Although the Colombian version of The Wonder Years is based upon the well-known American series, Carlos explains to us some similarities and differences between the two versions.

As we reach the finals stage of the Mono Núñez festival in Colombia, our host attempts to create a "Latin American integration" as well as continuing to explore the individual journeys of the participating groups.

Some people could see Arturo Vega as just a guy who happened to design the Ramones logo, but the truth is that he had to get his hands dirty with hard work, and that meant loading tons of equipment, manning the lights and basically doing whatever was needed by the band. The reward was great: thousands, maybe millions, wearing an image that he created.

A little research tells us that the musical comedy Arturo did with Héctor Suárez at the Teatro de los Insurgentes was Sigue tu onda (Follow Your Wave), a Spanish language adaptation of a Broadway show known to American theater-goers as Your Own Thing. Soon Arturo himself would be heading to New York on a tip from Paul McCartney’s agent that he could land a spot in Hair...

Arriving in December of ‘71, a young Arturo Vega decides that it is New York where he is going to clavar, or stay put. His journey began in Mexico, where he began his artistic life as an actor and participant in experimental theater or “happenings”—an art form which was not well received by the powers that be in that country.

Cleer interviews the members of the acclaimed Colombian band, Doctor Krápula, known for both their music and social activism.

Christhian and Cleer teach us how to dance Colombian Cumbia to the famous song, "La Pollera Colorá."

Catalina Garcia, lead singer of the Colombian music group, "Monsieur Periné," talks a bit about the group's origins and influences.

This segment explores the extent to which the musicians at the Mono Núñez festival combine formal training with natural instinct to make their traditional Colombian music.

Do the rules and restrictions associated with entering a contest like the Mono Núñez affect the musicians' artistic freedom? In this segment, our host and musicians examine that question.

Our behind-the-scenes look at the Colombian Mono Núñez music festival continues with an interview with a group who plays Afro-Colombian music and, has opted to perform but not to enter the festival's contest.

An itinerant concert at the Mono Núñez gives people who could not otherwise attend the festival the chance to experience some of its music and festivities.

Our host at the Mono Núñez festival in Colombia continues to interview people who have come to the festival from many countries, expressing his desire to create an integrated musical product: Colombian music with influences from many different countries and cultures.

As the festival continues, we meet a group of Colombians who talk about how they've modernized the themes of the Andean music they play. We also meet an Argentinian who shares about the types of songs she performs.

At Colombia's Mono Núñez music festival, native Colombians and foreigners alike share their deep love for traditional Colombian music.