"... had all the elements of great artist. Takis. He was insecure, always in conflict with the insecurities, the inadequacies within himself. He knew, what we call subtraction, that in order to write you should erase. He knew the game too well, he erased, put aside unnecessary things and I think this was his great charisma...."
This was said by George Michalakopoulos for the great Dimitris Horn. I stand on the essence of erase. That's harder in the art and smarter. The more complex and more simple together. Beyond the myths and the game itself in the music industry with their idols-revenues, behind all this, there are people.
If you elementary approach seriously Elvis for example, you can only stand before the absolutely decisive event of the death of his mother, a loss that he actually never managed to overcome, or put through whether you want a more realistic, mature level. In anything that would hurt less to say it in simple words. Thus, there is the before and after time for Elvis, the eternal King of Rock & Roll.
Let us not forget that entering the studio Sun Records of demonic Sam Phillips, for the first time what he wanted most was to record a song for her, his mother, as a gift to her. It was this intention, this chance if you like, was just the first step towards the horizon of destiny. And if there is indeed a fate somewhere, it is none other than the 'mandate' of our internal rate of occult our personal harmony, that is eventually what is called a fatal way, once that starts to form in front of us a unique new reality. From the first step in the studio Sun, to his first step on the side of his wife, to his last step on stage, the form of his mother, a thousand and one ways, were in fact always there. Like a deep need for acceptance and reward, something that was left half, maybe even a cloud between him and his relationship with every woman who passed with an effective way by his life.
The unique Residents have also described this all, I think, in a very accurate way, in their masterpiece album 'The King and I'. I said before, I hold the subtraction... Wherever you look, however hard we try, we will reach the same conclusion. When you talk about Elvis, when you talk about Johnny Cash (who's "new" album is also the occasion to write these lines) you are talking about subtraction.
And the subtraction is beyond talent, beyond this instinctive ability to throw away all that hide the view, the essence, the revelation of an ideal reflection of the infinite view that is the very soul. It requires something more ... A great personal need, which ultimately comes through a corresponding catalytic loss... This is what gives birth to the 'razor' and removes everything useless and unnecessary in an almost automatic exercise of self-preservation. After all it seems that the more profound is the trauma, the greater the desire for clear skies and deep breaths ...Johnny Cash, in a way, lived together forever with his brother ...' Ain't no grave ... anyway. '
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