2023-08-28 20:44:00
Billy Bond He was one of the great protagonists in the history of National rock. Musician, producer and trigger of the damn phrase “Break everything” in Luna Park that cost the movement a label of violent and dangerous that it took him years to get out, he got into telling his version of a thousand issues that he lived in more than five decades.
Through the pages of your book Break everythingwhich might not be called otherwise, pass Sandrolas drugsthe police repressionthe Cueva, Tanguito, Charly García, Serú Girán and many others. We chose a fragment where the “Bondo” denies five founding myths of national rock
Break Everything: between discomfort and omissions
Sandro bought La Cueva and sang rock and roll
Sandro He came to La Cueva through Carlos Carnaza, who knew him from Valentín Alsina. They were friends from the neighborhood. He might only come on Saturdays at four in the morning, when the dance circuit ended, and at one time or another he must have sung a bolero on the piano when almost no one was left. The people at CBS came up with the idea of creating a scene in Radiolandia with the news that The cave belonged to Sandro and it seemed to me that he might bring us many people. They published that “El Gitano bought La Cueva”. All lie, very of the time, good promotion. But Sandro never paid the gas bill nor did he have the keys to La Cueva. He Neither he sang rock and roll because we didn’t have microphones!
Tanguito was the King of La Cueva
A Tanguito I had met him with Los Duques and called him “Mi Pancha” because of a song they had. I never found out who gave it that name. When we opened La Cueva, he called himself “Ramesses VII”. He began to frequent the place but, since he was a minor, we mightn’t let him in. We had him at the door and at some point he would get in. Nor is it true that he sang in La Cueva, as no one else did. Instrumental things were played and somewhere around there someone sang something a cappella, but they weren’t recitals. The issue is that the presence of Tanguito began to cause us problems, because he had already begun to take a lot of drugs. He did not sleep or bathe. I took amphetamines to stay awake and pervitin or cough syrup to keep me down. He wanted to have the wave of a beatle but, since he had curly hair, he looked like Roberto Carlos. Tanguito was only able to enter La Cueva at the beginning because later, every time the gray hair fell, they took him away because he had no documents and he was very scared. It is true that he had talent and I am not interested in destroying his musical image, but his physical and personal image was lamentable.
The law of design
The first psychedelic drugs appeared in La Cueva
That is not true either. Actually, the first drug seen in La Cueva —beyond amphetamines— she was brought by some Yankee sailors who used heroin. We had no idea what they were doing. Nobody was itching then and Marijuana was not even circulating. The first time I saw a joint smoked in Buenos Aires was at Marta Minujin in a restaurant on Corrientes street, in front of the Broadway theater. I was related to some people from Di Tella, especially with the dancer Chela Barbosa, who I don’t remember if I had an affair or not, but I do collaborate with the music for one of her shows. And Marta, who came from the United States, brought out a joint in the middle of the table and the smell was tremendous. Nobody knew what it was and nothing happened.
Police repression caused the closure of La Cueva
At that time, things were not as serious as they make them out to be and no one might have imagined what was to come next. It is true that the police religiously descended on La Cueva every day: before opening at eleven and around two or three in the morning. They made us turn on the lights and check everyone. They would take two or three and the next morning they would let them go. they were not hit, they didn’t even cut their hair as they always say. They were all kids fresh out of the Academy who had to comply with the procedures. We already knew each other. They would come and tell me: “Billy, in today’s party we are going to take these two.” But nothing violent. The greatest violence was from ordinary people on the street. A taxi driver lowered the window and yelled at you: “Puto”. But it wasn’t the police, it was the whole country like that.
Los Gatos were the resident band of La Cueva
Other verse. The cats They appear very close to the end of La Cueva because Las Sombras, which was Carlos Carnaza’s group, began to dismember and some of them ended up going to Brazil. Then, there was a time when Litto Nebbia played the bass, and Ciro and Kay, the guitarist, also played with Sandro’s drummer, whose name was Fernando Bermúdez Lores. But they didn’t play their songs and their success came a few months following La Cueva closed, when they recorded “La balsa”. Although it was not composed in La Cueva but in La Perla del Once, I think that Tanguito might not do it alone, because he might barely play two chords on the guitar. The whole bridge has a complexity that he didn’t handle and Litto did. My theory is that Tanguito started it and Litto finished giving it shape.. What Javier says later on the record, that which was going to be from Manioc, should not be taken as a truth, but as something that prompts him to sing it. She pushes him.
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