Name	Aníbal
Names	Carlos CarrilloAníbal
Height	After wrestling for two years Carrillo was convinced by friends in the business that he needed to become an enmascarado, or masked wrestler, since young wrestlers who were popular wore masks. Carrillo came up with the name "Aníbal", after the Cartagenia general Hanibal who had crossed the alps and almost defeated the Roman Empire. Carrillo was given a blue mask, trunks and boots and became the highflying tecnico ("good guy" or Face), quickly earning the nicknames El Guerrero Cartaginés ("The Carthagenian Warrior") and La Saeta Azul ("The Blue Arrow"), later on he would also be referred to as ''La Furia Azul ("The Blue Fur"y) This was the first time in his career that Aníbal had worked as a rudo ("bad guy" or Heel character) in his career. Following the abrupt ending to the storyline with El Solitario Aníbal defeated El Texano to win the vacant UWA World Junior Light Heavyweight Championship. The only thing that can be said for certain about El Hijo del Aníbal is that he never found the same success in the ring as Aníbal.
----- align	"center"
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Mask || sandokán || aníbal || panama city, panama || ||	"EncyAnibal"/>
Name	Anibal
Date of birth	November 5, 1940
Place of birth	Topilejo, Michoacán, Mexico
Date of death	March 4, 1994

Category:1940 births Category:1994 deaths Category:Mexican professional wrestlers Category:People from Michoacán Category:Cancer deaths in Mexico

Name	Gustavo Santaolalla
Background	solo_singer
Birth name	Gustavo Alfredo Santaolalla
Alias	Moviola
Born	19 August 1951 (age 57) El Palomar, Buenos Aires, Argentina
Instrument	Guitar, Charango, Singing, Piano, Bass
Genre	Latin Rock, Electrotango, Movie Soundtracks
Occupation	Musician, Film composer, Producer
Years active	1967–present
Associated acts	Bajofondo

Gustavo Alfredo Santaolalla (born 19 August 1951) is an Argentine musician, film composer and producer. He is one of the most critically-acclaimed film composer of the 2000's, and has won two Academy Award for Best Original Score in two consecutive years, for Brokeback Mountain in 2005 and Babel in 2006.

Life and career

Santaolalla was born in El Palomar, Argentina. His professional music career began in 1967, when he co-founded the group Arco Iris, an Argentine band that pioneered the fusion of rock and Latin American folk as part of 'rock nacional'. The band adopted the lifestyle of a yogic commune guided by former model Danais Wynnycka (known as Dana) and her partner, musician Ara Tokatlian. The band had a few hits, such as Mañanas Campestres ("Country Mornings"), and made inroads into different forms of expression (notably a ballet piece for Oscar Aráiz), but Santaolalla felt constricted by the strict requirements of Dana's teachings, which prohibited meat, alcohol and drugs. He left the group in 1975.

A year later, he assembled Soluna, in which he played alongside teenage pianist and singer Alejandro Lerner and his then-girlfriend Monica Campins. Together they recorded just one album (Energía Natural, 1977). Santaolalla left for Los Angeles, where he adopted a rock and roll sound and made the rounds with his band Wet Picnic, together with ex-Crucis member Anibal Kerpel. He briefly returned to Argentina in 1981, to produce Leon Gieco's Pensar en Nada and record his first solo album.

As a solo artist, he has recorded three albums. His first self-titled album, Santaolalla (1981), broke new ground by incorporating the "eighties" sound into rock in Argentina for the first time. He was joined by Lerner and the Willy Iturry-Alfredo Toth rhythm section, who were two-thirds of the band GIT. His second album, titled Gas, was released in 1995. His most recent solo album, titled Ronroco (1998), contained several tracks with the characteristic sound of the charango, a folk string instrument, that poured into what constituted his next significant endeavor: music for movies. Ronroco also contains his (nearly)-solo piece for charango Iguazu, which has been used in The Insider by Michael Mann, Collateral also by Michael Mann, Babel by Alejandro González Iñárritu, a 2007 Vodafone TV commercial, as well as the HBO TV series Deadwood. It also contains the track De Ushuaia a La Quiaca used by Walter Salles in his The Motorcycle Diaries.

Santaolalla aided the development of rock en español by acting as producer for Mexican acts ((Neón)), Maldita Vecindad, Fobia, Molotov, Café Tacuba, Julieta Venegas, the Colombian singer Juanes, Chilean rock trio Los Prisioneros, Argentine rock bands Divididos and Bersuit Vergarabat and León Gieco's "De Ushuaia a La Quiaca" (1 and 2), among many others.

Santaolalla transferred his efforts to film soundtracks in the late 1990s, producing albums for the films Amores Perros, 21 Grams and The Motorcycle Diaries. Currently based in California where he first moved in 1978, one of his more recent contributions has been to the instrumental music for the soundtrack to the 2005 Ang Lee film, Brokeback Mountain, from which "A Love That Will Never Grow Old" won the 2006 Golden Globe Award for Best Original Song. Santaolalla has received a 2006 Academy Award for Achievement in music written for motion pictures (Original score) for Brokeback Mountain. In 2007, he received his second Academy Award for the film score to Babel, beating out such composers as Thomas Newman, Alexandre Desplat, and Javier Navarrete. Gustavo dedicated the award to his father and to his country Argentina.

In addition to his film work, Santaolalla has acted as the producer of Gaby Kerpel's Carnabailito and co-produced the Kronos Quartet's Nuevo, an album which renders homage to the rich musical heritage of Mexico. He has also been part of the resurgent neo-tango movement, as prime mover behind the Bajofondo Tango Club collective. He is also mentioned as the co-producer of Calle 13's song "Tango del Pecado", from their upcoming album Residente o Visitante. In 2005 he received the Platinum Konex Award as best Argentine artistic producer of the 1995-2005 decade.

In 2008, Santaolalla composed the soundtrack for the Louis Vuitton film "Where will life take you?" directed by Bruno Aveillan, as part of the "Journeys" Campaign.

Recently, Santaolalla has recorded two songs on "All You Need Is Me", a single by British singer Morrissey. The tracks, "Children In Pieces" and "My Dearest Love" were recorded in Los Angeles with producer Jerry Finn.

Recently, he has directed music for Aamir Khan's latest movie "Dhobi Ghaat", which is slated for release on January 21, 2011.

Santaolalla has also collaborated with Argentine Composer Osvaldo Golijov on several projects commissioned by soprano Dawn Upshaw. These include the opera, Ainadamar, based on the murder of Spanish poet Federico García Lorca, and Ayre, a collection of folk songs, in which Santaolalla plays with a group that calls itself The Andalucian Dogs.

Santaolalla currently lives in Los Angeles, California with his wife after twenty-three years Alejandra Palacios and children Luna (b. 1995) and Don Juan Nahuel (b. 1999). His eldest daughter Ana (b. 1980) is from his previous relationship with Monica Campins.

Filmography

She Dances Alone (1981)

Amores perros (2000)

''The Insider (1999) - features his song, "Iguazu".

21 Grams (2003)

Salinas grandes (2004) (TV)

The Motorcycle Diaries (2004) (The Motorcycle Diaries (soundtrack))

North Country (2005) (see also North Country (soundtrack))

Yes (2005) - features his song, "Iguazu".

Brokeback Mountain (2005) Academy Award for Original Music Score (see also Brokeback Mountain (soundtrack))

Fast Food Nation (2006) - features his song "Iguazu".

Babel (2006) Academy Award for Original Music Score (see also Babel (soundtrack))

Into the Wild (2007) - features his song "Picking Berries".

I Come With The Rain (2009)

(2009)

Nanga Parvat (2010)

Biutiful (2010)

Dhobi Ghaat (2010) (India)

On the Road (2011)

Awards and nominations

Awards

Academy Awards:

*2005: Best Original Score – Brokeback Mountain

*2006: Best Original Score – Babel

BAFTA Awards:

*2004: Anthony Asquith Award for Film Music – The Motorcycle Diaries

*2006: Anthony Asquith Award for Film Music – Babel

BMI:

On June 13, 2008, Gustavo Santaolalla was honored as a BMI Icon at the 15th annual BMI Latin Awards. The BMI Icon award is bestowed on creators who have had a “unique and indelible influence on generations of music makers.”

