what you see is what there is and, if not, there are the records and the slippers

The chronicles report that Charly García celebrated his 70th birthday with an “exciting show”, they speak of a “historical concert” and highlight the “surprise” appearance of the musician on the CCK stage, during the afternoon of this Saturday 23 dedicated to celebrate his existence and his work.

Five themes were enough to update the artist’s contact with his followers, who filled the National Auditorium of the Cultural Center and multiplied exponentially on the other side of screens and devices of all kinds.

The repertoire, unbeatable: Close to the revolution, Promises on the bidet, Rare new hairstyles, Demolishing hotels and, as an encore, Song for my death. With that backrest, sitting in front of several keyboards and a pair of microphones, in white and a hat, Garcia added an extra spice to his own celebration. And he did it as he could.

The artist and his allies, those above the stage of the National Auditorium, and also those in the audience. Photo Martín Bonetto

what you see is what is available

It is no news that it has been a long time for the musician to sing and play. It is enough to read the chronicles published in this same newspaper about their presentations of Tesla’s tower to remember. And it is enough to review some of the images transmitted yesterday from the CCK to confirm it.

Sometimes it intons, sometimes not so much; sometimes he drags the words, other times he spits them out; from time to time it touches, from time to time no. In fact, he was never a great singer; which does not mean that he did not sing barbarian. But at the end of the day Garcia there is only one, and this is the only Garcia possible.

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It is that Garcia who with his mere presence made the CCK explode with excitement. The one who put everyone on their feet to sing loudly those that we all know and sing a thousand times, and the one who for years has mistaken the lyrics, he leaves the songs in half and always, inevitably always, finds his allies ready to complete them.

Hilda Liazarazu, one of the "you help" of Charly, whom he accompanied for more than a decade.  Photo Martín Bonetto

Hilda Liazarazu, one of Charly’s “help voices”, whom she accompanied for more than a decade. Photo Martín Bonetto

Somehow, that’s what it was about, in part, what came after Charly became Say No More and was planted on the land of Stamina. He who warns does not betray, and García warned a long time ago that he was no longer going to be who he had been. That gesture strengthened his alliance with part of his followers and, paradoxically or not so much, provoked a notable generational change in its audience.

Charly is what you see. And by the way, it seems that in a world in which so many disguise themselves as what they are not, there are those who value that attitude over a vocal or instrumental performance. It is neither good nor bad. It is. Come in. Take it or leave.

Also, of course, Is flattery overplayed; the Gardel de Oro for an album that perhaps did not deserve it, the “official” acts of recognition that almost always arrive late, the pat on the back or the tweet in time in search of some political or media gain …

Much more than a recital

But what was seen at the CCK – and in García’s most recent recitals – had nothing to do with that. It was, first and foremost, the celebration of the life of an artist who marked with fire with his talent and creativity the lives of many. And also, holding it’s still there, as it can, with what it has of rest, to defend its territory. It’s not little.

Still, there are those who say that it is time to say that Charlycan not sing anymore “. Ah, look at you … And maybe they would even accept to raise the stakes to say that “Can not touch more”.

The question is from what authority is someone supposed to say: “Look Charly, it doesn’t matter if you keep singing. Better go home, put on your slippers and keep watching TV ”.

I imagine someone telling a butcher to close his business because he doesn’t cut the Milanese as before; or to a collector suggest to a veteran painter that she stop painting because she no longer does it like when she was 42. In any case, we will have to stop buying milanesas or look for paintings elsewhere.

Hilda and Fito, another of Charly's stalwarts;  a while later he celebrated his play at the Teatro Colón.  Photo Martín Bonetto

Hilda and Fito, another of Charly’s stalwarts; a while later he celebrated his play at the Teatro Colón. Photo Martín Bonetto

Or would one of us stop working because someone told us that every day we write worse, that we no longer do it as before or that every time we write more nonsense? Don’t count on me.

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There is no comparison for a unique piece

In Garcia’s case, easy comparison is right around the corner. From Jagger and McCartney to Barbra Streisand and Tony Bennett there are plenty of examples of artists who came and They passed the 70 in much more favorable conditions than Charly’s. There is also Phil Collins.

But they are not Charly by far. None of them wrote Viernes 3AM, Disarm and bleed, Knives, Seminars O From my. On the other hand, García is all that and he is who he is, among other things, for having come to this port in this way. Or even more so, the other way around.

◉ LIVE | Charly García at CCK: the musician’s 70th birthday

The Kirchner Cultural Center was set on fire at the beginning of the third block with the appearance of Charly García with Fito Páez

For the rest, the current pact is simple: as long as he still wants to do it, whoever goes to see Charly play and sing at a theater or wherever, will go see the only Charly possible play and sing. Not that of Serú, not that of Sui Generis, not that of the accelerated ’80s and not even that of Say No More. AND for those who believe that they “can’t sing anymore”, there are the records. And the slippers.





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