy efficiency that the sustainable use

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of that resource. Another program that
has had a special place among the audience

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of pure Creoles. My name is
Santiago rio In the late the pure Creoles.

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This program was a documentary series about
Colombian articles that are part of our

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idiosyncrasy. Beyond the patriotic symbols.
Each chapter talked about a different one,

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such as the stormy piglet, chocorrramo, or king soap. But we talked

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about cultural programs that won the hearts
of Colombians. Those over thirty will remember

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this one. I know who knows
what you don' t know? The

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largest news programme in the history of
television in the country. I know who

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knows what you don' t know? I know who knows what you don

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' t know? It was a
program in which the presenter Alfonso Castellanos,

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read the letters of viewers with concerns
about any topic and sought a professional to

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resolve that concern. Strangely enough it
seemed to be a kind of premodern Google

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in which they showed answers to questions
such as the truth that some people have

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saliva so acidic that they could erode
their teeth so that they don' t

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have the doubt. It' s
not true that that happens. This type

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of television has lost ground and viewers. But since I don' t want

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to keep the simple impression, I
looked for the journalist and presenter of the

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pure Creoles, Santiago Rivas, to
tell me. It continues to be successful

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and public. Cultural television, this
is what public television told me. Yeah,

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he' s still successful and public. In fact, I think it

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' s more successful and more public
now. I believe that the relevance of

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public television to which decided over the
years and was or is the result of

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a joint process that gave life to
a way of making public television that is

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not the same as is being done
now. I think the problem, in

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fact, is that this audience and
that success that is being achieved thanks to

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the fact that public television knew how
to become an identity builder, a constructor

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of identity, of an identity that
was macro, that was a historical identity,

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but that it was also an identity
related to the immediate and the not

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strictly cultural, but with ways of
being and with ways of understanding the Colombian.

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And I think that' s a
little bit of the controversy we'

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re in, and that' s
that this television, which has a public

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and which is successful, is now
winning its success based on an audience that

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was built on the cultural, but
it' s calling more and more people

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in the middle of a political contest, like in a discussion, of a

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debate about the truth and information that
ends up being very damaging, because it

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politically compromises the creation of public television
the governmental, one of the most important

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acts of television. It happened when
we went from having a single channel to

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two, three, etcetera. Think
for a moment of ptotes. The Colombians

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saw exactly the same thing at the
same time. That made everyone have the

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same references, the same phrases,
the same jokes. Over the decades,

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more channels appeared and this made it
possible for us to choose what to see.

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But despite this, the sayings,
the jokes and the phrases came from

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what we saw on television. They
were the memes of the time. We

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all have a phrase or a memory
of some soap opera, musical program or

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contest, even a propaganda. Television
has been in our homes for decades,

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and of course it has influenced us, and while reality now has the power

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of audiences. There was a time
when it wasn' t like that.

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The ocul soap operas pay in the
privileged place of eight o' clock at

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night. After the news he makes
several chapters. In the 70' s

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more exactly I talked about the revival
of television and, specifically about the series

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and soap operas, so I'
m not going to repeat them already known.

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Ugly Betira Pedro Erescamoso coffee with aroma
of woman in the best poster.

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I want to devote time to other
novels that have marked the time in the

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country. And I have to start
with a rather successful story of Colombian television,

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Pablo Escobar, the pattern of evil. Again you with the voice of

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the teddy condensity is that it'
s been time that you heard your older

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brother ever get boneared with dangerous cocaines
Everything dangerous becomes silver. The sure doesn

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' t leave any weight or if
you don' t see, for example,

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your bikes. I don' t
know if it' s a soap

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opera or a series, but the
fact is it' s been recognized.

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She won thirteen Catalina awards on two
thousand thirteen TVs and three novels on the

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IMDb platform, which has the largest
database of films and series. He'

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s got a rating of eight four
out of ten. He got into several

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countries and his final chapter beat record
audiences in several of them, as in

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Argentina, where he reached ten eight
ratings. We cannot talk about Colombian television

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programs without mentioning one of the first
and longest. Me and you lasted twenty

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years on the air and counted the
experiences of a family on a humorous note.