Golden Globe Awards:

*2005: Best Original Song – "A Love That Will Never Grow Old" from Brokeback Mountain

Grammy Awards:

* 2004: Best Latin Rock/Alternative Album – Cuatro Caminos (producer)

* 2009: Grammy Award for Best Latin Pop Album: La Vida... Es un Ratico (producer)

Latin Grammy Awards:

*2000: Best Rock Album – Revés/Yo Soy (producer)

*2001: Best Rock Solo Vocal Album – Fíjate Bien (producer)

*2003: Record of the Year – "Es Por Ti" (producer)

*2003: Album of the Year – Un Día Normal (producer)

*2003: Best Pop Instrumental Album – Bajofondo Tango Club (producer)

*2004: Best Alternative Music Album – Cuatro Caminos (producer)

*2005: Best Rock Solo Vocal Album – Mi Sangre (producer)

*2005: Producer of the Year

*2006: Best Tango Album – Café De Los Maestros (producer)

*2008: Record of the Year: "Me Enamora" (producer)

*2008: Album of the Year: La Vida... Es un Ratico (producer)

*2008: Best Male Pop Vocal Album: La Vida... Es un Ratico (producer)

Nominations

BAFTA Awards:

*2005: Anthony Asquith Award for Film Music – Brokeback Mountain

Golden Globe Awards:

*2005: Best Original Score – Brokeback Mountain

*2006: Best Original Score – Babel

Grammy Awards:

*2007: Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media – Brokeback Mountain: Original Motion Picture Soundtrack (producer)

*2008: Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media – Babel: Original Motion Picture Soundtrack (composer)

References

External links

Gustavo Santaolalla at exclaim

Myspace Page

Bio at www.zimbio.com

Interviews at NPR

Tangled up in Tango: Gustavo Santaolalla's Bajofondo

Category:1951 births Category:Argentine composers Category:Argentine film score composers Category:Argentine musicians Category:BAFTA winners (people) Category:Best Original Music Score Academy Award winners Category:Grammy Award winners Category:Latin Grammy Award winners Category:Living people Category:People from Morón Category:People of Argentine descent Category:Rock en Español musicians Category:Tango musicians

Name	Nico
Background	solo_singer
Birth name	Christa Päffgen
Origin	Cologne, Germany
Born	October 16, 1938
Died	July 18, 1988Ibiza, Spain
Genre	Protopunk, avant-garde, experimental, folk rock
Occupation	Composer, singer, fashion model, actress
Years active	1963–1988
Instrument	Vocals, harmonium, harpsichord, piano, tambourine
Voice type	Contralto
Associated acts	The Velvet Underground, John Cale, Lou Reed, Brian Jones, Kevin Ayers, John Cooper Clarke, The Invisible Girls, Blue Orchids, Bob Dylan, Brian Eno

Nico (born Christa Päffgen, 16 October 1938 – 18 July 1988) who was photographing her on a modeling job. He named her this after his ex-boyfriend, filmmaker Nikos Papatakis. She soon moved to Paris and began working for Vogue, Tempo, Vie Nuove, Mascotte Spettacolo, Camera, Elle, and other fashion magazines. She was briefly hired by Coco Chanel. In addition to her native German, she spoke four languages: English, Italian, Spanish, and French.

Before breakthrough

After appearing in several television advertisements, Nico got a small role in Alberto Lattuada's film La Tempesta (1958). She also appeared in Rudolph Maté's For the First Time, with Mario Lanza, later that year.

In 1959 she was invited to the set of Federico Fellini's La Dolce Vita, where she attracted the attention of the acclaimed director, who gave her a minor role in the film as herself. By this time, she had moved to New York to take acting classes with Lee Strasberg. 's La Dolce Vita.]] She appears as the cover model on jazz pianist Bill Evans' 1962 album, Moon Beams. After splitting her time between New York and Paris, she got the lead role in Jacques Poitrenaud's Strip-Tease (1963). She recorded the title track, which was written by Serge Gainsbourg but not released until 2001, when it was included in the compilation Le Cinéma de Serge Gainsbourg.

In 1962 Nico gave birth to her son, Christian Aaron "Ari" Päffgen, commonly held to have been fathered by French actor Alain Delon. Delon always denied his paternity. The child was raised mostly by Delon's mother and her husband and eventually was adopted by them, taking their surname, Boulogne.

Beginning of musical career

In 1965 Nico met Rolling Stones guitarist Brian Jones and recorded her first single, "I'm Not Sayin'"/"The Last Mile", produced by Jimmy Page for Andrew Loog Oldham's Immediate label. Actor Ben Carruthers introduced her to Bob Dylan in Paris that summer. Dylan wrote the song "I'll Keep It with Mine" for her shortly thereafter, which she recorded for her first album, Chelsea Girl, in 1967. The group became the centerpiece of Warhol's Exploding Plastic Inevitable, a multimedia performance featuring music, light, film and dance. Nico sang lead vocals on three songs ("Femme Fatale", "All Tomorrow's Parties", and "I'll Be Your Mirror") and backing vocals on another ("Sunday Morning") on the band's debut album, The Velvet Underground & Nico (1967).

Solo career

1960s

Immediately following her musical work with The Velvet Underground, Nico began work as a solo artist. For her debut album, 1967's Chelsea Girl, she recorded songs by Bob Dylan, Tim Hardin and Jackson Browne, among others. Velvet Underground members Lou Reed, John Cale and Sterling Morrison contributed to the album, with Nico, Reed and Cale co-writing one song, "It Was a Pleasure Then." Chelsea Girl is a traditional chamber-folk album, which influenced artists such as Leonard Cohen, with strings and flute arrangements by producer Tom Wilson. Nico was not satisfied with the album and had little say in production matters.

For The Marble Index, released in 1969, Nico wrote the lyrics and music. Accompaniment mainly centered around Nico's harmonium while John Cale added an array of folk and classical instruments, and produced the album. The harmonium became her signature instrument for the rest of her career. The album combines classical music with a European folk.

1970s

Nico released two more solo albums in the 1970s, Desertshore and The End. Nico wrote the music, sang, and played the harmonium. Cale produced and played most of the other instruments on both albums. The End featured Brian Eno on synthesizer. She appeared at the Rainbow Theatre, in London, with Cale, Eno, and Ayers. The album 1 June 1974 was the result of this concert. Nico performed a version of the Doors' "The End" at this concert, which was the catalyst for The End later that year.

On 13 December 1974, Nico opened for Tangerine Dream's infamous concert at Reims Cathedral in Reims, France. The promoter had so greatly oversold tickets for the show that members of the audience couldn't move or reach the outside, eventually resulting in some fans urinating inside the cathedral hall. The Roman Catholic Church denounced these actions, ordered the rededication of the cathedral and banned future performances on church property.

Nico and Island Records allegedly had many disputes during this time, and in 1975 the label dropped her from their roster.

1980s

Nico returned to New York in late 1979 where her comeback concert at CBGB in early 1980 was glowingly reviewed in The New York Times. She began playing regularly at the Mudd Club and other venues with Jim Tisdall accompanying her on harp and Gittler guitar. They played together on a sold-out tour of twelve cities in the East and Midwest.

Nico recorded her next studio album, Drama of Exile, in 1981. She was also said to have been a vegetarian, as well as a self-proclaimed nihilist.

Death

On 18 July 1988, while on holiday with her son in Ibiza, Spain, Nico had a minor heart attack while riding a bicycle and hit her head as she fell. A passing taxi driver found her unconscious and had difficulty getting her admitted to local hospitals. She was incorrectly diagnosed as suffering from heat-exposure and died at eight o'clock that evening. X-rays later revealed a severe cerebral hemorrhage as the cause of death.

