sábado, 14 de julio de 2012



Esta es una recopilación que se presenta en el formato SHM-CD ofrece una calidad de audio mejorada mediante el uso de un plástico especial de policarbonato. Mediante un proceso desarrollado por JVC y Universal Music Japan descubierto a través de la investigación de estas empresas conjuntamente. El SHM-CD cuenta con una mayor transparencia en el lado de datos del disco, lo que permite una lectura más precisa de los datos del CD por la cabeza del láser lector de CD. Los SHM-CD en formato CD son totalmente compatibles con reproductores de CD estándar.

CD 1
2. Your Wonderful Parade
4Get Together
5All Of My Life
6Turn Away
7Ticket To Ride
8Don't Be Afraid
9What's The Use
10All I Can Do
12Nowadays Clancy Can't Even Sing

CD 2
1. We've Only Just Begun
2. Love Is Surrender
3. Maybe It's You
4. Reason To Believe 
5. Help 
6. (They Long To Be) Close To You 
7. Baby It`s You 
8. I`ll Never Fall In Love Again 
9. Crescent Noon 
10. Mr. Guder 
11. I Kept On Loving You 
12. Another Song 

CD 3 
1. Rainy Days And Mondays 
2. Saturday 
3. Let Me Be The One 
4. (A Place To)hideaway 
5. For All We Know 
7. Druscilla Penny 
6. Superstar 
8. One Love 
9. Bacharach & David Medley 
10. Sometimes

CD 4 
1. A Song For You 
2. Top Of The World 
3. Hurting Each Other 
4. It`s Going To Take Some Time 
5. Goodbye To Love 
6. Intermission 
7. Bless The Beast And Children 
8. Flat Baroque 
12. Road Ode 
13. A Song For You (Reprise) 
9. Piano Picker 
10. I Won`t Last A Day Without You 
11. Crystal Lullaby 

CD 5
1. Sing
This Masquerade
Jambalaya (On The Bayou)
I Can`t Make Music
Yesterday Once More
Fun, Fun, Fun
The End Of The World
Da Doo Ron Ron
Deadman`s Curve
Johnny Angel
The Night Has A Thousand Eyes
Our Day Will Come
One Fine Day
. Yesterday Once More (Reprise)

CD 6
1. Aurora
Only Yesterday
Please Mr. Postman
I Can Dream Can`t I
(I`m Caught Between) Goodbye And I Love You
Love Me For What I Am

CD 7 
1. There`s A Kind Of Hush 
2. You 
3. Sandy 
4. Goofus 
5. Can`t Smile Without You 
6. I Need To Be In Love 
7. One More Time 
8. Boat To Sail 
9. I Have You 
10. Breaking Up Is Hard To Do 

CD 8 
1. B`wana She No Home 
2. All You Get From Love Is A Love Song 
3. I Just Fall In Love Again 
4. On The Balcony Of Casa Rosada 
5. Sweet Sweet Smile 
6. Two Sides 
7. Man Smart, Woman Smarter 
8. Calling Occupants Of Interplanetary Craft 

CD 9 
1. Those Good Old Dreams 
2. Strength Of A Woman 
3. (Want You)back In My Life Again 
4. When You`ve Got What It Takes 
5. Somebody`s Been Lyin` 
6. I Believe You 
7. Touch Me When We`re Dancing 
8. When It`s Gone (It`s Just Gone) 
9. Beechwood 4-5789 
10. Because We`re In Love (The Wedding Song) 

CD 10
1. Now 
2. Sailing On The Tide 
3. You`re Enough 
4. Make Believe It`s Your First Time 
5. Two Lives 
6. At The End Of A Song 
7. Ordinary Fool 
8. Prime Time Love 
9. Your Baby Doesn`t Love You Anymore 
10. Look To Your Dreams 

CD 11 
1. Lovelines 
2. Where Do I Go From Here? 
3. The Uninvited Guest 
4. If We Try 
5. When I Fall In Love 
6. Kiss Me (The Way you did last night). 
7. Remember When Lovin` Took All Night 
8. You`re The One 
9. Honolulu City Lights 
10. Slow Dance 
11. If I Had You 
12. Little Girl Blue 

CD 12
1. O Come O Come Emmanuel 
2. Overture 
3. The Christmas Waltz 
4. Sleigh Ride 
5. It`s Christmas Time 
6. Have Yourself A Merry Little Christmas 
7. Santa Claus Is Coming To Town 
8. The Christmas Song (Chestnuts Roasting On An Open Fire) 
9. Silent Night 
10. Jingle Bells 
11. The First Snow Fall 
12. Carol Of The Bells 
13. Merry Christmas Darling 
14. I`ll Be Home For Christmas 
15. Christ Is Born 
16. Winter Wonderland 
17. Ave Maria 