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This program was so important that it
served as a springboard for more than

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one hundred seventy actors and actresses,
many that would become legends such as Alicia

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del Carpio, Carlos Muñoz, Consuelo
Luzardo, Carlos Benjumea, Pepe Sánchez El

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Chinchulloa and to this account I have
to add yes or yes, one of

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the most interesting soap operas we have
had. Gallito Ramirez. This soap opera

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was based on the frenzy a story
by the writer David Sánchez Juliáo about a

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village boy who dreams of being a
boxer, played by Carlos Duez, who

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falls in love with a young daughter
of a merchant lender, played by Margarita

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Rosa de Francisco And, of course, we have to talk about a soap

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opera that marked the rhythm of the
nap and the rest of the Colombians'

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lunch for sixteen years, parents and
children. This soap opera reached several generations.

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It had seventeen seasons that numbered over
three thousand and six hundred chapters,

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which began in one thousand nine hundred
and ninety- three and ended in two

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thousand and nine. The Franco family' s story was dramatic. There was

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love, spite, kidnapping, death, pregnancy, disappointment and joy, no

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matter what. Each chapter ended with
a blackberry over life. But this telenovela

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was not only successful in Colombia,
but was also broadcast in Argentina, Bolivia

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and the United States. There was
nothing better for digestion, the best companion

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for red. For this lunch that
parents and children. Today, few soap

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operas, at least national, last
so long. That' s why I

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looked, Ana Victoria Beltrán, who
played Daniela Franco to help me with this

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doubt, what made this soap opera
so hard? Well, what did parents

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and kids do that lasted so long? I think it was their stories.

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There was always a variety of stories. My character happened everything to every chapter,

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a different thing, and that made
it fun. No, and I

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also think they were the cases they
had in the family, because they were

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real cases. People felt identified with
everything that happened there. We, in

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Colombia, have a thousand stories to
tell and I think that was one of

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the factors for it to last a
lot. Another factor I think is that

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the cast, the new people,
the people who were entering the program cute

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faces as a manologue, like Diego
and also great human beings and very talented

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Lincoln, Lina Tejeiro and good many
more. That makes the program that people

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won' t stop watching it be
a broken widow. It was a great

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blessing And even if the soap operas
and series of Colombia have been soap operas

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or dramas, it' s because
it doesn' t remember the golden age

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of humor between the eighties and nineties. Colombian television had, as I see

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it, a first great season of
humor series, perhaps one of the first

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Colombian sitcoms, as the sitcoms are
told. It was from a chinche,

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a humorous series starring in the character
who gave the name to the program and

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who recounts the misfortunes of Don Chinche
and his companion Eutimio Pastrana, a pair

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of toderos who do everything to survive
their day- to- day needs of

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the same style. Then came others
as good or more good, such as

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Romero and Bruzeta, the Tuta NN
comedies that also set the precedent for futures,

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such as until silver do part them
or even Bety, the ugly one

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in which the day- to-
day average citizens, everyday life, intringulis

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and office and anecdotes of public transport
base of humor. If you recognize this

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song, you know what the next
comedy is. If there' s one

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sentence on TV that' s become
popular, let' s just cut the

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pods. Yes, this is a
comedy written by Daniel San per Pisano and

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Bernardo Romero Pereiro, and was broadcast
from one thousand nine hundred and eighty-

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four to one thousand nine hundred and
ninety- eight. About the Vargas family

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Let' s leave Vainas is the
adaptation of the book with the same name,

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with the best articles that Daniel San
per Pisano published in Carrousel magazine.

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But there came a time when there
were no more columns of Daniel that,

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in view of the success of the
series, began to write the scripts of

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each chapter from scratch. For many
this sitcom is ahead of its time.

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We could even say that keeping proportions
is a sort of Saintfield criolla. It

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premiered five years before the American comedy
series Jerry Sainfield and Larry David. Colombian

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television has had many kinds of humor. We' ve already seen the comedy

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series, but we' ve either
had sketch shows, and here I'

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m going to start with one of
the first and most important mere boys pick

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up. This wasn' t really
a humorous show. In fact, it

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was a group of comedians led by
Hernando the Jurero Casanova, who make sketches

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on Jiman' s show, a
musical program. The one we' ll

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talk about later. Sketches were adaptations
of famous songs with funny lyrics about absurd

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scenarios. But we need to talk
about one of the great milestones of political

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humor in Colombia society. The program
of political satire by Jaime Garzón, Eduardo

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Arias and Carl Troller, undoubtedly marked
an era with its invitations of presidents,

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former presidents and figures of the national
life and the criticism of the situation of

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the country at that time, like
the energy crisis, the coffee pact constitutes

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it. Now that I think about
it and reread these issues, I would

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like to know what Garzón would be
saying about this historic and clear moment,

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you can' t talk about society
without referring to his successor coac Antonio Morales

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' news Garzón program, characters like
Godofredo, Cínico, Caspa, John Lenny,