Nico was buried in her mother's plot in Grunewald Forest Cemetery in Berlin, Germany. A few friends played a tape of "Mütterlein", a song from Desertshore, at her funeral.

Legacy

Nico has influenced many musicians, including Siouxsie and the Banshees, Bauhaus, Stevie Nicks, Patti Smith, Morrissey, Björk, Coil, Jocelyn Pook, Fabienne Shine (who covered "All Tomorrow's Parties"), Dead Can Dance as well as numerous contemporary goth bands.

Late singer-songwriter Elliott Smith cited her as a major inspiration and was said to have listened to The Marble Index for months. Smith performed covers of some of her songs - most notably "Chelsea Girls" and "These Days", both of which he performed live at Satyricon in Portland, Oregon in October 1999.

Two of her songs from Chelsea Girl, "The Fairest of the Seasons" and "These Days", both written by Jackson Browne, are featured in Wes Anderson's film The Royal Tenenbaums.

Shannon Hoon of Blind Melon named his daughter 'Nico Blue' partly after Nico. Blind Melon's album Nico was released after Hoon's death.

Hedwig and the Angry Inch, a movie written by John Cameron Mitchell, mentions Nico as an influential artist in its song, "Midnight Radio". The song is written by Stephen Trask.

The Cult recorded the song "Nico", which celebrates the life of the singer, on their 2001 album Beyond Good And Evil.

For her 2002 album, Kissin' Time, Marianne Faithfull recorded "A Song for Nico", cowritten with Dave Stewart.

Nico was portrayed by Christina Fulton in the 1991 biopic The Doors. She was later portrayed by Meredith Ostrom in the 2006 film, Factory Girl, which chronicles the life of fellow "Warhol Superstar", Edie Sedgwick.

Natasha Khan (Bat for Lashes) has quoted Nico as an influence in particular Desertshore (The opening song her her first albumFur and Gold, uses the name of the album in its lyrics). During 2007 she would start concerts with "Le Petit Chevalier" from that record.

Singer-songwriter Patrick Wolf has been influenced by Nico, and released cover versions of "Afraid" and "Ari's Song" as b-sides on EPs.

Rock band Anberlin named one of their songs after her: "Dance, Dance Christa Päffgen" on their album "Never Take Friendship Personal". The song also makes reference to her death, and her drug use.

Austin based band Shearwater dedicated their album Palo Santo to the memory of Nico. The opening song ("La Dame Et La Licorne") depicts Nico's death at Ibiza, Spain.

Windsor for the Derby, another Austin based band, released an instrumental track in 2000 on their Young God Release "Difference and Repetition." A live version of the song can be found on a limited edition 7-inch.

Low, an American indie rock group from Duluth, Minnesota, has a song titled "Those Girls (Song For Nico)". It is included on the box set , released in 2004.

Two Nico tribute concerts took place in Europe in the autumn of 2008 to commemorate the 70th anniversary of Nico's birth and the 20th anniversary of her death. On 11 October 2008, John Cale, James Dean Bradfield (of the Manic Street Preachers), Fyfe Dangerfield of the Guillemots and others appeared on stage at the Royal Festival Hall in London. On 17 October 2008 at the Volksbuehne in Berlin, Nico's ex-boyfriend Lutz Ulbrich presented another tribute concert, which featured Marianne Rosenberg, Soap & Skin, Marianne Enzensberger and James Young, the keyboardist from The Faction, Nico's last band. Nico's son, Ari Boulogne (sometimes called Ari Päffgen), made a brief appearance on stage at the close.

Discography

Studio albums

{| class="wikitable" |- !Year !Title |- |1967 |The Velvet Underground & Nico |- |1967 |Chelsea Girl |- |1969 |The Marble Index |- |1970 |Desertshore |- |1974 |The End |- |1981 |Drama of Exile (released in two versions) |- |1985 |Camera Obscura |- |}

Bibliography

Nico: The Life and Lies of an Icon by Richard Witts, (Virgin Books: London, 1992).

Up-tight: the Velvet Underground Story by Victor Bockris and Gerard Malanga (Omnibus Press: London, 1995 reprint).

Songs They Never Play On the Radio by James Young, (Bloomsbury Publishing Ltd: London, 1992).

Nico: Photographies by Antoine Giacomoni, (Dragoon: Paris, 2002).

Nico: Cible mouvante. Chansons, Poèmes, Journal by Nico, Jacques Pauvert and Ari Boulogne, (Pauvert: Paris, 2001).

L'amour n'oublie jamais by Ari Boulogne, (Pauvert: Paris, 2001).

Nico: The End by James Young, 1993.

Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gilliamn Mccain, (Grove Press: New York, 1996).

LÜÜL: Ein Musikerleben zwischen Agitation Free, Ashra, Nico, der Neuen Deutschen Welle und den 17 Hippies by Lutz Ulbrich (Schwarzkopf & Schwarzkopf: Berlin, 2007).

Films and plays

Nico Icon (1995), documentary directed by Susanne Ofteringer

Nico Icon Play by Stella Grundy premièred at Studio Salford on 5 September 2007

Nico. Sphinx aus Eis by Werner Fritsch (2005)

References

External links

Nico Fan Group A public social networking group for Nico fans

Habits of Waste, Pt. 1 Evaluation of Nico's early work

Habits of Waste, Pt. 2 Evaluation of Nico's later work

Nico, the Voice of Disaffected Youth - Audio story from National Public Radio

Nico (BBC Radio 4 Woman's Hour audio item)

Femme Fatale: Story of Nico BBC Radio 4 14 September 2009

Category:1938 births Category:1988 deaths Category:Contraltos Category:Female rock singers Category:German female singers Category:German rock singers Category:German film actors Category:German female models Category:German vegetarians Category:The Velvet Underground Category:Warhol Superstars Category:Lee Strasberg Theatre Institute alumni Category:Dark cabaret musicians Category:Cycling road accident victims Category:Reachout International Records recording artists Category:Protopunk musicians Category:Harmonium players Category:Elektra Records artists

Name	Juanes
Landscape	no
Background	solo_singer
Birth name	Juan Esteban Aristizábal Vásquez
Alias	Juanes
Born	August 09, 1972
Origin	Medellín, Antioquia, Colombia
Spouse	Karen Martínez
Instrument	Guitar, keyboards, vocals
Genre	Latin pop, pop rock
Occupation	Singer-songwriter, musician
Years active	1988–present
Label	UniversalGeffen
Associated acts	Ekhymosis, Nelly Furtado, Laura Pausini, Colbie Caillat
Url	http://www.juanes.net/

Juan Esteban Aristizábal Vásquez (born August 9, 1972), better known as Juanes (for the contraction of his first and second name) is a Colombian musician who was a member of heavy metal band Ekhymosis and is now a solo artist. In 2000, his solo debut album Fíjate Bien won three Latin Grammy Awards. Juanes has sold more than 12 million albums. He has won seventeen Latin Grammys, more than any other artist, and one Grammy Award. Juanes received the BMI President’s Award at the 2010 BMI Latin Awards. Juanes is also known for his humanitarian work, especially with aid for Colombian victims of anti-personnel mines.

Early life and Ekhymosis

Juanes was born in Carolina del Príncipe, Antioquia, Colombia. He started the metal band Ekhymosis in 1988, and it released its self-produced debut album, Niño Gigante, the same year. The band released five studio albums during its career and shared the stage with acts including Alejandro Sanz, Aterciopelados, and Ricky Martin; however in Juanes' words, the band "couldn't get out of Colombia" and remained "very local and confined to the Colombian market." Juanes disbanded the group in 1998 so that he could pursue a solo career. The album spent 92 weeks in the top ten of Billboards Top Latin Albums chart, setting a new record, "A Dios le Pido" topped the singles charts of twelve countries and spent 47 consecutive weeks on the Billboard Hot Latin Tracks.

