The news of the death of Carlos “Indio” Solari returns the ricotero world to the same mystery as always: who, really, was that man behind the myth? The most complete answer is in Memories that lie a littlethe book that he built together with the writer Marcelo Figueras for four years and which exceeds 850 pages. It is not a conventional authorized biography but something closer to a testimonial novel: the conversation format makes it agile, intimate and at times disconcerting. The topic-by-subject tour of the ricotero catalog is one of its great gifts.
There is a childhood scene that condenses a lot of what was to come. At the door of his house in La Plata, playing hide-and-seek, little Carlos ran into the street and a taxi hit him on the wrong side. Exposed tibia and fibula fracture, two operations, a platinum screw. “There I started reading and drawing”remember. He also did not finish high school: he was kicked out of Fine Arts after urinating against a table in the classroom because a teacher did not give him permission to go to the bathroom. “Purely angry”he explains, with that mixture of provocation and overwhelming logic that defines him.
The book also recovers the years of militancy in the Silo space, the predecessor of the Humanist Party, and the repressive escalation prior to the coup of ’76. One afternoon, Solari and a friend spent hours talking with three young people, eating biscuits. Days later, they were all killed. “If we had been unlucky enough to be there at that time, they would have killed us too”describes. The weight of that phrase resonates differently today.
El Indio also reveals for the first time his altar of influences: The Beatles as a starting point, Hendrix, Tom Verlaine, Piazzolla. In cinema, Tarkovsky and Bergman. In visual arts, Klimt, Dalí and Brueghel. A universe that had never been publicly ordered with that precision.
Regarding “Todo un palo” he reveals that the controversy with Charly García responded to a clash of worlds: “I felt that I had to take sides with those who had nothing, not even direction”. And about Olavarría, the last show, he admits that he had already decided to retire before going on stage. The reason: a disabling illness that forced him to use bursts of dopamine to function. “Which conspires to keep me from getting on stage”he said. It also expanded on the details of the conflict that dynamited Los Redondos, exploring all the hypotheses of a rupture that the ricotero world never finished processing. The book, in short, is the testament that his fans expected and that today takes on another weight.
Image gallery
