👉 La familia del reconocido periodista confirmó su fallecimiento. Fundador de varios medios y proyectos televisivos y radiales, murió debido a un paro cardíaco tras presentar una falla multiorgánica. Lanata es recordado como un maestro del periodismo y una figura que rompió moldes en la industria.
Habló Liliana Parodi, ex gerenta de América Tv.
👉 Seguí en #QuienCuandoDonde #QCD
Habló Liliana Parodi, ex gerenta de América Tv.
👉 Seguí en #QuienCuandoDonde #QCD
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NewsTranscript
00:00The death of Jorge Lanata.
00:05The family is confirming it.
00:10The news that we would not have wanted to give you.
00:13An inescapable reference, wherever you stand,
00:17of Argentine journalism.
00:19A man who has made history.
00:21Founder of several media.
00:23Founder of many television and radio projects.
00:28Founder of many journalistic successes.
00:31And now, confirmed, Jorge Lanata has died.
00:36As Bobby told you, he had a multi-organic failure in the last few hours.
00:42The liver no longer responded.
00:44He had internal hemorrhages.
00:47He was practically irreversible.
00:50I am confirmed that he died of a heart attack.
00:52Because here we had the possibility that the family decides or not
00:58what was going to be the death, let's say,
01:01if an assisted death, in some way, or not.
01:04Well, he dies of a heart attack.
01:06This picture that I presented today, until today, accelerated the heartbeats.
01:11They told me.
01:12And indeed, he died of a heart attack.
01:16The family had already said goodbye to Jorge this morning.
01:20The information that I am trying to check now,
01:22well, what steps are going to be taken next
01:24in terms of the process that entails.
01:27And it is something, in some way, also good,
01:29this impasse that there was in the last few weeks of this judicial battle
01:33that the daughters had had with Elba.
01:36Something good that also, I understand, unites the family at this moment.
01:42I'm trying to talk to you,
01:44they're giving me information at the last minute.
01:46But well, unfortunately, the cardiac arrest
01:49determined the death of Jorge Lanata.
02:16There, 1960, 2024,
02:20Jorge Lanata was 64 years old.
02:22A young man, but very, very grieved
02:25by health problems for a long time.
02:28Even to whom even transplants had been practiced.
02:33In a whole experience that was unprecedented in Argentina.
02:37There, where coordinated transplants were done
02:41from one patient to another in a chain.
02:45From the same donor,
02:47in turn, more than one beneficiary of that situation,
02:52who had been fighting it already in this last stage,
02:55it is only in this last stage,
02:57since June 14,
02:59passed with many health alternations.
03:05And a man who already, some means,
03:08is beginning to start his chronicles,
03:12his journalistic journey.
03:14And how well they do in how they are pointing it out.
03:16For example, the Infobae portal,
03:18the journalist who never stopped asking questions.
03:23And the truth is that it is a good way to define it.
03:26There, where the reason for being a journalistic animal,
03:29in the good sense,
03:31is that, to bother, to ask questions,
03:34to never stop doing them,
03:36until the last day,
03:37that was the reason for being of Jorge Lanata,
03:40who had journalistic projects,
03:42even in this house, in America.
03:45That's why we went there,
03:47to an inescapable reference of this house in so many years,
03:50as Director and Manager of Programming.
03:52We have her connected to Liliana Parodi,
03:55who has also known her very closely.
03:58We greet you, the formality is to say good afternoon.
04:01Here, Roberto Mena, the whole team of Who, When, Where.
04:05And we would like to have, in these first minutes,
04:09a word from you.
04:10What was your experience with him and how do you remember it?
04:14Hi, how are you?
04:15The truth is, I'm in shock,
04:17because we all thought it could happen,
04:19but I was sitting,
04:20I'm sitting in a bar, waiting for someone,
04:22and they call me from production,
04:23so the producer, Erika,
04:25is the one who gave me the news.
04:27And I was like, like, like, concerned, moved,
04:31because we were all expecting the miracle,
04:33but we also thought it was unfair
04:36that his body was suffering
04:38and he was still being invaded by so much treatment.
04:42So, that's what I always have in my head,
04:44that I say, my God,
04:45when is this man's relationship with his family going to end?
04:49Because it's a relationship of everything.
04:51I can tell you, as a title that you like,
04:55he was the best of our generation,
04:57the best journalist of our generation.
05:00You think that in the 90s or the 80s,
05:03we studied journalism, one and the other,
05:06and he was brilliant.
05:08He, I remember, studied in the press,
05:11and he worked with Eduardo Alberti on Radio Boliviano.
05:14Our team was dying to make a...
05:18to be in the news in that program.