Mi Sangre (My Blood), was released in September 2004 and debuted at number one on the Billboard Top Latin Albums. The album produced three consecutive number one singles, which held the top chart position for a combined 6 months. The album's third single, "La camisa negra" ("The Black Shirt"), was used in Italy in support of neo-fascism by relating it to the uniform used under the regime of Benito Mussolini. In response, left-wing media network Indymedia called for a boycott of the song. Juanes later stated that "'La camisa negra' has got nothing to do with fascism or Mussolini... People can interpret music in all kinds of ways I guess."

At the 2005 Latin Grammy Awards, Juanes won three additional awards to his nine previous Grammy awards. He took the award for Best Rock Song for "Nada Valgo Sin Tu Amor" ("I Am Worthless Without Your Love"), Best Rock Solo Album for Mi Sangre and Best Music Video for "Volverte a Ver" ("To See You Again"). On December 9, 2005, Juanes performed "La camisa negra" at an international gala in Germany celebrating the 2006 FIFA World Cup Final Draw evening. In 2006, he recorded a duet of "The Shadow of Your Smile" with Tony Bennett for Bennett's .

In June 2006, Juanes began a year-long sabbatical to spend time with his wife, model Karen Martínez, and their daughters Luna and Paloma. He was working on an album that was released on October 23, 2007. He also was working on a new album, titled La vida... es un ratico (Life Is a Little Moment).

La vida... es un ratico was released on Oct 23, 2007 with the first single being "Me Enamora" (it makes me fall in love). The second single was "Gotas de Agua Dulce" (drops of sweet water), and the third single became the vallenato fusion of "Tres" (three).

On December 11, 2007, Juanes performed at the Nobel Peace Prize Concert in Oslo, Norway together with a variety of artists, which was broadcast live to over 100 countries.

In November 24, 2008, Juanes re-released the album as "La vida... es un ratico (en vivo)" [Deluxe Edition][2 CD/DVD Combo]" The album aside the 14 original songs, contains two previously unreleased songs: "Falsas Palabras" (false words) and "Odio Por Amor" (hate for love) which is also the current single. This new re-edition also includes seven live versions of songs played during his U.S. La Vida Tour. As another bonus added, Juanes also included a duet of his song "Hoy Me Voy" (today I leave) with US singer Colbie Caillat. The DVD contains the music videos of the four singles of the cd as well as a few live video recordings of the US tour.

In 2010, Juanes performed in the 2010 FIFA World Cup Kickoff Concert, as well as the Macy's Thanksgiving Day Parade in New York, New York. In addition, he released his album P.A.R.C.E. which featured the #1 Billboard hit Yerbatero and the top-ten hit Y No Regresas.

Activism

Juanes has said that: "these are your people, young people, people with families, and four or five of them are dying every day." In 2005, he was named by Time as one of the world's 100 most influential people. Juanes has supported former Colombian president Álvaro Uribe, stating that "with this new government of Álvaro Uribe my country seems in better shape." On November 15, 2005, he was honored at the annual benefit gala for Sir Paul McCartney's Adopt-A-Minefield for his work as a Goodwill Ambassador for United for Colombia, a non-profit organization that raises awareness about the impact of land mines within Colombia.

On April 19, 2006, Juanes performed before the European Parliament, as part of a campaign to increase awareness against the use of land mines around the world, including in his native Colombia. He was first singer to perform in the hemicycle where the European Parliament holds its plenary sessions. The Parliament gave a symbolic gift of €2.5 million to demine Colombia and to rehabilitate victims of the landmines. In honor of his work and his music, he was given an escopetarra (a decommissioned AK-47 converted into a guitar) by peace activist César López; he later sold it at a fundraiser in Beverly Hills for US$17,000. Juanes held a benefit concert on May 24, 2006 in conjunction with KLVE and Univision which raised roughly US$350,000 to care for injured children and provide prosthetics, wheelchairs, and land rehabilitation. In December 2006, work began on a recreational park for the rehabilitation of the handicapped named "Parque Juanes de la Paz" in Medellín. The 68,000-square-meter facility will cost COL$10.6 billion, financed in part by the government of Medellín, and is to be completed by May 2007. This concert took place on the Colombia-Venezuela border. This was a free event and gathered an audience of 300,000 people. It was broadcast by Colombian and Venezuelan television stations. A Yahoo-Telemundo partnership webcast the event. The concert featured the well-known artists: Miguel Bosé, Alejandro Sanz from Spain. Juan Luís Guerra from the Dominican Republic, Ricardo Montaner from Venezuela, Juan Fernando Velasco from Ecuador and Juanes and Carlos Vives from Colombia. The concert became a reality with the help of many private companies from Colombia and Venezuela. As an important remark concerning this event, Colombian president Álvaro Uribe had expressed days before the concert that he would attend the event. Juanes' manager replied that since it was an artistic event with no political affiliations they preferred the president not to be present. President Uribe replied in an official letter that he accepted Juanes' manager's suggestion.

2009 Peace Concert in Cuba

On August 5, 2009, it was announced that Juanes would hold his second "Peace Without Borders" concert in Havana's storied Plaza de la Revolución on September 20, 2009. The Cuban concert coincides with U.N. International Peace Day and could feature up to 12 artists from Spain, Mexico, Argentina, Colombia, Puerto Rico, and the United States. Cuban folk legend Silvio Rodriguez and local salsa stars Los Van Van will also be participating.

Juanes has received criticism on his potential concert by some in the Cuban-American/Cuban exile community in Miami who believe it will be seen as an act of support for the communist government of Cuba. Juanes expressed in an interview for Univision that he has no affiliation whatsoever to the Cuban government or their political views and that he sees this only as an artistic performance and nothing more. Willy Chirino, a Cuban American performer who has not been to Cuba in over 45 years, however came out in defense of the right of Juanes and others to sing in Cuba, a move also supported by Puerto Rican artist Olga Tañón. On August 14, 2009, Cuban National Assembly President Ricardo Alarcón's daughter, Margarita Alarcón, spoke of the controversy to CBS News, remarking that:

On August 20, 2009, Juanes announced that he had considered canceling the peace concert citing "fears for his safety as well as his family", who reside with him in Miami on Key Biscayne. Such fears are contained in an August 15, 2009, police report, and are the result of threatening messages Juanes has received from those he describes as "a very small number of extremists." However, John Reilly, Juanes' New York-based spokesman, has stated that plans for the concert have not changed and that "the vast majority of communication Juanes is receiving from both fans on Twitter and everyday people he comes into contact with in Miami continues to be overwhelmingly supportive. The concert "Paz Sin Fronteras"(Peace Without Borders) was a total success. Juanes closed it along with other 15 Cuban and international artist and with more than one million people attending the concert."

His band

Waldo Madera (drums since 2004)

Felipe Navia (bass since 2000)

Juan Pablo Daza (Guitar since 2010)

Emmanuel Briceño (Keyboards and Vocals since 2002)

Felipe Alzate (Percussion since 2000)

Fernando Tobon (Guitar since 2002)

Richard Bravo (Percussion since 2010)

Discography

2000 - Fíjate Bien

2002 - Un Día Normal

2004 - Mi Sangre

2007 - La Vida... Es un Ratico

2010 - P.A.R.C.E.

