Of The key you could say it was a man thing, like the cognac in the ad. But the only program of the time to feature Parity, despite its title, was Man and the Earth. This gave Balbin’s debate its authenticity. The canyons, the canyons, the valleys, all this geodesic truth became The key in a semicircle of chairs that simultaneously made something like eight men seem mercilessly withdrawn and oppressive. Participants brought their papers to look at, not to show to the cameras. The legitimacy came from the word, not the image.
The clarity of language of Félix Rodríguez de la Fuente can be found in The key a reflection born of the temperament of the participants, of the clean and open give and take between opposing positions. The guests wore the callus of study and exile on their faces. Also the touch of political, scientific, cultural responsibility. It is said that Balbín kept a bottle of whiskey under his chair on set. You drank while you lived. That’s how it was back then. Before the Iberian fauna was discovered for the whole world (part of the world were the men and women who had to leave the gorges, the valleys, the eagle flight, the fox, the weasel, the stone marten, all these words that so many spectators, that they would never use it again because they also migrate from words), The key it revealed to a smaller audience (the staff prefers the wildlife to the barbarity of the books) that there are both perspectives and perspectives in life.
The headboard music was very scary. It was composed by Carmelo Bernaola (he was also the author of I will read the little car). With Antón García Abril (creator of the melody of Man and the Earth) Bernaola represented the introduction of musical avant-gardes in television programs. There was then only one tune that caused more panic than that of The key. The one from the program Furthermore, directed by Dr. Jiménez del Oso. Balbín should dialogue what Jiménez del Oso should monologue. Everything in Balbín was platonic (his dialogues had something of a banquet and something of a republic). Fernando Jiménez del Oso was more metaphysical. He had an Aristotelian poetics of the beyond, of the mysterious. His style had been inherited from forgotten classics like Charles Fort, and now his way of doing things was banished too. In Balbín, the shadow of a generational philosopher throbbed in his demeanor. José Luis Balbín came from the mixture of Fernando Savater and Chicho Ibáñez Serrador. Not just iconic.
with the sweepstakes One, two, three…, answer again, that Chicho had invented shared The key an abundance of human characters, a diversity of personnel, and this diversity manifested itself in a plurality of ideas in Balbín’s program. To the serious and thoughtful guests of The key, They weren’t afraid or ashamed of appearing strange, of being original. For at that time personality had not become something that could be treated, but emanated from the person. To be, it was enough with the person and his word. In which One two three…, the same happened. It celebrated the triumph of the people. You see that in every scene of Brueghel, for example (in Brueghel the Elder, even in The Triumph of Death there is the victory of having lived). To participate The key it was necessary to master a certain subject; im playing One two three…, it was enough to know the capitals of the world or the names of the most famous painters. For 25 pesetas each, names of famous painters, for example Brueghel the Younger. Bruegel the Elder! Another 25 pesetas. But before these candidates, the participants of The key they looked more like Don Cicuta. They asserted themselves with such seriousness. Knowledge is always elitist, especially when it manifests that one knows. Or maybe not, and that’s a huge problem of our time: that those in the know are being lynched. What is not doncicutismo is auction. Or circus.
As in The big TVE circusthey differed in that too The key two fundamental parts: the film (chosen by Carlos Pumares) and the debate (the most anticipated, like the adventure of Gabi, Fofó, Miliki, Fofito…). In the debate, Balbín held his whistle from a person who likes to listen. There The key It wasn’t a talk show, it was an audio show. To learn you have to listen, everyone knew that. And it was no more ashamed to learn than to show you didn’t know. That was the culture of transition. Culture.
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