05:20We were all of the same generation,
05:22twenty-something years old.
05:23And it always began to differentiate,
05:26this creation of that newspaper, Página 12,
05:29and so on.
05:31And I like what...
05:33We had many stages in America,
05:36but when he was a man of journalism,
05:39a respected one, a creator,
05:41because Anata was a creator,
05:44a man who always created something different
05:47from what had happened.
05:49In most cases, I think he had success,
05:51and some other failures, as he himself pointed out.
05:54So, he appears in the late 95s
05:58with a journalistic project for television.
06:01He included everything,
06:03even the drawing of the scenery.
06:05It was the famous colored D,
06:08and it was a D-Day.
06:11So, I had the privilege of participating
06:14in that moment of the program,
06:16and of that man who came with his new son,
06:19television, in that case,
06:21who was D-Day.
06:22And at that time, he was 35 years old.
06:25I mean, imagine that he was super young
06:27and super creative.
06:30And, well, then he came back.
06:33Imagine that managing a company's journalism line
06:36with Jorge as a journalist
06:38was never easy.
06:40Sure.
06:41And, Liliana, the truth is that,
06:43in this journey,
06:45because of how you raised it
06:47in your personal experience,
06:49I also start to think...
06:51It took me to the stage of students
06:53where you didn't go to college
06:55and you didn't go to the UVA,
06:57and you had Página 12 folded
06:59almost under your arm.
07:01And there are a few cases,
07:03I'm thinking, I don't know,
07:05in Chiche, that we still have it,
07:07and in some others,
07:09that, in every field in which you have gone,
07:11you have been tremendously successful
07:13and the maker of so many products.
07:15Because you went to the graphics,
07:17well, what Página 12 was,
07:19and the journalistic revolution of its covers.
07:21You turned on the radio,
07:23and I couldn't sleep listening
07:25to Hora 25 and other projects
07:27that you had, even the last ones
07:29on Radio Mitre.
07:31You turned on the TV
07:33and the guy even gave you his opinion
07:35about the set design
07:37and he got it right,
07:39he got a level of creativity
07:41and the maker of products
07:43that has rarely been seen,
07:45right, Liliana?
07:47That's why we define him
07:49as a journalist.
07:51Well, many of us are or are journalists,
07:53so surely many colleagues
07:55will be happy as well.
07:57He was the best teacher
07:59of television and radio
08:01journalists of the moment
08:03in the Argentinian Republic.
08:05Many years ago,
08:07now you can take any of the programs
08:09that he did, including
08:11El Diario, and think
08:13about the history of each one of them,
08:15where they started and how they grew up.
08:17They are leaders, they are
08:19recognized journalists.
08:21Going through the NASA Academy,
08:23it was even said by the girls
08:25who worked with him
08:27on Radio Mitre,
08:29going through the NASA Academy
08:31was like being a journalist.
08:33Then each one chose
08:35what process he was going to do as a driver,
08:37whether he was an editorialist,
08:39whether he was an economy journalist,
08:41it doesn't matter.
08:43I think that everyone who went through there
08:45has to remember him as a teacher.
08:47For me, it's a huge pain
08:49for the people of his generation.
08:51It hurts twice as much.
08:53But I'm grateful
08:55to have shared it, to have had it.
08:57The time we are with
08:59Santiago is unbearable.
09:01I saw the photos of that moment
09:03because he came, he came untreatable.
09:05He, deep down, wanted America.
09:07He was in different positions,
09:09not only as a director,
09:11but also as a journalist,
09:13and he was a very tender man.
09:15And well, as you said, what he did
09:17when NASA took a subject,
09:19he did it.
09:21And he always had a reason for it.
09:23It wasn't just because
09:25he didn't have a reason.
09:27He had research, he had work.
09:29Yes.
09:31He had a very good sense of humor,
09:33didn't he?
09:35Very good sense of humor.
09:37He has shown it,
09:39especially in the last
09:41ten years.
09:43That change he made
09:45to accept a little more
09:47journalism,
09:49more frivolous, as we sometimes say,
09:51to the elements that I love,
09:53or to open up a little more
09:55to the world of the show.
09:57In fact, he did magazine theater.
09:59Of course, it's true.
10:01He was a person
10:03who was reinventing himself.
10:05But what I most regret
10:07is that he didn't take care
10:09of his health,
10:11in that sense.
10:13To have beautiful daughters,
10:15to have spectacular wives.
10:17Really, a woman
10:19more beloved than gold.
10:21But hey, he was
10:23the story of his personal life
10:25in terms of his health,
10:27which is the only thing one could say
10:29about Jorge.
