Clicking fevers burying television

To escape aging, television seems to have begun digging where it can generate new energy sources that can rekindle the light of interest. And it doesn't necessarily do that in the name of values, but it's enough to collect revenue. Heavy to say, but in this mechanism there's a red line, not even using garbage to produce necessary survival electricity.

In most cases, this is the most popular because it has lower television costs and the resulting result is a type of nuclear energy that, in addition to the positive side, carries a devastating one.

So, you can produce values and convey culture, but you can also produce anti-lves and convey normality.

A good program can cause a sense of quiet, happy, happy, and happyness, as it can produce apathy, can awaken the instincts of violence, or simply fall into time with it.

A good program can produce talents, as well as a bad program can produce “VIP”

I don't have to ask what kind of feeling you describe if you see or hear about Agnza Sahin, Kamela Islami, Rona Nisliun, Teuta Kurtin, Flada Crelan, Elvana Longen, Rosela Jullberg, Casey Tola, Vesa Luna, etc...

You probably have a good feeling, and it's not just because of the nostalgia cultivated for generations, but also because you still feel these characters “created by good television for what they gave to the stage.

At one time, two decades ago they were young people who were ideally young for tomorrow's artistic day compete with live songs to go first and reign on the scenes of a poor Albania learning to cross the transition steps, certainly cultural ones.

The same good feeling, adding to the respect that imposes professional pride, I believe you feel it when you hear about Adi Krastta, Paul Kuken, Alfred Kachinar, Save Sarachin, Jeani Cioco, Zerin Kuken, Elton Deda, Kristi Popa?

This set of values of “-year-old professionals” was compatible with the group of young people competing with live songs on the program: “Et of Friday night and Krasta show”. This program was implemented in just four years on four television. (Telesport in collaboration with RTSH, Vizion + and Top Channel. )

<x0) They renovated the singing scene, held an open and fair race for anyone who thought he could sing, produced talents that resisted his time, and represented the country in Eurovision.

But more than for the beginning of 2000, the lectures of <x0...

The great lesson of <x0Etheve”, in terms of development of technology and the fever of social networks, is that there doesn't have to be contradictions between a very popular programme and a qualitative programme. For those who have forgotten, the generation that could not see this spectacle must be remembered that in the cities where Ethet went, every activity to enjoy the show was closed.
The current lesson is that although the winners of the “Etheve contest” were not financially rewarded with no penny, they became people not only famous, but true artists and conveyors of values in Albanian society that with even more valuable years became.

The precious lesson of “Etheve” of the previous 20 years is that Albania does not lack talent, but to discover it requires not only good professionals, but also very hard. To win the above - mentioned artists, nearly 10,000 competitors have been seriously and professionally prepared, while modern media laziness has gradually cultivated an audience that loves promiscuity. (And this, of course, needs deepening sociological studies)

The lesson that applies at any time to “Etheve” is that when the work is taken over by professionals, meritocracy and success is guaranteed. Those who remember this program remember that decisions were made in full transparency and in sync with the public's feeling. The very career of those who could brave is proof of professional integrity
That television product remains a lecture about this crazy time of clicking, reminding us of how you can make a popular program without going to normal.

That television product remains a lecture on the many screens we have today that evolution theory has understood, not from animal to human, but from man to animal. So, not Darwin's Theory, but the theory of the “Wicke of Cyril”.

True, the screen besides information needs to entertain, but it can do so in parallel with the production of values for society. Value that in the concrete case represented Albania worthy. Agnes Sahini, Louis Eli, Rona Nisliu, Casey Tola came out of the doors of “Etheve” and represented the country at Eurovision.

The universal lesson from “

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A self-recognition that you hear from the banal products that you encounter today on screen is an excuse like this “wants this”. This gross excuse to remember the famous Henry Ford saying, automaker. If I asked people what they wanted, they'd probably ask me for faster horses”