In the early 1950s, very few rural families had a radio, let alone a television. And with what current? Electricity came at the end of those years, which was used by some families that could afford that luxury, tired of hearing the tunes of happy, tired or mourning peasants. Not even the breeze of the wind, the rain or the songs of the birds could be more appreciated than the new drawer of moving images.
The few radios, before TV arrived, were enormous and impossible to maintain the power of a monthly battery, which was more or less the time they lasted when they were the size of a shoe box. Until the little smaller ray-o-vac or eveready batteries arrived, like a Milano elbow box.
In my field there was only television where Porfirio Almánzar, before Félix García arrived in love with Clariza; also in front of Porfirio, where Mario Hernández and a little further on, where Mundito, and later, where Panchito Polanco who were all families with land, cows and vehicles when people walked on foot or on the back of a donkey. They were joined by Benjamí and the Gutierrez in Pontezuela. We would go to Mundito's to see the Anniversary Week and they would put the television on the terrace, as if it were a small cinema. And more or less that happened in all fields.
Around the grocery stores, some peasants and plate players would stay to listen to the ball games and the occasional novelita on the radio. There came some of the boys who managed to get away from the Holy Rosary, except for the children of working parents who did not allow them to join the vagrants.
Through that radio we met all the players from the four teams from Gabato Sakie to Panchón Herrera.
By the beginning of the sixties, “Los Tres Villalobos” was spreading to the four winds, one of the great creations of Leandro Armando Cuoto, a professor of Philosophy from Havana who did better inventing stories than, when narrated by the radio, they created a sure addition. The story told the adventures of three brothers, Macho, Rodolfo and Miguelón, three cowboys who fought an army of bearded men who wanted to establish a dictatorship on a remote island called Cuba, but very close to the FAR FAR West.
Cuoto continued writing non-stop to create Tamakún “the wandering avenger” that the Mexicans later brought to comics. He is the same character that he adopted, when he wanted to live on magic and Creole fakirery, the Tamacún (with c) drummer. When they discovered his tricks they told him, Tamacún is tallow, a term that is only heard in Tamboril, as a country brand and that comes from a cut to the Galician word seboruco, widely used by Rudecindo cursing TresPatines and accusing him of being a fool. Seboruco is a field on the hill north of Tamboril that became synonymous with gross or naive when they went down to town.
When La Voz del Yuna de Bonao was turned into the state television channel, its programming was very limited and if you turned it on you would only see an anthill and a noise like when we collided with a wave coming from a UFO lost in our galaxy.
In this television genesis, those romances directed at the entire country that was peasant had an unforgettable participation, except for three cats that pretended to be small towns and did not crowd a Chesterfield or a Lucky Strike and some patent leather shoes that were easier to wear. clean. These peasant experiences were as deep-rooted as the house itself, such as the famous Hato Viejo house that belonged to Casimiro Guillermo as early as 1796 and which Doña María Ugarte described in a writing titled Vivienda Campesina del siglo XVIII, in her Estampas Coloniales.
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Luis Mercedes Miche and Toña Colón played Macario and Felipa and then they added Ciriaca (María Rosa Almánzar Capellán, Sirita) and Felipito, which is how Pololo began. And who would have imagined that the brave and brave Kazan was he? Kazán "the hunter" was a kind of Jim de la Selva who in turn was a Tarzan with clothes and who could speak with words and not with bids like Johnny Weissmuller and Lex Barker.
That adaptation of the “comedy picture” of the Dominican Voice was a success, an adaptation of the original, also by Cuoto.
The programs were increasing at the same time as the growth of schedules and announcements. It began to be filled with what 10 years ago had already happened throughout the United States with its Bonanzas forever.
Suddenly, a skinnier figure appeared “than six o'clock” with a handjob a la Charlie Chaplin whom he tried to imitate with such energy that a Pildorín came out with a mouth bigger than a clown. But it turns out that Pildorín was neither a comedian nor a clown, his role was simply to conduct part of a program, "Buscando las Estrellas" and he was the part of the raffle for the audience helped by the unforgettable and bland "Veterano", a gentleman tall, dark, more serious than anyone who is on the way to the wall. The Veteran, Isidro Reyes, was a retired frigate lieutenant of the Era who organized the processions of the Virgin in the Colonial City. He had to reach in and take out the winning number from the case. Pildorín took advantage of the potential winner's suspense to create a series of gestures and grimaces that made children and adults laugh. In the flu of Pildorín there was room for three like him and the pants, although they had no patches, wanted to approximate those of the English comedian. Then he adopted his own wardrobe with a butterfly tie to the Pee-Wee Hermans who, like Jerry Lewis and Jim Carrey, can't even make a hyena laugh.
Pildorín's participation in “Buscando las Estrellas”, looking for new talents, was to animate the program that was a singing contest. If the contestant, who was almost always young or a child, was ahead or behind the orchestra or if a rooster came out, Pildorín would appear jumping and signaling to a character disguised as "El Diablito" to come out with the little bell that indicated the immediate disqualification of the contestant. The strange thing is that there are no abundant photos apart from a video that Fortunato rescued from those beginnings of the comic. The established Pildorín had the appearance of a fragility very close to Norman Rockwell, that illustrator of the covers of the North American Look and The Post magazines. Little is known about her storybooks, in which "the Stations of the Cross to New York" stands out, the story of Chabela Reyes who wanted to be Elizabeth Kings. Bienvenido de León became Welcome of Lions.
Pildorín made fun of modern painting and there was nothing better than making an exhibition of nonsense to fully portray what he believed was a mockery of human intelligence. That is why he held two exhibitions in 1975 entitled "Antipaintings."
The best biography is by Rubén Darío Aponte, the broadcaster and writer who in an extraordinary effort published “Historia de la Locución Dominicana” and that is frequently pirated without giving him the slightest credit. "So... how easy issss."
The same “comedy picture” invented a number, the creation of Pildorín, which risked all the actors ending up at 40. The work in question was an imitation of Chaplin in “The Dictator” and in the The scene showed the Hitlerian swastika that Chaplin “camouflaged” with two Xs. Did Pildorín know that Trujillo had supported Franco, an ally of Hitler and Mussolini in World War II? Most likely not and that Petán himself, director of the channel, would not even notice.
Of course, Pildorín was seen wearing dark glasses in the streets and when someone greeted him by his stage name, he would stop him dead and say “excuse me friend, I don't know what6 Pildorín is talking about. I am Radamés Sepúlveda Mota”.