See also

Music of Colombia

Colombian rock

References

External links

Official website

*English version

Juanes to Twitter in Cuba Despite Exiles By Alfredo Prieto, Havana Times, August 26, 2009

Official Universal Music Latino Website Mi Sangre Foundation website

Juanes Interview

Juanes Interview on CorrienteLatina.com

English version

Category:1972 births Category:1980s singers Category:1990s singers Category:2000s singers Category:2010s singers Category:Living people Category:Colombian musicians Category:Chevaliers of the Ordre des Arts et des Lettres Category:Colombian rock guitarists Category:Colombian male singers Category:Colombian rock singers Category:Colombian singer-songwriters Category:Juanes Category:Colombian people of Basque descent Category:Humanitarians Category:People from Medellín (city) Category:Rock en Español musicians Category:Rock singer-songwriters Category:Spanish-language singers Category:Wrasse Records artists Category:Latin Grammy Award winners Category:Grammy Award winners Category:Colombian people of Spanish descent Category:People from Miami, Florida

Name	Charly García
Background	solo_singer
Birth name	Carlos Alberto García Moreno
Born	October 23, 1951Buenos Aires, Argentina,
Instrument	Vocals, Piano, Keyboards, Synthesizers, Guitar
Occupation	Musician, singer-songwriter, pianist
Years active	1967s to date
Alias	Charly, The King of National Rock, The Father of National Rock, Mr. Say No More, El Bigote Bicolor, God.

Charly García (born Carlos Alberto García Moreno on October 23, 1951) is a singer-songwriter pianist and keyboardist from Argentina with a long career in rock music, forming successful groups such as Sui Generis and Serú Girán, cult status groups like La Máquina de Hacer Pájaros, and as a solo musician.

Early years

Charly García was the eldest son in an upper-middle class family. His father taught mathematics and physics in elementary school, while his mother produced radio music shows, mainly shows featuring folkloric music.

Charly began to show musical talent at an early age. At three, he received a toy piano as a gift, and soon he surprised his mother with his ability to compose and play coherent melodies, leading her to enlist him in a prestigious conservatory, the Thibaud Piazzini. At age twelve, he graduated as a Music Professor. Charly developed absolute pitch as a child.

The beginning: Sui Generis

The Beatles appeared in Charly's life when he was thirteen. Having previously only been exposed to classical music and folk, he would describe the Beatles as "classical music from Mars". In high school he met Carlos Alberto "Nito" Mestre and the two fused their bands to give birth to Sui Generis. The band at first experimented with psychedelic rock, but its style would quickly establish as folk-rock with some little influence from the symphonic rock of the day. At their first big gig, the band's bassist, guitarist and drummer all failed to appear. Only Charlie (García spelled his name with "ie" back then) and Nito showed up, playing piano and flute respectively. They were forced to play on their own, and were a hit with the audience despite the other musicians' absence. The band's strength lay in the songs' musical simplicity and romantic lyrics, which appealed widely to teenagers.

In 1972, Sui Generis released its first LP, Vida, which quickly became popular among Argentine teenagers. Confesiones de invierno ("Winter Confessions"), their second LP, was released in 1973. This album showcased higher production values and better studio equipment, and was very successful commercially.

1974 was a year of changes. Charlie lost interest in "the piano and flute" sound that Sui Generis had been developing, and decided that Sui Generis needed a change; the band would evolve to a more traditional rock sound, incorporating bass and drums. To that end, Rinaldo Rafanelli and Juan Rodríguez joined the band. In many live shows, Sui Generis also counted in with a gifted guitar player, David Lebón, whom Charly admired very much.

With new lining and style, the band was ready to launch its new album. Originally titled "Instituciones", its name was changed to Pequeñas anécdotas de las instituciones at the producer's suggestion. The album was intended as a reflection on the unstable nature of Argentine social and political institutions at the time. Charlie's initial concept was to write a song for every traditional institution: the Roman Catholic Church, the Government, the family, the Judicial System, the Police, the Army, and so on. However, two songs, Juan Represión, about the police, and Botas locas, about the army, were eliminated from the album by the censors. Two more, which referred to censorship itself, had to be partially modified. While Sui Generis achieved a different, more mature sound with "Instituciones", its public did not embrace it, preferring the old one. The album sold poorly.

Around this time Charlie met his future wife, María Rosa Yorio, a singer who became the mother of his first son, Miguel García.

Charly García continued composing, and during 1975, he prepared what would be Sui Generis´ fourth album, Ha sido ("Has Been"), or a play on the word ácido, acid. However, growing frictions between Charly and Nito and a wearying public prevented the album's release, and the decision was made to dissolve the band. Many songs from that ill-fated album were later included in other García's LPs, such as Bubulina (1976) and Eiti Leda (1978).

End of Sui Generis; beginning of "La máquina"

Finally, on September 9, 1975, Sui Generis scenified its farewell at the Luna Park Stadium, giving two shows for 20 thousand people — the largest audience in the history of Argentine rock at the time. The shows have been recalled as delirium-inducing, adrenaline-fueled delivery of great music. Two LPs recorded at the live shows were released that year, Adiós Sui Generis ("Goodbye Sui Generis") volumes I and II.

In 1976, Sui Generis also recorded a long play with Argentine musicians León Gieco, Raúl Porchetto, and María Rosa Yorio. The LP was called "Porsuigieco" (mix of Raúl PORchetto, SUI Generis, León GIECO).

After Sui Generis, certain things changed in Charly's life. From now on, he would be Charly instead of Charlie. Right after his son's birth, he broke up with María Rosa Yorio, who left with Nito Mestre. Charly met Marisa Pederneiras (nicknamed "Zoca"), who was from Brazil, and they became lovers.

Charly continued working on musical projects. He now wanted to form a symphonical rock band. With Gustavo Bazterrica (guitar), Carlos Cutaia (keyboards), José Luis Fernández (bass and cello), Oscar Moro (drums) and Charly García (keyboards and voice), "La Máquina de Hacer Pájaros" ("The bird-making machine") was born. Clarín, the most widely-read newspaper in Argentina, carried a comic strip called "El Sr. García y la máquina de hacer pájaros" ("Mr. García and the bird making machine") by Crist. Liking the name, Charly chose it for the band — not for egotistical motives, as it may seem.

La Máquina de Hacer Pájaros recorded two albums: La Máquina de Hacer Pájaros (1976) and Películas ("Movies", 1977). Some of the songs on "Movies" contained a political message directed against the military government of those years, during which Jorge Rafael Videla was the president of Argentina. At that time, repression, disappearances and censorship reached new heights. Perhaps as a result of the ambitious and complicated nature of its musical project, the band did not achieve popularity.

Finally, in that year, the band said goodbye during the "Festival del amor" ("Festival of Love"), which was recorded, and released three years later on the LP Música del alma ("Music of the soul"). After the concert, Charly went to a hotel with Zoca. There they made a decision to escape to São Paulo, Brazil.

Genesis of a new sound: Serú Girán

In São Paulo, Charly met Zoca's parents. The Pederneiras being a family of artists, they were fascinated with Charly. Artistically speaking, García was influenced by certain Brazilian artists, notably Milton Nascimento. Despite Sui Generis' commercial successes, Charly was destitute. In 1978, he lived a nature-centered lifestyle with Zoca in Brazil, fishing and gathering fruit. Soon David Lebón, an Argentine musician and a friend of Sui Generis, joined them. Having a new musical partner, Charly again played, and the seed of a new musical project was planted. Charly was now determined to form a new band, but he was still broke. Making his way back to Buenos Aires, he began a new search for bandmates.

Charly needed a bass player and a drummer, and he found both when he saw a band called Pastoral play. There he recruited a talented 19-year-old bass player, Pedro Aznar, as well his old partner from La Máquina de Hacer Pájaros, drummer Oscar Moro. The new band comprised Charly García on keyboards, guitar and voice, David Lebón on guitar, percussion and voice, Pedro Aznar on bass, keyboards and voice, and Oscar Moro on drums. Charly and David were the main songwriters.

Charly now had a complete band, but still lacked money. At this point Charly signed a contract with a production group, although the terms of this deal were not advantageous to Charly. He did raise enough money to return to São Paulo with his new bandmates and record their first album. The band chose the name Serú Girán. "Serú Girán" was a combination of meaningless words Charly had invented as part of an eponymous nonsense song he wrote in São Paulo. The other band members liked the name so much that they also called their first long play Serú Girán, featuring the song Serú Girán, by Serú Girán.

