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.

Singing in Nasa Yuwe, their native language, is one way in which Colombia's indigenous Nasa population strives to preserve and make more visible their language, culture and customs.

Colombians at the Mono Núñez Festival in Cali talk about their objectives for attending it, among them the importance of preserving traditional Colombian rhythms in a period in which their mainstream popularity is waning.

Native Colombians speak about the importance of taking pride in their traditional music as well as its influences as they look forward to celebrating it at a festival.

Singer Cecilia Villar Eljuri, considered one of the top female guitarists of her time and recognized for her socially-conscious lyrics, was born in Guayaquil, Ecuador, and raised in New York by multicultural parents. In this candid interview, she talks about the ways in which her exposure to different places, cultures and types of music has influenced the evolution of her music.

In the electronic press kit for singer, Eljuri's latest album, Fuerte, she talks about her background and musical influences, her producer, her early music days and the ways in which her current work differs from her past music.

Colombian musician, Willy, continues to explain to us about his creative process as well as what music means to him.

Willy learned to play guitar mostly by himself, but he soon discovered the importance of having people to share his passion with. Then he talks about how New York changed his musical tastes.

Meet some of the members of Banda Pionero, a Sinaloa style band from Mazatlan, Mexico. These guys are really friendly and even sang a capella for us.

Bajofondo is, according to the group, a “collective of composers, singers and artists.” They started out as the Bajofondo Tango Club with a strong tango influence, but have since broadened their sound. Here they talk about the collective and begin a discussion of their sound.