The complaints of Lucas Martí, a positive hater

Luca Marti is considered a positive hate. Talk about “shaking” for something to happen. To “activate alarms”. In a grand speech, which we witnessed almost by chance, we see the man who was in the shadow of the Illya Kuryaki and Valderrama “carrying a torch that the post Cro-Magnon generation is not interested in taking”.

The speech is better than any interview you can do. Martin speaks with Rodrigo Canete, in front of his tremendous Blog LoveArtNotPeople. The two – the repudiated art critic and the cult musician – have known each other from previous battles, and this can be seen in the subplots of the discourse.

Impossible to reach the level of intimacy they reach. The technical supports, at this point, are the last. It could be face to face and you don’t even get half of what happens via Zoom. Cañete is the author of the controversial History against the grain of Argentine art, a book that has shocked the world. He says: “In Argentina, a dark-haired son of a Guarani boxer can’t have opinions like mine.”

About Luca

Martin is the brother of Emanuele Horvilleur. He led a band called A laser shooter. Now she has been a soloist since time immemorial. he grew up close Dante Spinetta and it also has a slightly spinet line trace.

As a child, Lucas dared not raise his head. A friend reminded him: “You didn’t look me in the eye, remember?” And how can we not remember! “I grew up between Dante and Emmanuel. I suffered a lot. The two kicked ass in their videos, they showed the japi on camera, they had spectacular grace … And I was there not knowing what to do. I learned a lot with them, but it was traumatic ”.

Lucas Martí, according to Cañete, is a kind of court dwarf which can be taken a bit as a joke, a bit seriously. Lucas says yes, he feels a little dwarf because you mark the ceiling with a short gesture, just above your head.

The positive hate he takes risks because he is afraid of his own field. “We are hearing only one beat …!”he complains to an audience that protects him.

“In his work, form and content refer to a better past that has been lost and to which young people turn their backs, or directly do not even know it”.

“Martí’s songs and videos speak to those of us over 35 or 40, just like Netflix series do. The new generations ignore all those references, and even ignore us ”.

“Lucas always beyond the restrictions of the system, the institutions, the establishment, the mainstream, looking outside. A clear disregard for what they will say or fit into a limited or pre-made definition.

Choice or omission? ” one might wonder. Cyber ​​Hamlet.

we all know how to fuck is one of Lucas’ latest creations. One-sided singles working the old fashioned way from a TDK left at the Rock & Pop reception. One single, one bet. Another single, another bet, until, with a little luck, the concept of an album was reached, now a impostora nonsense that may be less related to “concept” than to accumulation.

Nobody wants to listen to an album anymore and artists seem to know it. Martí, on the other hand, seems to take charge of everything, among other things because he is not part of the feat loggia accompanying any presentation.

The “enterprise” – collaboration – is a great culprit. As if the artists were suddenly shy and only accepted match on the platforms accompanied by a colleague.

All this can be the responsibility of the generation Bizarre? Martí shouts as if he were the damned protagonist of Munch’s painting: “One rhythm!”. Cañete crosses it to refer to a lost optimism which was built throughout the twentieth century. “Something exploded in the air.”

Lucas mentions books, albums, movies and other issues that were making him up as an artist. Talk about the rock culture (too twentieth century).

“You have to be a little more selfish. Now let’s all go together (feat?). The word collective is widely used. I hate the collective word. You have to be a little mean and selfish to be able to keep pissing off. You must have a new doll. No artist can like more than 20 years. I don’t like everything Spinetta has done. “

The youngest did not take the place

At 43, Martí, a key figure in the always accessory musical performance, speaks of the new generations and feels absolutely excluded. “The youngest did not take the place”.

Cañete has the gift and returns the lament with the phrase “Young parricides, the Schoklender of these times”.

“We know, each generation has to kill the previous one to exist,” says Cañete. But something happened. “At 15, I had 50-year-old idols.. Now a 20-year-old boy has no idols of that age, ”adds Lucas.

canete appointment at Marco Pescatore, remembered music critic, writer, essayist. “there is a charm retro post for young people“. And he gives Rod Stewart’s caricature of any tour as an example.

Martí asks for a “stop, stop” in Jockey style. “David Lynch is not a mummy. He manages to condense the new ”.

Canete: “David Lynch is a mummy. In England this is clearly seen. There is no room for dissidence in art. If you are a dissident, the system makes you invisible. The art world is corporate. There is a normalization, there is no way to escape homogenization. The only way to live is to assimilate to the system. If you are gay, you have to adopt the aesthetic of heterosexuals: here are the two assholes (who get married) while throwing laughter at him or at gay couples who have children when the gay status implies not having children“.

we all know how to fuck has a video that brings two key aspects to understanding the place Lucas occupies in the scene. According to his interlocutor, there is some humor there and, from the parody, a concern for the public sphere.

For Cañete, Martí grew up in the shadow of two giants. Lucas will say yes yes, but also: “I don’t want to have that level of exposure and see the consequences. Nerd. I keep what I have … ”(it is a pity that in this case Cañete did not try to penetrate the question).

we can all fuck It’s not Maluma, it’s a video with no more than 7,000 views despite the mischief of the title – Lucas has to think, hating that attention has to be drawn to her and she never comes alone.

Inside, however, there is a song not suitable for reggaeton: “The world today is small, what’s the problem with getting old? My heart is not there to put up with assholes / Your children study French / and you talk like a hitman / I don’t want to see more squatters and more deified marginals: I want a series of telefees with the problems of their bosses ”.

On YouTube they comment on really nice things: “You are the musical gem among so many lyrics about pills, asses and response stories”.

“I don’t think you have to embrace everything new”

Art has been replaced by sexual identity, Lucas thinks. But it seems he was never very comfortable with him. “In the 1990s, everything happened through formats. If you didn’t have that particular format, it wasn’t music. You released a record and normal people said: “Oh, did you modify it?” And that’s why it wasn’t worth it anymore. The wall is now so damaged that I wonder: where does something of mine fit in?

“The big changes – he continues – are not of people but of technology. Before, the robot was a robot. You drew it as that raw thing … I consider myself from another generation and have some traditions that I like. I don’t think you have to embrace everything new. “

“They may call you old fool, but embrace the new because it’s new… no, don’t calm down! The lack of risk bores me. People are all tattooed, asshole! And I say ‘boludo’ because I don’t like saying ‘friend’ … “

Spinetta has never interested Cañete. To clarify, an important disclaimer is sent:

-How is the girl’s song …? The paper one? “

-Girl -Martí jumps.

-I never liked it -Cañete.

-Me niether.