The band returned to Buenos Aires and great expectations for García's new project. Their first show, in the traditional Arena Obras Sanitarias, was again advertised as "Charly García... and Serú Girán", due to contractual reasons. Thereafter, however, the name "Charly García" would no longer appear in the advertising — the band would simply go by Serú Girán. That first show was poorly received, the public having expected a new incarnation of Sui Generis. Serú Girán was completely different. The band had a new sound in which Aznar's fretless bass guitar was a key component, and a striking aesthetic with lyrics full of poetry. Puzzled audiences requested Sui Generis' old songs. In 1978, disco music was fashionable in Argentina. As a joke, Serú Girán played a song called Disco Shock, angering the public, whose rejection marred the show.

The following day, the "specialized" press called Serú Girán the worst band in Argentina and charged that David Lebón's vocals on their songs sounded "homosexual." The band's relationship with the media was not cordial. One number of a popular Argentine magazine called Gente carried a disparaging article titled "Charly García: ¿Ídolo o qué?" ("Idol or what?"). Despite the chilly reception, Serú Girán's members were convinced they had a good project and persisted, organizing more shows. They eventually garnered some acceptance from an audience that warmed up to their style.

Serú Girán carried on during 1979 and evolved markedly. Their new LP was titled La grasa de las capitales ("Grease," or "Fat," "of the Capitals") and its cover was a joke directed at the magazine Gente. The stronger and more direct nature of the lyrics, which criticized the media, including specifically magazines (especially Gente), fashionable music, radio and so on almost got them sent to jail. The public, however, gave the album an enthusiastic reception. The band's shows improved progressively, and eventually were performed in larger venues. The "specialized" press changed its tune, and a romance seemed to develop between the people and Serú Girán.

Expectations were high in 1980 for Serú Girán's new long play, which would be called Bicicleta ("Bicycle") -- a name that Charly had favored for the band (but was panned by the other members). The band sounded more mature on this record. The music was modern and strong, a key feature being the melodies. The role of the bass guitar was again central, and Pedro Aznar's work became more prominent.

In 1979, Charly almost went to jail because of the band's lyrics, considered too clear and direct in some quarters. Even as the music's political message became stronger, it was concealed in an effort to avoid censorship and another close call with the authorities. But the message remained, ready to be heard by ears that wanted to hear it. Canción de Alicia en el país ("Song of Alice in the (Wonder) Land") drew an uncanny analogy between Lewis Carroll's story and the Argentine military government. Encuentro con el diablo ("Meeting with the Devil") is a reference to the band's meeting with Albano Harguindeguy, who was frequently referred to, behind his back, as the "Devil." A military man, he was Security Minister during those years. He gave talks to some artists, ordering them to tone down their work or leave the country—a policy that led many artists to leave Argentina at that time.

The band was very successful commercially, and fans found its shows amazing and considered the music Charly's best ever. Serú Girán was dubbed "The Argentine Beatles", and Charly began to receive recognition as a great artist. Serú Girán was the first popular rock band that drew a following from among both the rich and the poor; rock was no longer circumscribed to its historically marginal position. In a recent interview, David Lebón said, "Actually we were much more like Procul Harum than the Beatles, a legendary band: a rock "viola" (slang for guitar) player (Lebón), a classical pianist (García) an infernal percussionist (Moro) and a virtuoso bass player (Aznar)".

Luis Alberto Spinetta was another Argentine rock star of the time. His first band, Almendra, was one of the first in Argentine rock, getting its start before Sui Generis; now he had a band called Spinetta Jade. Perhaps because his style was darker, more complicated, and found harder to understand by many, he was a less popular star than Charly, and they were portrayed as enemies. Luis and Charly put that myth to bed on September 13, 1980, as their bands, Serú Girán and Spinetta Jade, played together in what has been considered one of the greatest shows in the history of Argentine rock.

Patricia Perea, a journalist who worked for a magazine called El Expreso Imaginario ("Imaginary Express"), was not among the fans of Serú Girán. The magazine disliked them and criticized them strongly after they played in Córdoba, Perea's hometown. Serú Girán took revenge on Ms. Perea through their fourth LP: Peperina, directed at her, featuring a song about her which was also called Peperina. In Córdoba, the traditional Argentine infusion yerba mate is mixed with the herb "menta peperina" (Bystropogon mollis, similar to peppermint), which is also used as a tea. Followers of the band considered Peperina a fantastic album with great melodies, superb performance from Aznar, and the songs—which are critical, especially of high society—poetic. Peperina can be viewed as a summary of Serú Girán's work.

One of the songs on Peperina is titled Llorando en el espejo ("Crying in the mirror"), and contains a phrase that says "La línea blanca se terminó/no hay señales en tus ojos y estoy/llorando en el espejo..." ("The white line is up, /(there are) no signs in your eyes and I'm/crying in the mirror..."). With its sad melody, the tears, the mirror, and that "white line," the song seems to portray cocaine addiction. At the time, those lyrics did not draw much attention.

Peperina carried a political message. The song "José Mercado" ("Market Joe") was a clear reference to José Martínez de Hoz, the minister of economy. The lyrics "José Mercado compra todo importado (...) / José es licenciado en economía, pasa la vida comprando porquerías" (which translate as "Market Joe only buys imported (...) Joe has a degree in economy, spends his life buying garbage") referred to Argentina's policy of economic liberalism, with its profusion of imported (and often low-quality) products.

1981 may have been the best year for the band in terms of live performances. In 2000, a Serú Girán fan found some tape recordings of a December 1981 show at the Teatro Coliseo and took them to Serú Girán drummer Oscar Moro, who "cleaned" them for the CD Yo no quiero volverme tan loco ("I don't want to go that crazy") published in 2000.

In early 1982, Pedro Aznar went to USA to study at Berklee College of Music and therefore left the band. (It is a very common mistake to assume that Aznar left Serú for Pat Metheny's band, one of his favorite musicians. Aznar joined Metheny's group just one full year later, in 1983). In March 1982, Serú returned to Obras Sanitarias to say goobdye to Pedro and put on a highly successful show which was recorded, and published that year as No llores por mí, Argentina ("Don't cry for me, Argentina"). With the loss of Aznar, the band initially considered the idea of having David Lebón play both guitar and bass. But David and Charly had some differences chalked up to "musical taste", and without Pedro things were not the same. Moreover, both were mature enough to begin their own careers and that was the end of Serú Girán...for the time being.

Solo career

In 1982, Argentina was undergoing political change. After the Falklands War () in June, social chaos erupted and the military government lost much of its power. The kidnappings had stopped and censorship had weakened.

Charly García debuted as a soloist with a double LP, Pubis Angelical ("Angelical Pubis"), which was the eponymous movie's soundtrack, and the powerful Yendo de la cama al living ("Going from the bed to the living room"). Four hit songs from this album left their historical mark: #No bombardeen Buenos Aires ("Don't bomb Buenos Aires") showed the panic in lived out in the city during the Falklands war, and strongly criticized the army, especially the President Leopoldo Galtieri (Roger Waters from Pink Floyd, on the other side of the trenches at that time, also criticized Galtieri in their Final Cut 1983 album). #Yendo de la cama al living ("Going from the bed to the living room") used the experience of being trapped in a confined space as a symbol of the repression of ideas. #Inconsciente colectivo ("Unconscious Collection") was a message of hope and liberty for the stricken Argentine people. #Yo no quiero volverme tan loco ("I don't want to go that crazy") was a song about the adolescent spirit of freedom and rebelliousness.

The LP's presentation took place in December at the Ferrocarril Oeste Stadium (or Ferro). As the song No bombardeen Buenos Aires drew to a close near the end of the show, backdrop props simulating Buenos Aires were destroyed with fireworks.

