On New Year’s Eve from 86 to 87, the last of the specials was produced live by TVE. Between December 31, 1983 and 1986, the public channel brought together the team of singers, dancers and comedians in Studio 1 of Prado del Rey for live performances to take place in front of hundreds of guests (actors, politicians, personalities known in general) to accentuate the spectacle character of those first hours of the new year.
the filmmaker Fernando Navarrete He was in charge of those marathons that only in attendance for more than a hundred participants on stage was already quite a feat. In 1983 the conductors were Tuesday and Thirteen, then a trio, and between 1984 and 1986 (giving way to 87), the emcee was the beloved actress shell velasco that he also introduced his companions and filled in the time that was necessary as he was the protagonist of musical numbers. In one of them at Viva 87 there was the memorable fall of Mayra Gómez Kemp (by a treacherous carnation) when they were parodying a number of my fair lady with the motto “Women in power”. The singing women were Mayra, who emerged from among the diners as if she were spontaneous, Concha and Bibiana Fernández, although they did not sing, but acted in playback. On the part of the men, who comically rejected the slogan, Raúl Sender and the well-remembered Sevillian actor Paco Valladares.
There are many stories of those New Year’s Eve, such as the revelation of Los Morancos, when it seemed that they were two Yankees who had slipped through the program; the doormat of the Italian Cicciolina; or the number of the Móstoles empanadas of the reconciled Tuesdays and Thirteen. Precisely by not being in the following year, the organization of the program took the rest and practically signed all the comedians who were within range, but Viva 87 was not a memorable space due to the humor numbers. Neither Tip y Coll, nor Los Morancos, where Jorge Cadaval parodied a night partner, Lola Flores. With a doll that he tossed around, he imagined the Jerez woman with her son Antonio’s granddaughter (“she couldn’t be called Good Afternoon, she had to be called Alba”).
Lola Flores was used to being parodied. Her temperament seemed to invite parody, but she was that authentic. The artist from the San Miguel neighborhood intervened on that New Year’s Eve in playback with her empowerment Lola Lolita. “And although time brings leaks/ I am like the good Jerez/ each year more solera/ the more time, the more bouquet”. An unapologetic Lola whose railings were painted when she passed over the bridges and they carried her in the air like bullfighters.
But a number in playback, like the others, even if it made the bata de cola fly, would have been insufficient for the Jerez. So while an illustrious French singer, Sacha Distelthen intervened Lola changed into a red party dress to be accompanied by his flamenco painting. She joined at the end of Distel, dancing with him while she said goodbye, to continue with a zambomba she improvised. La Faraona started with different Christmas carols, rumbas and bulerías, to cheer on the staff on the set.
Together with José Luis Perales, who played an intimate Christmas carol on the guitar to welcome the year 1987, Lola Flores was the only one who sang live that night. Like a Chanelazo in each performance, he sang live and danced to the beat of the palms of his people, making spectators rise from their chairs. Lola could never accept indifference and put up with the playback with little resignation. She did not go to television to move her lips, the cache earned it by hand. Hers and hers guitarists and her clappers.
With her overflowing speech, Lola wished the Spanish a happy new year, with Spain “as the best country in the world”, wishing prosperity, money and that “people were better”. The one from Jerez was already dragging her problems with the Treasury and would appear in court months later. It was when she asked for that pioneering crowdfunding in which each Spaniard put five pesetas.
In that long live 87 The German singer also took part Nina Hagen, Sergio and Estíbaliz, Pino D’Angio, Cantores de Híspalis, Miguel Bosé or the Dynamic Duo. All of them in playback. With a live flamenco start, a countryman from Lola was also there, Nano from Jerez, signed as a comedian along with Josele, the canary Paco Vieira, Manolo de Vega or Mustache Arrocet. Plus Félix el Gato, Mariano 1’85, and other names that would end up in the future Telecinco and in the programs of José Luis Moreno.
At that time the bells were broadcast by voiceover, without the presenter appearing, and the formal voice of that year was that of a ‘bust’ of continuity, the veteran Isidoro Fernández. Those grapes had their controversy when in voiceover Rosa María Mateo interviewed the mayor of Madrid, Juan Barranco. The chimes became fireworks in a spectacular, and highly visible, pre-campaign act for the municipal elections for the then socialist mayor.