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A few hours after the latest presidential speech to formalize the new restrictions, which were endorsed by a worrying DNU, Wednesday 7 was not another day for those who follow in detail the developments of a pandemic that impacts for multiple reasons. That hot afternoon, at a strict meeting in which only the figure authorized by the health protocols were present, Mr. Flavio officially presented his recent book “The Texts Silver Tape”, attractive material released in recent days nationally that is now available in bookstores throughout the country. All the media confirming their presence for this official had to attend the venue well in advance, in compliance with the provisions in force. This expected event was held at the well-known M. Street Bar in the Palermo neighborhood, the base of operations of the firm PopartMusic in all its releases, in order to present the new material, tell how this book was made and share an afternoon of anecdotes. To give the premiere a correct corporeality, the avant premiere of the new book was attended by Pablo Ferrajuolo, responsible for “Pilot of Tormenta Editorial”, and Daniel Flores, who was in charge of the total edition of gestated materials and the prologue to “Los Textos Silver Tape”.
While those present were accommodated, using the outside of the premises, the presentation speeches began with the artist located in the center of the flowery proscenium, an official in which Daniel Flores argued that “in Flavio's art there are no lines that do not cross, but trails that fork by a time, they gather, give 360 degree turns, cut dry, reanimate and merge again,” such the words of Daniel Flores, who currently serves as director of the famous magazine “Rolling Stone” in its local edition. For his part, Pablo Ferrajuolo took the opportunity to detail certain previous features of the editing process, revealing that the original project already had almost two years of commissioning, material that was accelerating with fierce speed with the arrival of the pandemic. “The Texts Silver Tape-Catharsis Surfer Skull de un Sonidero Antipoeta”, is a material written in the author's coastal home on the shores of the Atlantic Ocean, more precisely in the town of Chapadmalal, close to the historic and traditional presidential summery fifth. The book is divided into 35 chapters in which the talented musician rehearses a sort of life log in surfing codes, music, skateboarding, veganism, movies, books and everyday life. As described by several of his relatives, equal parts of autobiography and manifesto coexist. But there, almost contradicting those marketing or elastic marketing issues, the legendary performer of the four strings in the Fabulosos Cadillacs does not hesitate to deny the autobiographical, seriously pointing out that “it would be very petulant of me something like that.”
In these 185 pages of the new book recently released by Piloto de Tormenta, the cover is illustrated with the photo of the veteran musician at the time he wore a beard very similar to the one that identified the members of the ZZ Top group, a stage in which his main group had started the break after his last album. This literary material, according to its old editors, shows how he thinks for times and how he thinks a little later, this contemporary artist, Marplatense and family. Fearful and fanatic of terror at the same time. Lonely and unable to be alone. Assertive and discordant. As faithful to his convictions as he can betray them if he senses what it takes to be... more honest. Singer, bassist, writer; a multifaceted and lovable artist, before the general gaze Mr. Flavio never ceases to surprise his followers, while still in the artistic orbit as one of the main references, both in music and in the surfer culture, a movement that grows day by day After attending to two television mobileros who immediately afterwards must go to cover another news situation, the artist who as soloist looks like Mr. Flavio, decides to sit in a corner away from the celebratory bustle to talk alone with Ser Argentino. In this exclusive interview with this medium, Flavio Cianciarulo appears, a qualified and tireless creative who never stops his artistic actions, now accompanied by a glass of water and a saucto full of contemporary “papas bravas” with a somewhat spicy sauce. Quiet and happy for his new work, the questions come without pauses and the forceful answers too.
Flavio Cianciarulo: Seven, this is number 7. I'm very happy with the seventh book.
Flavio Cianciarulo: Well, you know? I don't care that much, at one time even I was joking, a joke, it said, “I'm the non-writer who writes,” so in a way I can be a slave to my words. Maybe that's it, I have seven books published, maybe you realize, capable it's good that they don't realize that I'm a writer and finally stay like an “underground writer.”
Flavio Cianciarulo: Yes, people sometimes realize things. It is true that in certain media or in certain information channels there are obvious things, right? For a lot of people I'm a Cadillac and nothing else, you understand? When I do a lot of things. Yes, minor, small, situations that I like so much and call me, when I'm not in LFC, which for me is delicious, it is necessary and part of my life, but many people see you when you look up your face in certain places, and not in others. That's disinformation, often the media misreports.
Flavio Cianciarulo: I flatly refuse and I wouldn't, you can take a part of the book and tell me “Flavio, you're making it wrong” or “You're contradicting yourself.” Yes, I am contradicting myself, because it is a very valuable tool of my life, contradiction, I use it because it is human, it is actually a journey on issues that I like to address, without intentions of falling into the moral rigor of truth. The example above, in a talk with someone else, tells me “you talk about Sumo,” I do speak, but I don't talk. I don't want to talk about the Sumo group in this book, but I do so by placing a chronological scenario corresponding to the feeling, very profound that I want to glimpse. So it's not an autobiographical book, wave “I was born in such a place, I grew up in Mar del Plata and I was such a school, then my parents...”, no. If I find situations, if at some point I name situations, it is to get to the place I want to talk about, which are the topics of the book I want to address, without intentions of persecutions of perfection and truth.
Flavio Cianciarulo: Well, but it's nice to read those things, I'm also a consumer of art, music, rock books, or books, not rock. That's why I raised things with that particular tone.
Flavio Cianciarulo: It is the return to the beautiful city where I grew up, I always felt a marplatense banished in Buenos Aires, but I have several tattoos with the words Buenos Aires or Mar del Plata. Buenos Aires was a beautiful city in the '80s that welcomed me and where I spent a wonderful “new wave”, this vanguard artistic cultural explosion of the '80s, but there is another reading. My parents broke up when they lived there and I suffered it like banishment, when I came to live in Buenos Aires with my mother. I always remained tied to Mar del Plata because my father was there, I always came back and once, I did not know when because one can not specify it, I once came to think that maybe never, but I said “I will ever go back with my family to my city” and so it was, it gave, I don't know, meet... iacute; and it was in that way, there was also a very profound need.
