A Mauricio Birabent wrote the book The city of Sarmiento (published 1938, in reference to his native Chivilcoy) ea Maurice Birabente wrote the line “Never school / always life” in Duck works in a butcher shop (1970) one of the founding songs of this entelequia called National Rock.
Father Mauricio Birabent referred to his city, approved by the Teacher of America in 1868 as “an example to follow,” as “Pearl of the West”. And Mauricio Birabent Jr. (whom his mother renamed Moris) was a regular visitor “The Pearl of Eleven”the modern grocery store that inspired so many songs.
Thus, the first musician Birabent not for nothing drew a line in an imaginary field and when he sang for the first time (Rebelsimple initial of The Beatniks and the Argentines rock everything) did so by saying: “I am free and they want to make me/a slave to a tradition”. His voice, city horn where tango, folklore, bolero, rock and the cobblestones of Buenos Aires enter, sublimates the initial readings that have never left him (Krishnamurti, existentialists, beat literature) and his verses always look like neon lines ready to signal a long journey until the end of the night.
His classic trilogy
In his classic trilogy, thirty minutes of life (1970), street guitar city (1974) and fever to live (1978) does not hide a circular vision.
In the first, with the cover of a school folder in its second edition, he gives a lesson on what he has learned up to then. And he leaves us from an immortal children’s story (Bear) to the tutorial on the hugely popular urban music (Useless), as well as dealing with and lightening gender discussions in the shocking hear me through the noise.
In the second he becomes a proletarian and builds a mural of a society in conflict rather than a record. Patents a new tango standard (My dear friend Goofy), find the gold characters in the system debris (The beggar of the South Dock) and tries to draw a line between the city and the countryside, between the acoustic and the electric, between what was and what will come in that monumental suite entitled Workshop and employeenine minutes where only the tension subsides to breathe and announce: “I’m thinking of saving myself / burying myself again”.
And the third, that of the Spanish exile, confirms the cycle as a vital study: he is reborn in Spain with adolescent verve to take up the rock and roll spasm that inspired him twenty years ago and reconfigure his GPS in another city , indicating that the Beatles they are old (night princess) and illuminate a country that was emerging from Franco’s dictatorship while looking for a refuge for his family.
He doesn’t say it, nor do we say it: there are many Spaniards (starting with Joaquin Sabina) who say that Moris taught them to rediscover Madrid and, above all, to believe in themselves.
If the artist who turns 80 today doesn’t have a monument in Buenos Aires, it is because he himself refuses to pose to be chiseled. In the bars that change their names, he sits down and claims that he is no more important than the man who squeezes him an orange juice or brings his coffee to the table.
And there, once or twice in the morning, writing in pen on a lined notebook what he ruminated like a constant stream of consciousness. Dozens of pages a week. Something that could be summed up in what she always said in different ways. That life shouldn’t feel like one long agony.
POS
Source: Clarin