In 1983, Charly left Buenos Aires with a small suitcase. When he came back to Buenos Aires from New York, he brought a quality LP titled Clics Modernos ("Modern Clix") that was different from anything previously done in Argentine rock — it was highly singable rock music you could also dance to. Its strong message referred the past years: Exodus in Plateado sobre plateado (huellas en el mar) ("Silver on Silver, Footprints on the Sea"), repression in Nos siguen pegando abajo ("They keep hitting us down there"), No me dejan salir ("They won't let me out") and Los dinosaurios ("The Dinosaurs"), a nostalgic but defiant remembrance of those who were kidnapped or killed.

On December 10, the course of Argentine history took a turn as the government became a Democracy. Charly performed many well-received shows in 1984, and recorded another album during its last months. García also recorded an LP called Terapia intensiva ("Intensive care"), another movie soundtrack. Piano Bar was released in 1984, completing García's golden trilogy. .

During these years, García's band was home to many future Argentine music stars, including Andrés Calamaro, Fito Páez, Pablo Guyot, Willy Iturri, Alfredo Toth and Fabiana Cantilo.

1985–1989

After the success of Piano Bar, which was García's consecration as a soloist, 1985 was a year to slow down. Charly met again with Pedro Aznar in New York by chance, but they took advantage of this meeting and recorded Tango. The disc had some interesting material, but it did not achieve commercial success primarily due to limited distribution.

In 1987, García came back with Parte de la Religión ("Part of the Religion"), a very interesting LP. Many songs from that LP became hits. Two of them, No voy en tren ("I don't take the train") and Necesito tu amor (“I need your love”) are the perfect symbol of García's dichotomies: the first one says No necesito a nadie a nadie alrededor (“I don't need anybody around me”), and the second one says Yo necesito tu amor/tu amor me salva y me sirve (“I need your love/your love saves me and is useful to me”). This LP is also featured a song, Rezo por vos (“I pray for you”), which was part of a project with Luis Alberto Spinetta that was never finished.

In 1988, Charly made his acting debut at the age of 36, playing a nurse in the movie Lo que vendrá (“What is to come”), the soundtrack of which he also composed. Being a nurse had long been one of García's obsessions. Later that year, the Amnesty International festival wrapped up in Buenos Aires. Starring international and local rock stars, Peter Gabriel, Bruce Springsteen, Sting, Charly García and León Gieco were there.

In 1989, Puerto Rican pop star Wilkins invited Charly to record his classic "Yo No Quiero Volverme Tan Loco", alongside Ilan Chester, from Venezuela, as a tribute to "Rock en Español"; the song was featured in Wilkins' L.A-N.Y. album.

Later that year, Charly released a new album, Cómo conseguir chicas (“How to get girls”). This would probably be his last "normal" album. He described it as "Just a bunch of songs that were never published for different reasons".

Charly's father had long ago told him, "Never write an anagram for someone if you don't want him or her to be pissed off". During the Serú Girán years, his friend David Lebón told him something similar: "Do not write a song for a woman if you love her, because she'll leave you". The LP includes a song titled "Shisyastawuman" (a deliberately direct transliteration of "She's just a woman"), the first song García recorded in English that was written to a woman. The woman left him after hearing the song, just like Lebón had warned. A song named Zocacola that Charly dedicated to Zoca was included in this LP as well. A couple of months after the disc was released, Zoca left him.

García had changed. Physically, he looked older. His music was dark, and the earlier symphonical García from "La Máquina de Hacer Pájaros" was gone. Now, Charly's sound was closer to either punk rock, with violent songs such as No toquen (“Do Not Touch”), or a depressive and dark style as shown in No me verás en el subte (“You Won't See Me in the Subway”). Different and adverse times lay ahead.

For the international tour in 1989/1990, García formed a new band with Hilda Lizarazu, who sang backup vocals for Charly.

1990-1993 The days of excess

In 1990, Charly had many ideas but no band. Another important member of the band, Fabián "Zorrito" Von Quintiero, had left to join another band, Los ratones paranoicos (“The Paranoid Mice”). Hilda Lizarazu and Carlos García López started a band called Man Ray. Charly was now alone. For his new disc, Filosofía barata y zapatos de goma (“Cheap Philosophy and Rubber Shoes”), he called many of his old friends, who helped record most of the songs. Assisting him, among others, were Andrés Calamaro, Rinaldo Rafanelli, Fabiana Cantilo, "Nito" Mestre, Pedro Aznar, Fabián Von Quintiero and even Hilda Lizarazu. The first issue came once the disc was released. Its last song was a rock version of the Himno Nacional Argentino, or the Argentine national anthem. Amid controversy, García's version of the national anthem was forbidden for some days, but García was victorious, a judge authorizing the song. Many people liked it, seeing it as a fresh, sincere, strong and respectful version of the old song.

That year, the Government of Buenos Aires organized "Mi Buenos Aires Rock" ("My B.A. rock"), a public rock festival on Avenue 9 de Julio, the city's most famous avenue. The artists were to play for half an hour, but Charly played for over two hours. He closed the festival playing his version of the national anthem to one hundred thousand people.

In December 1992, Charly again embraced his past and surprisingly re-joined Serú Girán. Charly García, David Lebón, Pedro Aznar and Oscar Moro were back after ten years. A new album was recorded, titled Serú 92. It enjoyed great commercial success, but musically was sharply different from Serú Girán's other discs.

Serú Girán performed two huge shows at the River Plate Stadium - Buenos Aires' largest. Serú Girán had always been at its best when live, the four members playing very well together. This time, in Moro's words, "the show sounded like Charly García and Serú Girán".

1994-2006 The Say no More era

After not having released any new solo material since 1990, in 1994 García was ready to strike back. The new project was called La hija de "La Lágrima" (“«The Tear»'s Daughter”). This LP would be an introduction to the future concept of "Say no more".

In 1994, Kurt Cobain, the leader of Nirvana, tragically ended his own life, adding to his legendary status in the eyes of the fans who saw him becoming a hero. Being one of them, García dyed his hair blonde.

Also during 1994, the Soccer World Cup was being played in the United States. Soccer player legend Diego Armando Maradona was involved in a dispute with FIFA regarding a drug test for ephedrine doping, which he failed, preventing him from playing. After Diego was sent home, Argentina lost two important matches and was knocked out of the World Cup. When the last match was about to end, Charly called Diego on his cell phone and sang to him "live" the Maradona's Blues, a song he composed for him. Diego cried when he heard "Un accidente no es pecado/y no es pecado estar así" (“An accident is not a sin/And is not a sin to feel like this”), and the two struck up a friendship.

1995 was again a musical year. García formed a new band for touring on summertime (with María Gabriela Epumer, Juan Bellia, Fabián Von Quintiero, Jorge Suárez and Fernando Samalea) and named it as "Casandra Lange". His idea with the band was play songs Charly had heard as a teen, such as "Sympathy for the devil" (Mick Jagger-Keith Richards) and "There's a place" (John Lennon-Paul McCartney). He recorded the performances and edit a live album, "Estaba en llamas cuando me acosté" ("It was on fire when I went to bed"). All of the songs in this album are in English except for "Te recuerdo invierno" ("I remember you, winter"), which García had written in the early 70's but never recorded with Sui Generis.

In May, Charly recorded "Hello! MTV Unplugged", often considered the last time that the rock star played his music to his full potential.

"Say no more" arrived in 1996. "Say no more" was a new concept for García: "'Say no more' would be in music what painting directly on the canvas would be for a painter", he explained. He also said that the LP "will only be understood in 20 years". Some sparks of his genius showed, but longtime fans of Charly were not very fond of it at first. Today, however, the album is considered García's masterpiece, and "Say no more" the classic slogan identifying Charly García and all his music.

During 1997, García recorded "Alta Fidelidad" ("High Fidelity") with Mercedes Sosa. Both had known each other since his childhood, so they decided to publish a collaborative work on which Mercedes would sing her favorite García songs of all time.

In 1998, "El aguante" ("Holding On") was released. This production featured many covers translated to Spanish by García, like "Tin Soldier" (Small Faces), or "Roll over Beethoven" (Chuck Berry). A significant song which was not included was "A whiter shade of pale", originally released by Procol Harum, a band that Charly had always admired.