CD 13
1. It Came Upon A Midnight Clear 
2. Overture 
3. An Old Fashioned Christmas 
4. O Holy Night 
5. (There`s No Place Like) Home For The Holidays 
6. Medley 
7. Little Altar Boy 
8. Do You Hear What I Hear 
9. My Favorite Things 
10. He Came Here For Me 
11. Santa Claus Is Com'n` To Town 
12. What Are You Doing New Year's Eve ? 
13. Selections From `the Nutcracker` 
14. I Heard The Bells On Christmas Day 

CD 14
1. Without A Song 
2. Medley 
3. Nowhere Man 
4. I Got Rhythm 
5. Dancing In The Street 
6. Dizzy Fingers 
7. You`re Just In Love 
8. Karen / Ella Medley 
9. Medley 
10. Leave Yesterday Behind 
11. Carpenters / Como Medley 
12. California Dreamin` 
13. The Rainbow Connection 
14. Medley 

CD 15
1. All I Can Do 
2. Your Wonderful Parade - Demo Version 
3. Don`t Be Afraid 
4. All Of My Life 
5. Eve 
6. Let Me Be The One 
7. Intermission 
8. Flat Baroque - Instrumental 
9. Santa Claus Is Comin` To Town 
10. Please Mr. Postman 
11. Morinaga Hi-crown Chocolate Commercial 
12. Solitaire 
13. Tryin To Get The Feeling Again 
14. Good Friends Are For Keeps 
15. TBC 
16. TBC

Con todo mi amor: Ignacio.


40/40 incluye todos los éxitos de The Carpenters desde la versión de Ticket to Ride de los Beatles en 1969, hasta la canción de 1981 Those Good Old Dreams. Junto con las versiones de clásicos como el clásico de Leon Russell This Masquerade, o Jambalaya (On the Bayou) de Hank Williams, y el clásico de Tim Hardin Reason To Believe. Además incluye dos temas originalmente publicados en 1983, inmediatamente después de la muerte de Karen, Now y Your Baby Doesn't Love You Anymore.

Su importancia dentro de la discografía del dúo es fundamental, ya que es un disco recopilatorio muy completo, y es ideal para los que quieran tener una primera toma de contacto con la música de nuestros protagonistas.

Aquí veremos un vídeo promocional del álbum, y a continuación una entrevista a Richard Carpenter en 2009 sobre su lanzamiento comercial.

Con mucho cariño: Ignacio.

martes, 10 de julio de 2012


*Talks on "Larry King Live" February 9, 1987.

40th Anniversary of Carpenters, (2009).


On April 23rd, 2009, literally 24 hours after its release, Carpenters (no "the") had their highest charting record of their careers in Japan. In that territory, 40/40 The Best Selection was released the day before to coincide with the 40th anniversary of Carpenters' signing with Herb Alpert's and Jerry Moss' independent label, A&M Records. The string of this brother and sister act's now classic hits--including "(They Long To Be) Close To You," "We've Only Just Begun," "For All We Know," "Rainy Days And Mondays," "Superstar," "Hurting Each Other," "It's Going To Take Some Time," "Goodbye To Love," "Sing," "Yesterday Once More," "Top Of The World," "I Won't Last A Day Without You," "Only Yesterday," and "Solitaire"--set a new standard of elegance and sophistication for a new "Adult Contemporary" sound (also branded by the oxymoron "soft rock"), and it was integral for A&M's early seventies financial success and eventual conquering of the pop and rock markets. Albums such as Close To You, Carpenters, A Song For You, Now And Then, and The Singles 1969-1973 were as essential to record collections as LPs by The Beatles, Jefferson Airplane, Carole King, and Simon & Garfunkel. The duo's music effortlessly bridged the gap between generations by offering progressive vocal and orchestral arrangements, undeniably good songs (from composers such as Leon Russell, Paul Williams, Burt Bacharach, and Tim Hardin), and enough unique production elements to engage listeners of all ages.

Creating these charts was music aficionado, Richard Carpenter, whose talents behind the piano and at the conductor's stand and producer's seat steered the pair's "sound" aesthetically. And, of course, there were Karen Carpenter's beautiful vocals, as intimate as a microphone could handle. Before and after her passing in 1983, she has been praised endlessly for her natural gifts (both singing and drumming), and acknowledged for her influence and inspiration by scores of contemporaries and later-generation aspirants. Among many others, Madonna and k.d. lang are especially big fans. In 1994, the tribute album If I Were A Carpenter featured acts such as Sonic Youth, Sheryl Crow, Shonen Knife, The Cranberries, Matthew Sweet, Cracker, Red Kross, and Dishwalla, and this roster's creative contributions proved the case that Carpenters' influence spread well beyond merely Pop and AC charts--or even their own era--making them one of the most influential acts in music.

Mike Ragogna: Do you remember exactly what happened on April 22nd, 1969?

Richard Carpenter: A fellow who had been representing us as a manager in his off hours, Eddie Sulzer, worked his tail off pushing our demos. Through him, and quite a convoluted trail, the tape went from one person to another to another...then, finally, to Herb Alpert. After a few months had passed, when we heard it was a "go," we were handed a contract with the instructions, "Please take this to a lawyer," and it was your basic, standard record contract. We did, and finally had our appointment. We drove over in Eddie's car--his '61 Ford--and met in Jerry's office. They called the graphics department, Jim McCrary came over with his camera, and we took the picture. Then Eddie said something like, "You think we could meet Herb?" So Jerry arranged it, and Herbie came out and said, "Hi. Let's hope we have some hits."

