On December 2, one more anniversary of the birth of Osvaldo Pugliese. And it was released in color format on social networks, a photo of the renowned composer and pianist together with the rocker from Rosario fito paezwhich had been published exclusively in black and white.
At the end of the 80s, in 1989, the legendary “Suplemento SI” of the Clarín newspaper brought together the mythical and beloved tango musician with the rocker of the moment. A generational meeting in the streets of Buenos Aires, which was portrayed by the photographer Carlos Sarraf with production of Javier Febre.
At that time, Osvaldo Pugliese He was already an eminence of city music. More than a hundred of his own compositions and more than five hundred interpretations in different formats ranging from hard disks to vinyl long plays, going through cassettes and modern cd’s, were part of the prolific work of his vast career.
A native of Villa Crespo, a communist militant and staunch defender of classical tango, especially before the devoted followers of Astor PiazzollaIn the mid-70s, Pugliese had his vision of the emerging national rock: “foreigners” or “disguised” were words pronounced with a certain mockery.
However, the creator ofthe Yumba” He changed his vision in the 80s. That is why the crossover with the rock reference of the moment was planned: Fito Páez. The musician from Rosario, came in his beginnings to be part of the group of charly garcia. In its most stage new wavein the well-known album Piano Barthe one with the bicolor mustache had brought together a group of prodigies like Pablo Guyot, Alfredo Toth, Willy Iturri, and the young keyboardist Rodolfo Paez
Fito Páez’s solo career had its debut with ”Del 63”. The discs “twists” (1985) and “La La La” (1986), made together with Luis Alberto Spinetta, strengthened his career, which would explode a year later with his most personal album to date, “City of Poor Hearts”. According to the artist, it was “the album that he never wanted to write”, a violent and cathartic work that the musician composed after the murder of his great-aunts.
The consolidation of the career of fito paez and its recognition by Osvaldo Pugliesewere captured in the streets of Buenos Aires, near the Teatro Cervantes, in a portrait that charly sarraf logre capture with your camera to roll.
The rocker, who had brought an electric guitar, decided to hold the bandoneon, to which Pugliese himself smiled knowingly. The idea in principle was that the composer of “black girl” hold the guitar, but according to witnesses, the tanguero’s wife did not allow it, and the composer himself accepted it, crossing his arms.
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