Apuntes sobre Charly Garcia: El parlante que no distorsiona

Article

Authorship

PUJOL, SERGIO ALEJANDRO

Date

2021

Publishing House and Editing Place

Universidad Nacional de La Plata

Magazine

Plurentes Artes y Letras, vol. 12 (pp. 1-7) Universidad Nacional de La Plata

Summary Information provided by the agent in SIGEVA

This article examines the musical knowledge of Charly García as a sociocultural differential in Argentinian rock. Since his debut in 1972 in the duet Sui Generis until his coronation as a pop icon in the 80's, this musician relied upon his musical training known as a symbolic capital to be legitimized as a popular artist and, at the same time, to legitimize Argentinian rock. His success can be measured by his transcendence beyond rock culture - it is impossible to view Argentinian m... This article examines the musical knowledge of Charly García as a sociocultural differential in Argentinian rock. Since his debut in 1972 in the duet Sui Generis until his coronation as a pop icon in the 80's, this musician relied upon his musical training known as a symbolic capital to be legitimized as a popular artist and, at the same time, to legitimize Argentinian rock. His success can be measured by his transcendence beyond rock culture - it is impossible to view Argentinian music in the last 50 years without considering Charly García´s work. This article aims at reflecting not so much on the musical “content” of the creator of No bombardeen Buenos Aires but on the resources he made use of to be recognized in a popular genre which was mistreated and disdained in its beginnings by part of the Argentinian cultural field.