Flavio Cianciarulo: It is a psycho-social situation that we are living and that is quite complex, something really very worrying, but trying to put the most positive framework, hoping this will end in the best way, but I am very worried with areas of work that have not been “returned”, & iquest, isn't it? , culture, especially the middle down scenario, I say so as to the ability to operability, not what is linked to quality, because those smaller places are sincerely the most wonderful that culture can have. I'm worried about all the workers who orbit such places, such as an illuminator or a set designer.
Flavio Cianciarulo: Yes, but I especially talk about the small rooms, which work in that area, because mainstream is always going to be rearranged. I give you a fact about it, last weekend Iorio played in our city, in Mar del Plata, people who have high call play, but what about all the middle stages and boys?... What about the man who makes sound, with Mr. de la Vinotera Perrier, the sound player, the illuminator? Above all, what happens to us that we want and greed, human beings, citizens who want to go to see culture, a small or large play, a rock band, jazz or tango. It saddens me very sad, but first we have to bypass this whole health situation and let us all be fine.
Flavio Cianciarulo: I think it is impossible to predict it, what I can tell you is that my desire and my ambition from the most absolute positivism, is that well, this happens soon for everyone, hopefully.
Flavio Cianciarulo: Yes, of course, we talked to each other, we've seen each other, but I'm far away, I'm talking to you now, but more than a year ago, almost two years ago I didn't come to Buenos Aires. I was happy to be here with you chatting, the fact that I was moving with my book, but also following protocols and restrictions. I would have liked to have done something touched in this place, to play some songs, that there was something public, never big or massive, because my thing is not strictly linked to that scale, to present something, even if it is intimate, but obviously it could not be.
Flavio Cianciarulo: We're always going to be looking forward to doing something, but I'm just now ending with the operation of publishing the book, very happy with this and I'm doing this these days, hopefully we can make a new album with the Fabulous Cadillacs, there is always a door open, That's always going to be.
Flavio Cianciarulo: Well, that came up because I'm recording, it's the possibility of doing something because I'm recording it in my house, with the band that are my children. So, well, so I can pull out singles, I pulled out the version of “You know,” and now “The invasion of otherworldly beings” came out, I'm talking about one thing today. Yeah, it's something “pandemic-apocalyptic,” well, I felt influenced by everything that happens and I dumped it into a song (laughs).
Flavio Cianciarulo: Yes, no doubt. Without a doubt and we are passing through it. We'll see tomorrow as we continue, I insist, I tell you with the most hopeful need, hopefully it will be solved soon.
Flavio Cianciarulo: Yes, but I can't be selfish. I can say “I'm fine”, surrounded by nature, one block from the sea, but I can't escape with my selfishness to the global situation. It gives me a lot of sadness what happens for young people, for boys, I have a life made, we have white hair, a life made, you, me. I wish we live a lot longer, give me a lot for the boys, who suddenly need the normal thing to go out and have a life without these restrictions.
Flavio Cianciarulo: No, I don't feel sorry about any of that, if there are people who did that, I know, I didn't really think of it as something that is right or wrong. Obviously, knowing this, I argue that these things should be done in an orderly way, that people at a risk segment receive that treatment. All I know is that all this is crazy in that regard. That is why I take refuge in art, write, return to my city early tomorrow, I'm going to start writing new songs, new songs, very eager that this will end as soon as possible.
Flavio Cianciarulo: And... you're going through a lot of fluctuating moments, right? , at times it is desperate, at times it is anger, also diseasation, I grabbed half-well, in the sense that I was writing a book. When you write a book, what do you have to do? isolate yourself. If I were the sound player at the Vinoteca Perrier, I would be screwed, not mine, but if on weekends I had to operate there in Mar del Plata an underground rock band, I'm screwed up there and that worries me a lot. That's why I say that it grabbed me well in that sense, but I can't be selfish and say, “I need to be alone, I'm going to write a book,” good the world dies because I need to write a book. Well, the concrete thing is that I could write it, plus I can keep writing, but I don't escape what I see and I'm really worried about it. It affects you, that I... hit him like everyone, the coast in the middle of this whole situation gets tourists, right? What do I know, the city has to live on it. I don't know, but this is a GIANT and worrying “don't know”.
Flavio Cianciarulo: If so, I hope not, because it really saddens me for the youngest, for the children, what world will they inherit? We already live it and we will continue to live it, we hope to have ahead a life of freedom, culture, going to see things, be in a place, in a meeting with friends, being able to give us a hug... well, we already did it a lot of times, but the children didn't.
Flavio Cianciarulo: I don't know what to tell you, I know that music has to consider another vision, I put it in my case, not in a journalistic analysis of the situation, I can do a subjective analysis. I said, “Well, this happens, I record in my house,” I'm not going to be able to go to Buenos Aires to record in a studio, I'll do it recording at my house.” What do I mean? I turned the situation back, well, we have to do that. The industry has to do that, anyway, what industry are we talking about? I don't know what the music industry is anymore, outside the Cadillacs I don't manage myself in the music industry. I manage to play with my children in small places, be happy and enjoy.
Flavio Cianciarulo: It would be incomplete, because it is just not, for me a biography must contain that kind of data about the person, perhaps it generates all that because they are the reflections of a mature man, worse not about me, but on topics, are reflections without the intention of pursuing truth, because the truth doesn't belong to me, I think about things that may be far from the truth and I like that, I really like going around.
Publication Date: 14/04/2021
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