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William Garra, Nestor Le, along
with the imitations of presidents and politicians,

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was so good. It had such
an impact that those jokes cost him

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his life. Few humorous characters on
Colombian television made the powerful feel as uncomfortable

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as Heriberto de la Calle. Everything
and the one who is not afraid that

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this campaign was also defused as the
requeño or juana and as the bridge of

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the ninety- two remembers the two
screens. I don' t remember you

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were so good at it, Baton, but you didn' t. There

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is a complete list of Colombian humor
programs that do not include Happy Saturdays,

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the longest- lived humor program in
television history. It is now fifty-

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two years old and the program remains
a leader of the fairy night strip.

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It is a show that has mixed
the sketches with the political satire and with

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the format that became popular the jokers. He has won eight India Catalina awards,

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five awards, he sees you novels
even a Simon Bolivar award. One

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of the longest- lived programs on
Colombian television. In general. It'

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s a show, but not any
show, the star show. Oh,

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good luck kick for Paloma. These
iconic phrases by Jorge Varón have made him

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a living legend of national television.
But not only that, but in one

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of the programs most loved by Colombians
and by many artists who are now detailed

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worldwide, but who started playing on
their platforms, like Shakira, j Balvin,

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Maluma, Carol Gy. But they
have also brought international artists such as

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Juro Iglesia, Ceria, Cruz Villege
People, Juan Gabriel and José Feliciano.

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I would venture to say that this
program has reached more municipalities in the country

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than many state entities and, as
I mentioned before, another music program that

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left a mark in a whole generation
was the Jimmy Paul Ladril show, Two

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Welcome. At the latest hour,
Jimmy Salcedo was the driver of this show,

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which mixed musical performances, sketches and
humor, about the mere Corcher An

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Boys, which I already mentioned.
Also the section sings, though not sings,

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in which political personalities the arts of
culture conversed with Jimmy and in the

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end performed a song accompanied only by
the piano. In this section he was

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invited by former President Belisario de Tancourt. What is playing was another section of

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musical novelties presented with choreographies to and
also to have a section of contests,

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the so- called Re millonaria,
in which a viewer received a call and

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had to guess the song that sounded
on the computer piano. It was a

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program of total entertainment very much in
the style of the lade nagy shows like

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that of et olien was aus From
one thousand nine hundred seventy- two to

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one thousand nine hundred ninety- three. These kinds of programs are now on

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national television. Music programming concentrates on
reality as the voice or I call myself

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I looked for the filmmaker and former
music presenter, Jimmy Pérez, to ask

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him the music realitys displaced the music
programs of national television. This he told

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me. It is possible that reality
shows have displaced music programs on television because

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reality shows are often popular, due
to their ability to generate drama, excitement

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and connect with the audience through real
characters and situations. This has led to

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many television channels and platforms prioritizing the
production of reality shows, especially other types

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of programs including musicals. Audiovisual language
has also changed in recent decades more than

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a shift. I feel it is
a change that had to happen, considering,

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moreover, that social networks have impacted
on audiovisuals and this has also caused

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musical content to evolve. However,
music programs still have their space on television,

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especially on music channels or during special
events such as awards or concerts.

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But I summarize everything in an evolution
of audiovisual language that resurrects Dr Ernesto San

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per Paisano. Mamola, as I
said, Mamola is not only an expression

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that was popularized in Colombian politics,
but the name of one of the most

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beloved characters on national television, the
Lora Mamola, the mascot of wants me

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to finish the contest program directed by
the host Fernando Gozález Pachel. The program

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was broadcast from nineteen hundred and ninety- six to two thousand one and put

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a series of musical challenges and mental
ability to four contestant couples participating each week.

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The Lora Mamola was an animal pet, a real technological novelty for the

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time and to close with the competition
programs. One of the first programs,

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presented by Julio Sánchez Banegas, pioneer
of this type of program, was broadcast

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with intermittances between nineteen hundred and sixty- seven and the year of two thousand.