10:31Why didn't you take care of yourself a little?
10:33We wanted you with us for a long time.
10:35At this point, Liliana, what you say,
10:37we are talking with Liliana Parodi
10:39in the first minutes when it is official,
10:41we had the information earlier,
10:43but in this, it doesn't matter
10:45so much the beginnings,
10:47but to be respectful of the family,
10:49of the environment.
10:51Now, the death of Jorge Lanata
10:53is officially confirmed.
10:55We are talking about health,
10:57an Achilles heel of so many greats
10:59who are so overwhelmed
11:01for creativity, for their products,
11:03for their talent,
11:05that they are also for their personal life.
11:07It is a classic, we tell people,
11:09the situation of a time
11:11where it began to be something
11:13forbidden to smoke
11:15in closed areas,
11:17in the canals, in the studios.
11:19I only remember two
11:21of going through corridors and canals,
11:23Gerardo Sofovich
11:25and Jorge Lanata, who were almost
11:27those who fought you and put you on contract
11:29with that bohemia, with that which also
11:31made the character
11:33to keep smoking in times
11:35when you put a limit on everyone else.
11:37No, to smoke in the street, in space.
11:39And once he appeared with a matafuego
11:41on the side.
11:43I think they had thrown it in his ear.
11:45Liliana, you can confirm it.
11:47You had to deal with that too,
11:49as a programmer, as a manager of the channel.
11:51Also the question of the cigarette, right?
11:53Look,
11:55in the first edition of El País,
11:57where it was forbidden,
11:59in quotation marks,
12:01where it was said that you were not allowed to smoke,
12:03it was in America,
12:05we were all together, Radio América,
12:07El Canal América,
12:09El Canal de Noticias TV, and El Cronista.
12:11So the journalists began to think,
12:13what is happening to Eduardo Don Reggiano
12:15who is doing this thing?
12:17He came with that theme
12:19from the United States,
12:21which at that time
12:23had already been thought
12:25that he had to work in environments
12:27more distant, etc.
12:29So everyone smoked in the street.
12:31Inside there was a place in America,
12:33where they called it the smoking place.
12:35I also at some point
12:37smoked where I had the smoking place,
12:39I smoked there too.
12:41But in the case of Jorge,
12:43by contract, he had to accept.
12:45Then with Gerardo a little
12:47the same thing happened.
12:49But in the case of Jorge,
12:51that's why I tell you that sometimes
12:53telling the story is complex.
12:55He spoke of his other demons,
12:57of his addictions.
12:59He recognized it himself.
13:01He decided that it was his life
13:03and that he could not modify it,
13:05he did not remove it, it does not matter.
13:07And it is what remains to one
13:09as if no one could do anything
13:11for those things.
13:13But Garbillo and he were one.
13:15And you know
13:17that after the internment
13:19he kept smoking.
13:21And I want to ask you a question.
13:23Because you are one of those people
13:25that one can say,
13:27the television woman.
13:29Of everything and of the most talented.
13:31So I think that even with the passage of time
13:33there must be few professionals
13:35that out there still
13:37when it comes to making television
13:39get you surprised.
13:41Has it happened to you to be in your office
13:43with all the monitors there,
13:45your own, those of the competition
13:47and suddenly say, or in your house
13:49look what Jorge is doing,
13:51I can not believe it,
13:53that he really was a man who surprised you
13:55from the creativity with which he approached a topic.
13:57Even in television terms
13:59to be so visual, so visual.
14:01Well, his characteristic costumes,
14:03but things that he sometimes put
14:05even inside a studio.
14:07What you said is all.
14:09You think about the clothes,
14:11think about the set design.
14:13Since I told you about the B,
14:15in front, every moment
14:17that he would go out in the air
14:19in America or in other channels
14:21he needed to put something that distinguished him.
14:23And really, you can compare it
14:25with any of us,
14:27with anyone who has done television.
14:29And he always distinguished himself.
14:31Not to mention when they promoted
14:33the subject that was going to be discussed,
14:35the investigation that was going to happen.
14:37We are not going to do the details here,
14:39because they will do it all these days.
14:41But all the governments,
14:43all the powerful people
14:45of the country have had
14:47sometimes in the NATO
14:49someone who was in front
14:51and who investigated
14:53in another situation.
14:55He was a great investigator.
14:57We owe him a lot.
14:59I remember your words
15:01when Mauro Viales passed away.
15:03Bovia also referred to Chiche Gelblum.
15:05Mauro, Chiche, Jorge,
15:07the great journalists
15:09who marked the direction
15:11of television in the 90s,
15:1380s, 90s.
15:15The legacy of Jorge,
15:17of Mauro,
15:19is in current journalism.