In February 1999, García performed at the close of the free public-rock festival "Buenos Aires Vivo III" (BA Live III). There he played a huge concert for 250.000 fans who attended one of the biggest concerts in Argentina to date. In July 1999, Charly agreed to give a private performance at the Quinta de Olivos (the Argentine Presidential residence), at the invitation of the president, Carlos Saúl Menem. On a televised bit of this event he was seen in good spirits, carrying out antics such as playing with the security cameras, or trying to teach the president how to play the piano. A limited edition of a disc memorializing the famous concert, "Charly & Charly", was released that year.

Maravillización 2000-2003

In 2000, Charly and Nito Mestre decided to bring Sui Generis back to life. For the special occasion, they both composed the songs for a new LP, "Sinfonías para adolescentes" ("Symphonies for Teenagers"). Of course, things were very different after 25 years, but young and older fans were excited by the idea of the return of Sui Generis. This new period would be marked by García's new "sound concept" of Maravillización or "Making something marvellous", replacing the old dark "Say no more" style.

Finally Sui Generis played again in the Boca Juniors's Stadium, for 25.000 fans on December 7, 2000. Charly respected his fans and his old partner, and played for almost four hours in front of a delighted public, despite of the "differences" between the old and the new model Sui Generis, as regards sound, Charly's voice and behaviour, etc.

Many journalists and some fans criticized this return, stating that the main cause for it was the money and that both members of the band had changed so much, that the new album and show had nothing to do with the "real" Sui Generis.

During 2001, ¡Si! Detrás de las paredes (“B [the musical note]! Behind the Walls”) was edited as the second and last Sui Generis's LP in this new era. It was a mash up between live versions of the Boca Juniors's concert, new songs (as "Telepáticamente") and some versions of old songs. (such as "Rasguña Las Piedras", featuring Gustavo Cerati, former leader of Soda Stereo).

Besides on October the 23rd 2001, Charly reached age 50. For the occasion, a special concert in the Colliseum Theater was organized.

After this interruption in his solo Career, Charly got back to the spotlight after releasing "Influencia" ("Influence") in 2002. This new disc contained some interesting songs that made an impact in the Latin American world of Rock, such as "Tu Vicio" ("Your Vice"), "Influencia" ("Influence", translated cover from Todd Rundgren's original "Influenza") and "I'm Not In Love" (featuring Tony Sheridan). Even though it included old songs as "Happy And Real" (From Tango IV, 1991) or "Uno A Uno" ("One to one", from "El Aguante", 1998) and different versions of the same songs, this was probably García's best album since 1994.

Live concerts of "Influencia" were probably Charly's best in a long, long time. With the strong support of María Gabriela Epumer in chorus and guitar, Charly showed up in many different concerts, such as two in the Luna Park Stadium, Viña del Mar and Cosquín Rock with correct performances.

Finally in October 2003, Charly released "Rock and Roll, Yo" ("Rock and Roll, Me"), dedicated to María Gabriela. The songs weren't as good as those in "Influencia", his voice often sounds out of tune and, once again the LP contained too many versions and translated convers such as "Linda Bailarina" ("Pretty Ballerina", Michael Brown) or "Wonder" ("Love´S In Need Of Love Today" by Stevie Wonder). This time his shows weren't so convincing, and Epumer's absence could be felt by the fans.

Drop Into the Background (2004-2008)

.]] On April 30, 2007 he performed in the Plaza de Mayo in Buenos Aires at the invitation of the Madres de la Plaza for their 30th Anniversary. He routinely performs throughout Argentina and South America.

Also, since 2004, one of his most remarkable "positive" landmarks was to play once again in Casa Rosada, the Argentine government palace. This was one of the many concerts organized there by the Argentine ex-president, Néstor Kirchner.

The Great Return (2009-Present)

According to Clarín newspaper, on the 14th of June 2008, Charly García was taken to a hospital in the city of Mendoza, Argentina due to a violent episode that he carried out in a hotel in Mendoza. Some sources relate the incident to overdose of drugs and alcohol.

After the incident García's friend, Palito Ortega, took Charly to his country estate in Provincia de Buenos Aires where Ortega had him be treated with several doctors and psychiatrists to cure his addiction. The recovery process took almost an entire year.

After the long recovery, a cured Charly came back in August 2009 with a new song called “Deberías Saber Porque” (You Should Know Why). The song became a hit and soon Charly embarked on a large tour through Chile and Perú to promote his return. On October 23 García celebrated his 58th birthday with an amazing concert in Velez Sarfield's Stadium, Argentina. This concert has been referred to as "The Underwater Concert" because of the heavy rain that fell. His tour continues, and new concerts are being added all the time.

Discography

Sui Generis

1972 - Vida (“Life”)

1973 - Confesiones de Invierno'' (“Winter Confessions”)

1974 - Pequeñas anécdotas sobre las instituciones'' (“Little Anecdotes about Institutions”)

1975 - Adiós Sui Generis I & II'' (live) (“Good Bye Sui Generis, Volumes 1 and 2”)

1993 - Adiós Sui Generis III'' (live from 1975) (“Good Bye Sui Generis, Volume 3”)

2000 - Sinfonías para adolescentes'' (“Symphonies for Teenagers”)

2001 - ¡Si! Detrás de las paredes'' (live) (“B [the musical note]! Behind the Walls”)

Porsuigieco

1976 - Porsuigieco (raúl PORchetto, SUI generis, león GIECO)

La Máquina de Hacer Pájaros

1976 - La Máquina de Hacer Pájaros (“The Bird Making Machine”)

1977 - Películas (“Movies”)

Serú Girán

1978 - Serú Giran

1979 - La Grasa de las Capitales (“Grease of the capitals”)

1980 - Bicicleta (“Bicycle”)

1981 - Peperina

1982 - No llores por mí, Argentina (“Don't cry for me, Argentina”)

1992 - Serú 92

1993 - Vivo I (live); Vivo II (live)

2000 - Yo no quiero volverme tan loco (live from 1981) (“I don't want to become that crazy”)

Solo

1980 - Música del alma (“Soul's Music”)

1982 - Pubis angelical/Yendo de la cama al living (“Angelical Pubis / Going from the Bed to the Living Room”)

1983 - Clics modernos (“Modern Clix”)

1984 - Piano bar (album)

1984 - Terapia intensiva (“Intensive care”) [Soundtrack]

1985 - Tango (featuring Pedro Aznar)

1987 - Parte de la religión (“Part of the Religion”)

1988 - Lo que vendrá (“Times to come”) [Soundtrack]

1989 - Cómo conseguir chicas (“How To Get Girls”)

1990 - Filosofía barata y zapatos de goma (“Cheap Philosophy and Rubber Shoes”)

1991 - Tango 4 (featuring Pedro Aznar)

1992 - Radio Pinti (featuring Pedro Aznar and Enrique Pinti)

1993 - Funes un Gran Amor [Soundtrack]

1994 - La hija de La Lágrima (“The Tear's Daughter”)

1995 - Hello! (album) (MTV Unplugged)

1996 - Say No More

1997 - Alta Fidelidad (with Mercedes Sosa) (“High Fidelity”)

1998 - El aguante (“The «Holding On»”)

1999 - Demasiado ego (“Too Much Ego”) (live)

1999 - Charly & Charly en Olivos (live, limited edition).

2002 - Influencia (“Influence”)

2003 - Rock and roll yo (“Rock And Roll, I”)

2010 - Kill Gil (album)

Cassandra Lange

1995 - Estaba en llamas cuando me acosté (“It Was On Fire When I Went to Bed”)

References

Category:1951 births Category:1980s singers Category:1990s singers Category:2000s singers Category:2010s singers Category:Living people Category:Argentine male singers Category:Argentine musicians Category:Argentine songwriters Category:People from Buenos Aires Category:Rock en Español musicians Category:Multi-instrumentalists Category:People with bipolar disorder