There are accounts that are impossible to close, especially in musical matters. Some traits of people can be known or predicted based on their medical history or mood. However, combining a medical history with an artistic achievement is a little more risky.
When a musician suffers a medical crisis that requires hospitalization, it doesn’t necessarily impact their artistic health, for better or for worse. Yes, but there is a clear correlation between excessive degrees of protracted alcoholic or chemical intoxication and a deteriorating work of art.
Just as there is no scientific study that allows us to state that taking drugs harms or favors a state of creation, there are an enormous number of cases in the history of rock that allow us to state statistically that in the long run the pitcher of creation suffers of excesses.
Charly and his jump from the ninth floor
As always, Charly García is usually the case study against which medical reasons collidebut only sporadically, given that, after all, Charly is a human being with a biology equal to that of the others, even if a gaze impregnated with magical thinking prevails over him, as in the case of the jump from the ninth floor of the city from Mendoza, to a swimming pool to a hotel.
Another may have broken his neck or legs: Garcia emerged as a dolphin and gave a press conference after the stunt. Even he promptly wrote a couple of songs about the jumpto insert into symphonies for teenagersthe sui generis comeback album in 2000: I jumped for you Y 9th b.
Your admissions
In an artist where the letters are usually self-referential Unsurprisingly, he has rarely written a song about his hospitalizations.
He metaphorized on the subject and included elements of his hospitalizations in his later works, but with the exception of his band’s name change after the first hospitalization he underwent in 1991 (it was renamed Los Enfermeros), and the filmed sketch who opened the exhibition in Ferro on December 22 of that year, his work records little mention of his psychiatric hospitalizations.
The most discoverable are usually on his latest studio album, 2017’s Random. For example, in Other, where he sings: “Medicine wants another: they wanted another in my place. Other. Other. Other”.
He suggested it in the professional field – Charly says that a psychoanalyst would have been impossible because the medical institution would have prevented it -, but it also seems to be a reflection on his relationship with the universe of health professionals.
Tango time 4
Charly García has never had a voluntary hospitalization, and the three registered (not counting those that have been the product of domestic accidents or infectious processes), have found it under different circumstances.
that of 1991 It had no immediate significance and was performed for three months in the extinct Guadalupe clinic. García came from doing in partnership with Pedro Aznar the extravagant radiopaintedtaking Enrique Pinti as a kind of undercover rapper.
When Charly was hospitalized, Pedro Aznar brought him canvases and brushes so he could kill time making art. And not only that: he managed to get the patient’s permission from the clinic to go home to record an album.
“While I was hospitalized,” said García, “they let me go to Pedro to record that record that was saving me.” That was Tangos 4a great job in which García’s voice sounds immaculate (listen Vampire) and the feedback between him and Aznar surpasses even the first volume of Tango, that duo with a universal name.
Rumor to say the least
It didn’t take long for the second hospitalization 1994, performed at the Aghalma clinic in Piedras street. His stay was much shorter than his previous stay and from there he rescued a book by Robert Fulghum, Everything we do without knowing whyfrom which he would take many cues, mixed with the nearest thing to voluntary shelter, when traveling to see Ken Lawton, in the English countryside.
He stays for a very short time in the house of this English analyst linked to Robert Fripp, but the ideas of Lawton and Fulghum appear almost transcribed in say no morean album in front of which the academy never ceases to find consensus.
However, after that second hospitalization, Charly quickly left for Rio de Janeiro in order not to be hospitalized and returned to Buenos Aires radiant. He quickly embarked on his band him in a series of other people’s songs that he presented on Pinamar, a show that was recorded to edit a live album: I was on fire when I lay down, direct sequel to Fulghum’s reading. Among the songs he covered were titles by The Beatles, Dylan, Donovan and Jimi Hendrix. “When I play these songs I forget that I’m Charly García,” he said at the time.
The help of Palito Ortega
The third hospitalization, the most tragic, the most publicized and the longest, took place in 2008 when once again he took a wrong step in the city of Mendoza, his eternal Waterloo. Upon his return on a medical plane, he visited two public hospitals and two psychiatric clinics, but the landing had greater scaffolding as Palito Ortega was the big producer of Charly’s landing at his farm in Luján, once the system judicial ratified the discharge of the doctors.
Perhaps there was too much hurry to go out and play live on March 30, 2009, in a somewhat impromptu show in the square in front of the Basilica of Luján: I wasn’t ready for that situation. She was much better off on October 23 when she made her triumphant return to the Vélez stadium and even more radiant at the Las Bandas Eternas concert that Luis Alberto Spinetta performed in December.
It’s harder to chart the effect of that hospitalization on any song, because Charly didn’t record new original material until 2017. Yes, there was a song that aired before The submarine concert in Vélezthat was called you should know why, and which appeared on the live album. It’s a rather forgotten song by Charly García, even though it didn’t have the potential to become a classic either.
There were four other songs recorded in the Los Pájaros studio that Palito Ortega has on his farm, two covers and two originals, which never belonged to any record, such as Aunt Wick, which was actually recorded before admission.
Again, it is Random the album which contains a direct (and sarcastic!) allusion to those psychiatric confinements which, fortunately, seem to belong to the past. Spring It is of an absolute candor that soon becomes denunciation and omen when the second verse breaks out: “Now that I’m rehabilitated / I’ll go back on tour / when it’s over they’ll lock me up / and steal what I’ve earned”.
The physical effects of his rehabilitations were always evident: a more recovered Charly in the face, a clearer voice than yesterday and some movements done more slowly. The others, those that wear out like scratches in the soul and psyche, of which only he knows the depth and diameter, appear as if camouflaged inside some letters. As if he didn’t want to talk about it anymore.
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Source: Clarin