15:21Has MESA left
15:23this way of working
15:25so disruptive?
15:27Look, in many, yes.
15:29We also have a country,
15:31fortunately,
15:33in five that we have seven,
15:35I think they are now news channels.
15:37Imagine that there they have
15:39traces of everything.
15:41In some very successful,
15:43in others with intentions.
15:45But what these men had,
15:47Jorge and me,
15:49was this ability to work, guys.
15:51All these people
15:53it was not by chance
15:55that they left a mark.
15:57They were hours and hours
15:59of obsessive work
16:01with their teams.
16:03And now you can say, well,
16:05I want to go. No, no, no.
16:07This was not achieved if there was not
16:09a lot of work on their part,
16:11which were the heads of all this.
16:13I have also done it with Carlos Cortana,
16:15with Herrera, with Carlitos,
16:17with Mirta, who does it.
16:19When you listen to Mirta speak
16:21and she asks the guests things
16:23that you say, how did this happen?
16:25It happened to me this Saturday.
16:27They prepare, they produce,
16:29they work.
16:31That's what the new generations have to give.
16:33Anyway, as I told you before,
16:35there are many journalists
16:37and conductors who have gone
16:39through the school of Jorge.
16:41Sure, the point is to go through
16:43that school, because yes, it has opened
16:45and has shown a model
16:47of how to do journalism,
16:49how to do it in graphics,
16:51how to do it on the radio,
16:53how to do it on television.
16:55The issue, in addition to opening that game,
16:57is to be able to have the talent
16:59of these men we are talking about,
17:01in this case specifically
17:03of Jorge Lanata.
17:05That breaks the mold.
17:07And well, there is a mold there to follow,
17:09but you also have to have that talent
17:11and that volume of work.
17:13I don't want to stop
17:15talking about that.
17:17We are already talking with Liliana Parodi
17:19in these first minutes
17:21in which the physical disappearance
17:23of Jorge Lanata is already confirmed.
17:25Because that's also it.
17:27There, where one believes that it is the talent,
17:29as something given, no, no.
17:31Behind there is a lot of muscle,
17:33many hours of work,
17:35also behind that creativity.
17:37Because when one knows the creative process,
17:39Liliana, of what were, for example,
17:41of a cover like that of Página 12,
17:43that there where all the daily covers,
17:45we are going to tell the younger people,
17:47were covers that were repeated
17:49among themselves.
17:51Grays, spots on a cover
17:53of a paper that later
17:55stained your fingers.
17:57Of course, when Página 12 came later,
17:59it broke everything.
18:01Suddenly you said, what is this?
18:03A cover in white?
18:05How a cover in white?
18:07How a cover that says nothing?
18:09The other way around,
18:11that I have to turn around.
18:13They printed it wrong.
18:15There was a printing error in the workshop.
18:17No, no.
18:19Then those production meetings
18:21where I have been touched with a Chiche,
18:23for example, another will have been touched
18:25with a Lanata.
18:27You say, hey, young people, creative,
18:29we were going ten to that meeting
18:31and the one who threw the most ideas
18:33out there was Chiche,
18:35who I have very present in my career
18:37out there, the one who threw the most
18:39and the one who ended up imposing
18:41and making the difference was Jorge's.
18:43Why is that?
18:45Yes, the leaders are few
18:47in history, in any profession,
18:49in politics,
18:51in business, in life.
18:53Leaders are not all.
18:55There may be people who follow
18:57the techniques of this leader.
18:59What you said about Página 12,
19:01I guess it should always be studied
19:03in universities, in journalism schools,
19:05of what is different.
19:07You think that we, for years,
19:09we said, let's look for someone
19:11who knows how to type like Página,
19:13who makes sense of those two words,
19:15of those three words,
19:17of those soft covers.
19:19All the time we were trying
19:21to find something that would
19:23take it to the next level.
19:25They are few.
19:27He is one of the few.
19:29We regret that this year, 2021,
19:31he has already been fired.
19:33We know that his life
19:35was in great danger
19:37and we also think
19:39how his body recovered from all that.
19:41But he leaves so much,
19:43so much, so much,
19:45that I think it transcends.
19:47In the last few years,
19:49he was more of a composer,
19:51but when he was
19:53thirty-something years old,
19:55he was always going
19:57to break things.
19:59I think that in the last few years
20:01he has been more of a composer,
20:03but always different.
20:05In this 21st century,
20:07he has nothing to do
20:09with the notes of the 20th century.
20:11He was reinvented himself.
20:13You see that one says,
20:15but why doesn't Danata
20:17keep doing what he did?
