MEDELLIN: The paradise of LOS DINOSAURIOS forgotten Emilio Alberto Restrepo Baena regarding what refers to popular music, Medellin has been considered the paradise of forgotten dinosaurs. It is not free. If we review the Chronicles of the last forty years, this city has hosted in the wonderful, enthusiastic, rotund form to many artists who already were in cold barracks of ostracism, arthritic by nostalgia for applause, anquilosados by lack of recognition and admiration. As the old elephants looking sensing his death valleys secrets of Africa, where after a solitary pilgrimage bed to wait to die leaving cemeteries filled with bones and ivory, witnesses of ancient forces and distant battles, many artists come to Medellin where they are a public that still loves them and that generously reencauchan the affections of alwaysreissuing bygone successes, shaking the heavy burden of anonymity that both hurt ego. And is that the phenomenon unleashed by the tragic death of Carlos Gardel in the city, firing a reverence bordering on idolatry, a rise immediately to the Olympus of the gods, an eternal gloating with the perennial glory by the centuries of centuries of immortals, makes that the tradition of Medellin as the magical elixir against the oblivion should be set in the collective unconscious. Not in vain, far more than in other cities, have ended his life artists like Pepe Aguirre, Orlando Contreras, Edmundo Arias. And before he died, very elderly and in poor health conditions, they came and reaped laurels Leo Marini, Daniel Santos, Alfredo Sadel, Lydia Mendoza, Hugo Romani, Jose Alfredo Jimenez where a complacent and kind audience cheered them frantic and excited. In recent years, a sort of re-edition of the singers of the sixties and seventies is presented. It is common that an entrepreneur put together to a same show three or four artists that shape individual not convened to nobody and taking advantage of the five or six songs that gave to each some recognition and remembrance, manages to develop a repertoire worthy and ensure a seating capacity of the theater that recovers the investment and fun to the public.