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Charly García’s Iconic Album “Modern Clicks” Inspires a Corner in New York City

Charly García (71) will have its own corner in New Yorkcity where the artist took the photo that illustrates the cover of his iconic album Modern Clicks (1983).

The initiative was promoted by Mariano Cabrera -an Argentine who lives in the United States- who, through the Instagram account “Charly García Corner”submitted a project for the corner of Walker Street & Cortlandt Alley to be renamed after the famous artist.

“2023 marks the 40th anniversary of the release of the album Modern Clicks. In commemoration of the same, we announce the completion of the project in New York City“, they assured from the networks.

The official act will be held on November 6 in the morning. The chosen day has to do with the original release of the album, which took place on November 5, 1983. That is to say, when it is inaugurated, Modern Clicks it will have its four decades just completed.

The story behind Modern Clicks

Modern Clicks was released on November 5, 1983, days before the return of democracy in the Argentine Republic. Therefore, it is a disc that has a particularity: It was thought of in the dictatorship and portrays situations experienced during the so-called “National Reorganization Process”, such as forced disappearances.

Cover of Modern Clicks, released November 5, 1983

Although it was not planned, the album arose in the middle of a trip that the musician was performing in New York. To carry out, Charly García He called Pedro Aznar, who had been his partner at Serú Giran and was residing in the United States.

On this occasion, the Argentine artist recorded at Electry Lady Studios, one of the most important studios in New York where, for example, the mythical Jimi Hendrix.

Modern Clicks has nine themes: They keep hitting us down, I’m not a stranger, two zero one, new rags, Bancate that defect, They do not let me out, The dinosaurs, silver on silver y videotape eyes. Through this work, Charly García immortalized a record in eternity.

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