20:19No, because he learned,
20:21because life taught him
20:23and he was obviously
20:25a great observer of changes
20:27and he was adapting.
20:29I am really very, very happy.
20:31And of these men,
20:33who, even with
20:35journalistic products working,
20:37would go down,
20:39and one had the feeling,
20:41but wait, how are you going
20:43to go down before time?
20:45From a formula that
20:47works moderately.
20:49And I think that there was
20:51also his nature.
20:53That's why when I talk
20:55about a journalistic animal,
20:57I mean that it could
20:59mobilize internally.
21:01And also in something that,
21:03Liliana, you may have
21:05warned as a woman of the industry,
21:07that it was no longer
21:09just a matter of journalism.
21:11It ended up becoming
21:13even someone who was
21:15uncomfortable for power
21:17and who became
21:19an uncomfortable factor
21:21for power in the sense,
21:23I'm also thinking about
21:25these women who,
21:27let's remember,
21:29have moved up to the
21:31time of football,
21:33when football for everyone
21:35was so calling,
21:37just to compete with him,
21:39because he was the TV
21:41owner of the ratings
21:43on Sundays at night.
21:45And look what a move,
21:47football for everyone,
21:49when it ceased to be private,
21:51was taken by the state,
21:53and that's exactly what
21:55we see in your program.
21:57Also at that level,
21:59like a Neustadt, being a man,
22:01Kirchner was also a factor
22:03of power in itself, right?
22:05Absolutely.
22:07What is also important
22:09is that he was not an
22:11opinioner of what the rest
22:13of humanity did.
22:15He was a person who had,
22:17he was an opinion leader,
22:19an absolute opinion leader
22:21How could you agree or disagree?
22:23He had a foundation
22:25in his opinion.
22:27For me, it has always been
22:29a challenge to form an opinion leader,
22:31to work with others who already
22:33were, to put together new
22:35generations. It is a very important
22:37issue for a journalist
22:39to be an opinion leader,
22:41and he was a great opinion leader
22:43throughout the decade
22:45we've been talking about,
22:47until now, of course.
22:49He was very receptive,
22:51and I thank you for that.
22:53Was he receptive too?
22:55Because it is difficult to stand
22:57in front of a Jorge Lanata,
22:59right? It had to be difficult.
23:01Look, I've run through the streets
23:03of Honduras when we were young,
23:05back in the 90s,
23:07following him with a routine
23:09to change the idea of the
23:11song I wanted to play.
23:13Of course, I never changed
23:15the idea, although later,
23:17when he was going to file a complaint,
23:19he said yes, no, no.
23:21Yes, he filed it,
23:23but later people had their right
23:25to reply. He was not an easy person
23:27to convince when he believed in something.
23:29And that's fine.
23:31With your convictions,
23:33you can go on until the end.
23:35I applaud him for that,
23:37but he had
23:39a different power that not all of us have.
23:41His convictions
23:43and what he thought
23:45about something,
23:47there are people who have loved him,
23:49there are people who have suffered,
23:51but he left his mark
23:53forever. The best
23:55journalist of our generation.
23:57And he has a lot of value.
23:59Liliana Parodi,
24:01the lady of television.
24:03Liliana, thank you very much.
24:05You are very understanding of this situation.
24:07We thank you for all the time you have dedicated to us.
24:09And you who have left me
24:11this, I hope I have said everything
24:13I feel and I feel.
24:15The only thing is the last message we sent each other.
24:17I bought a painting that he had,
24:19I sent him the photo.
24:21We arrived in Bern,
24:23and I said, let's do a generational talk.
24:25We are big boys,
24:27let's have a talk.
24:29So we will meet
24:31at some point
24:33and we will complete that talk.
24:35Here we are adding
24:37Luisito Ventura.
24:39Before saying goodbye,
24:41I would like to thank you very generously
24:43for our studies.
24:45If you want to say hello to Liliana.
24:47First of all, Liliana,
24:49those of us who are in this world,
24:51in this universe of journalism,
24:53of communications,
24:55surely we have received this slap,
24:57with which we close the year.
24:59Anyway,
25:0124 hours ago
25:03I was receiving insistent calls
25:05that it was the last hours
25:07of the Nata.
25:09The story of Ventura and the Nata,
25:11a true secret, please.
25:13You have no idea,
25:15because I'm going on a trip.
25:17No, no,
25:19but your story with the Nata.
25:21Now she's going to tell us.
25:23Liliana, thank you very much again.
25:25Happy New Year to you.
25:27And a kiss to the Nata family,
25:29to all those women
25:31who are so hurt.
25:33We are with you.
25:35Thank you very much for your time.