“The Kirchnerist businessman burst Carlos Solari. A great merchant in the industry of rebellion, his product never even crossed the borders of neighboring countries nor did it ever innovate any musical genre. He was in effect an original coastal merchant who sold subversion to the masses lacking identity. His lyrics promoted drugs, lumpenage and satanism, while his music was characterized by plebeian rock with a tango tone and his enormous profits were always stored in imperialist dollars. God Our Lord have mercy on your Soul”, was the farewell message that Nicolas Marquez dedicated to the singer Patricio Rey and his Ricotta Rounds.
The death of “Indio” Solari, which occurred on Friday, June 5, triggered one of the most massive and symbolic farewells in the recent history of Argentine culture. The musician died at his home in Parque Leloir, in the Buenos Aires district of Ituzaingó, after suffering a hemorrhagic stroke that caused his almost immediate death at the age of 77. The condition occurred in the context of his well-known Parkinson’s disease, diagnosed a decade ago and which had progressively deteriorated his state of health.
The official announcement was made known on Friday morning and, in a matter of minutes, it generated a social reaction of unprecedented magnitude. Social networks collapsed with farewell messages and spontaneous rallies quickly began in different parts of the country. The Obelisk, Plaza de Mayo and the city of La Plata became epicenters of an improvised vigil where thousands of fans sang their songs and displayed historical flags of the Ricotero universe.
But far from condolences and good memories, the biographer of Javier Milei He dedicated himself to defenestrating both the followers and the composer of emblematic national rock classics such as “Prisoner in my city”, “The kid from the shipyards” and “Jijiji”. Sharing a television fragment of the call for the “ricotera mass” on Friday afternoon in Plaza de Mayo, on his Facebook account and with irony, Márquez posted: “Extraordinary meeting of the Academic Council of Yale University.”
In another message, the same writer makes an unnecessary comparison of the deceased artist with the singer Miguel Mateos. “In the face of so much propaganda of plebeian, precarious rock, purely cabotage and with followers intoxicated by years of lack of culture and the consumption of paco, there is nothing better than to counteract with the greatest exponent of Spanish-speaking world rock. Trained for years in the conservatory in piano and guitar, he played with the best musicians in the world and continues to fill the large international stadiums that go from Canada to Tierra del Fuego, even passing through Europe. The cronyist press is not going to show it to you so much, out of jealousy. or propensity to overestimate his drug and gang cronies. But this and much more is Miguel Mateos today,” highlighted the libertarian intellectual, sharing an image of the former ZAS vocalist during his time at the Movistar Arena last year.
It is not the first controversy that the co-author of “The Black Book of the New Left” and “Milei, the Revolution They Didn’t See Coming” has been involved in these days. In his account of X, Márquez without nuance disqualified both the figure of the archbishop Jorge García Cuerva, hours after the head of the Argentine Church delivered a critical homily during the Tedeum on May 25 in the Metropolitan Cathedral, in which he asked the ruling class to abandon polarization and commit to dialogue.
The ultra-conservative intellectual from Mar del Plata called García Cuerva a “brutized, immoral and anti-Christian bishop” and questioned his supposed closeness to Peronism, which he associated with the figure of Juan Domingo Perón, defining him as a Freemason and an excommunicated heretic, to conclude that the religious man is “part of the brood of heretics infiltrated into the Church” that, according to Márquez, was placed in positions of power by Pope Francis, whom he also attacked in the tweet.
“I would have been very worried if the aforementioned Kirchnerist clergyman praised the President’s management. But fortunately and for everyone’s peace of mind, he was critical of it. A GREAT RELIEF,” Márquez highlighted. However, Milei himself distanced himself from these sayings and chose a more moderate tone when publicly responding to the archbishop, avoiding direct confrontation, who described his position as “an absolutely valid opinion”, thus distancing himself from the virulence of his own biographer.
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