The day Charly García bombed Buenos Aires

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On board a pink limousine with the musicians of his band, after being announced by a French presenter and with the melody of a well-known song background, Charlie Garcia He took the stage set up at the Campo del Ferro on the hot night of Sunday December 26, 1982, to recite a memorable show that formally began his solo stage, imprinted in the collective memory for its shocking finale at which a pyrotechnic bombing destroyed the city armed as a scenario, as a corollary of the elliptical interpretation of Don’t bomb Buenos Aires.

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But beyond this unforgettable scene, the concert took place with the excuse of the official presentation of the album Go from bed to living roomrecorded by Channel 9, it ranks as one of the most emblematic in the history of Argentine rock for having a large number of ingredients that have marked a before and after in the local scene.

It was the first Argentine rock recital held in a stadium, a big gamble for the time; It had its nods to the past in various respects, but basically it set the course for the new era that was opening up for the vernacular movement; and, moreover, it was planned as a complete show at the level of an international show, under the artistic direction of Renata Schussheim.

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With the thermometer nearing 40 degrees and some typical summer showers, the event organized by Daniel Grinbank got off to an early start with a performance by The grandparents of nothing and continued with the Séter, a band that was not very well received by the public, according to the chronicles of the time.

With different Grandparents of Nothing

Finally, the actor Jean François Casanovas in tails introduced Charly in French, at which point the artist got into a pink limousine, together with the musicians of his band for the occasion, made up of Willy Iturri on drums and Los Abuelos de the Nada Andrés Calamaro, Cachorro López and Guillermo Bazterrica, respectively on keyboards, bass and guitar.

Through 22 songs, Charly recalled part of his past in Sui Generis, Serú Girán and La máquina de hacer pájaros, passages in which he had Nito Mestre and Pedro Aznar as guests – Bazterrica, for his part, had been part of La bird making machine -; but he also showcased his new material and teased the glorious decade that awaited him.

León Gieco and Mercedes Sosa were also invited, and Luis Alberto Spinetta was expected, but he was unable to reach the stage from the mangrullo, the place chosen to attend the concert, according to Charly himself later. But the greatest impact came when, in an allegory of the recent war of the Malvinas, a hail of fireworks brought down the great armed city as a stage.

“The trigger was Charly saying he wanted something destroyed. That’s where the idea of ​​making that city was born, for which I went looking for a great friend, the set designer Juan Lepes, who had a great laboratory to put it together,” Renata Schussheim recalled at Télam’s request.

For him bombing Some wires had fallen from the mangrullo through which some cartridges with gunpowder moved and hit the profiles of the buildings at the back of the stage, but great uncertainty hovered over the whole day, not only due to the impossibility of being able to test in advance the trick, but also for the inopportune showers that risked ruining everything.

“The day the show ended, I was in the mangrullo with Luis Alberto (Spinetta) and it started to rain, before that I thought nothing would happen because everything would get wet and nothing would explode. So together with “La rain made my tears of despair and anguish fall. The thing is, it worked, and it all flew into the air. It was crazy. The kids who were playing saw the scenery fall and they themselves were very surprised”, the artist narrated.

And he concluded: “They are those moments in which I always say that God likes theater and shows, because that could not have been done without any rehearsals, but everything turned out to be absolutely wonderful”.

However, Schussheim also emphasized other aspects of the show thought through by his artistic direction, such as the pink limousine or the presentation of Casanovas in French. “There were a lot of jokes that had to do with the whole show,” she noted.

In this way, Charly institutionalized a certain glamorous image for local rock, strongly opposed by purist arguments, but which nevertheless would establish itself as a common currency in the renewal of the scene in that decade.

The entry of the Fiorucci jeans brand as a sponsor would fuel the detractors, but it would also open a new era in this sense. Charly himself would make fun of it in his song Transactionregistered a year later.

Hernani Natale, of Telam


Source: Clarin

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