00:00What did you know about Guillermo Cano?
00:05They were known because Guillermo Cano was a journalist
00:09and a journalist of family, very famous, very important
00:14with his media communication, The Spectator.
00:17And my father was a journalist
00:21who had a very different trajectory,
00:24because my father worked, first of all,
00:28in the journal Jornada,
00:32and then in The Liberal,
00:35with Alberto Lleras Camargo.
00:37My father was a journalist who liked the investigation,
00:42but especially the fantasy.
00:44So, one day, he came to the spectator
00:49to talk to Guillermo,
00:51and he brought a chronicle,
00:53which, according to Guillermo,
00:54he had fallen out of perlas,
00:55because in that moment, in the moment of that chronicle,
00:58there was nothing good in the period.
01:02So, with that chronicle,
01:04my father had already had a possibility
01:07that the newspaper, The Spectator
01:10and The Magazine Dominical
01:11had a good chronicle.
01:13And then, my father was the journalist
01:17of The Spectator,
01:18the narrator indiscreet,
01:20that published a series of chronicles,
01:24like I say,
01:25fantastic chronicles,
01:28many times,
01:28and grew up with an amistad
01:31that lasted a long time,
01:35until my father's death.
01:37My father was very soon,
01:38and very soon,
01:41as soon as when Guillermo
01:42named the Gabriel Cano
01:44called the director of The Spectator,
01:46my father became the director
01:49of The Magazine Dominical.
01:54Those chronicles of my father
01:57gave me a different,
02:00a different,
02:01a different,
02:03a less formal,
02:05and a lot of fiction,
02:08because really,
02:09many of the chronicles
02:10had part of reality
02:12and part of fiction,
02:13and I think that that
02:14contributed to
02:15that The Magazine
02:15had many readers
02:17every day more.
02:18There was a chronicles
02:19that was made
02:22after his trip to Paris,
02:24a chronicles
02:26that was published
02:28in five stages,
02:31and in that chronicles
02:33my father described
02:34what it meant
02:35to go to Paris
02:37for the first time.
02:38That was one
02:39of the chronicles
02:41interesting.
02:42The other chronicles
02:43was a report
02:43that he made
02:44Enrique Santos Montejo,
02:46Caliban,
02:47that was the last report
02:50that my father made
02:51and that was published
02:54after the death
02:55and after the death
02:56of him.
03:00First of all,
03:01liberalism.
03:02My father was a
03:04convinced liberal
03:05and Guillermo
03:06was a convinced liberal.
03:09and I think
03:11there was a lot
03:14of
03:15identification
03:15between the two
03:16in that aspect,
03:17in that aspect
03:18of the political
03:19because,
03:20in that time,
03:22there was something
03:23that was interesting
03:24and it was
03:24that the periodists
03:25were not only
03:26were periodists,
03:27they could have
03:28had
03:28an ideology
03:30political
03:31and that
03:31meant
03:34that
03:34they were not
03:35good
03:35journalists
03:36or that
03:37equality
03:38or impartiality
03:40but
03:40the periodists
03:42in that time
03:44had a lot of
03:45political consciousness
03:45and that
03:46I think
03:46is fundamental
03:47because the
03:48periodist
03:49that doesn't have
03:50political consciousness
03:50I think
03:51I can't
03:52do well
03:52journalism.
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