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As its name says, it was
a program that challenged contestants to remember

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elements that appeared on a board and
disappeared. In the end, the finalist

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had to solve a hieroglyph to win
the prize that became more than two million

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pesos at that time. But not
everything in the history of television has been

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programming for adults. In those 70
years there have also been programmes for children

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and adolescents that have left a mark. The Dumis was a puppet show,

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as its name indicates, which taught
about citizen consciousness through songs via the style

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of Plaza Césor. This is another
of those programs that raised several generations,

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at least three, between a thousand
nine hundred and seventy- seven and a

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thousand nine hundred and ninety- nine. In the nineties, one of the

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strangest and most interesting children' s
programs that I have seen on Brugo la

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Magica national television appeared. In the
product the program had half surreal characters,

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like an angel, a demon,
a mime, that dealt with a magical

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world inhabited by literary characters. The
program was daring for its time and had

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sections such as the mini poll,
in which children and young people responded to

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comic book- protecting questions, in
which a story of antiquity was told in

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the voice of a girl while animations
appeared. It allowed the channel from a

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thousand nine hundred ninety- two to
a thousand nine hundred ninety- seven.

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Since then there have also been programs
for children' s audiences such as Oki

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Doki with more musical cut and club
ten with puppets and sketches. Currently,

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television has a harder time catching up
with children and young people. According to

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a study by the Communications Regulatory Commission, the average time of consumption of audiovisual

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content on television of Colombian children and
adolescents is one hundred and fifty- two

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minutes per week and one hundred and
ninety- two weekends, while each time

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they connect to the Internet they remain
on average ninety- two minutes. Of

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the most used media, the Internet
blames you for the first place with eighty

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- five percent, followed by the
use of cellular with seventy- nine percent,

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and television with seventy- four percent. Seeing these numbers and the influence

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they have on this audience, social
media influencers are worth redundancy. I wonder

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the new generations changed their TV references
to social media influencers. Look for screenwriter

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Juana Uribi to help me, and
this he told me. My perception is

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that young people today, of course, spend a lot of time on social

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networks and the Internet. But that
doesn' t mean they don' t

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consume television. What it means is
that they are not willing to consume television

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on schedule, as we were used
to. Or still do those who watch

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TV open, curiously if they have
references that are influential and have in the

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networks, because people they follow.
But that also leads to television consumption.

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I have seen, for example,
young people who have now rediscovered series that

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they had not seen before, such
as, for example, Motherne Family,

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or films like Scarface, or series
like Escobar, or series like Narcos,

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or series that they did not see
before, for some reason, when they

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were on the air and they are
looking for them, or on platforms or

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on the network wherever they are.
So, my perception is that they don

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' t compete, but that'
s they get on television by different ways.

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What is very important is that when
an influencer or when in the networks

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becomes tendency some series or some character
that they did not know or mediatante,

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they go and look for it and
becomes a task to watch it in order

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to have topic of conversation. The
news has been a fundamental part of the

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history of television. It was perhaps
the first kind of programming we had even

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before television appeared, they were present. The first was to Colombia a day

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a government news broadcast in cinemas of
between one thousand nine hundred fifty- six

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and one thousand nine hundred fifty-
eight. Perhaps one of the most important

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news events has been the transmission of
man' s arrival to the moon,

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especially at a time when technology was
not so advanced. To do so they

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had to find a twenty- five- ton antenna and bring it from Venezuela

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to capture the satellite signal intelsar one. Since then, your news has been

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one of the most important shows before
television. There have already been several of

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those that have been broadcast, such
as the South American news broadcast of the

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South American insurance company Tebemundo, which
was the first news broadcast at noon,

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the crypto news broadcast and the twenty- four- hour night of boy and,

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et cetera, which was the school
of several journalists of all order in

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the country. With the arrival of
more Internet channels and social networks, the

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public has become automated, if we
compare it, with what was seen in

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the 1950s and 1960s. However,
this medium has supported the arrival of new

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technologies. Seventy years of television are
said easy, but every review is unfair,

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because many programs have educated us to
laugh to analyze, sing and dance.

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Since the July presentation of Sánchez Vanegas, welcoming Colombians to the world of

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television. To this day thousands of
programs have passed out I have left out

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00:27:51.079 --> 00:27:55.039
big TV heitis of all genres that
left a mark on the minds of millions

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of viewers, as the next program
does not change it secret flight or even

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short programs and that continue to make
history, like the Minute of God,

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the Consumer Bulletin, that is another
seventy years and many more of television.

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I am Roberto Pombo and this was
chapter eighty- six of my questions.

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See you in the next chapter from
now on. This chapter of my questions

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is available on all podcast platforms.
This episode was made possible thanks to the

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Kfam theatre and read much more than
Theatre, Roberto Pombo Direction, General Production

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juan Abel Gutierrez, editorial advisor,
Daniel san peerro Espina. Screenplays juan Abel

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Gutierrez and Johnny Rodríguez. Field production
Marcela Salazar and Lucía Beltrán. Post-

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production of audio Carlos Bernar