MR: Did you literally begin recording your first album, Offering, the next week?

RC: Yeah, and in hindsight, we never would have done that. But we were so green and so anxious. There were so many things about that first album that I would have changed. But we turned it in, and the album and single "Ticket To Ride" came out in the Fall. It's creative, there's a lot of great vocal work, and one of the best things about it is it's so much a product of its time. It's so very sixties--experimental pop music.

MR: So "Ticket To Ride" is the single, and it stalls at a certain point...

RC: Over a six-month period, it always had just enough action in the field that it kept being worked. And it "Bubbled!" I remember we saw that in Billboard and went nuts. And then it debuted, and it went up, went down, and went back up again, ultimately, reaching #54. "Close To You" was in the can and wasn't going to be released until "Ticket..." finally gave up the ghost. As A&M wasn't enjoying much chart success with singles at the time, #54 wasn't too shabby.

MR: What followed Offering's release?

RC: The album cost quite a bit, even though it was efficiently done--all the time with the vocals and strings and this and that--it cost about $50,000, which was pretty hefty for a debut act. I know most of the people at A&M really didn't want to know from us because we were so square, and I heard, years later, that Herb was advised, "Cut your losses on this, it's not going to happen." Actually, even when we were raking in the dough, some really didn't want us on that label. So Herb, in so many words, said he thought we deserved a second chance. But there was interest from agents as well, the William Morris people, and CMA. There were people coming to the soundstage where we set-up and rehearsed.

MR: So, word was out that you and Karen were an act to check out. Who else discovered you early on?

RC: Burt Bacharach heard "Ticket To Ride" because it was being played on KMPC. Burt randomly mentioned that he heard this nifty cover of "Ticket..." and Jerry (Moss) said, "That's our act!" That led to Burt asking us to do a Bacharach medley that I would fashion to open the show for an appearance he was doing for the old Reiss-Davis Clinic at The Century Plaza in February of '70. While I was working on it, Herbie comes along with a lead sheet of this song, "They Long To Be Close To You." I thought I knew at least a few of the lesser known Bacharach/David songs, but I didn't know this. He said, "I have a recording of it that I'll let you have, but not now, I don't want anything influencing your arrangement." It turned out to be on Dionne Warwick's third album. He mentioned two piano quintuplets at the end of the first bridge and said, "I would like you to keep that, but do anything else you want." So, I took it and sat it on the top of my Wurlitzer 140B electric piano and came up with the opening, the modulation, the idea of the trumpets, the tag, and the slow shuffle as opposed to the straight eight on the original.

MR: You guys did a lot of work on the soundstage.

RC: We lived on that soundstage.

MR: After "Ticket To Ride" ran its course, "Close To You" was released and is one of the best pop standards ever. At the time, how did you feel about its release?

RC: In the hallway outside the studio, I remember saying to Herbie, "This is really coming together, we may have another 'Ticket To Ride,'" and he said, "Let's hope not." [Laughs] But it was done by this time. Now, in those days, some people would just walk right into the studio, especially (A&M's) Studio C. People heard "Close To You" as it was nearing completion, and they just pushed the door open and came in, saying, "What is this? I've never heard anything like this." We got a lot of that. So, Herbie asked, "How do you think it's going to do?" To me, there was no middle ground with it. I said, "This thing's either going to number one or it's going to be one of the biggest misfires ever!"
Right around the time we finished recording "Close To You," I heard "We've Only Just Begun," and created the arrangement. We were now putting together the album, and I was having serious thoughts about holding up "Close To You" and putting out "We've Only Just Begun." "Close To You" was just so different and understated for Top Forty radio that I worried. That track...we had to revert to a "click" because it was just so deliberate. (Bassist) Joe Osborn and Karen were like metronomes, (drummer) Hal Blaine and I tended to rush a little. But I remember Hal Blaine saying, "That's the one," about "We've Only Just Begun." It turns out both of them were the ones.

MR: And now you were recording the second album.

RC: Well, as far as doing another album, Herbie said we could just do a couple tracks here, have a listen, a couple tracks there... Well, the first ones were "Love Is Surrender" and "Mr. Guder" in Studio C. We were in a hurry, why, I don't know, we didn't have a tight schedule yet. In the midst of all of that, "Close To You" came out, and it pretty much "happened" overnight. Then we get the call from Jerry (Moss). "Album! Need an album!!" From that moment on, the schedule was never relaxed.

MR: What about some of the other tracks on Close To You?

RC: For years, I liked "Reason To Believe," and we did some version of it previously at Joe Osborn's studio. "Maybe It's You" is something Bettis and I had written in '68...that's one of my favorite ones; "Crescent Noon" is something else we wrote back in '68, and "I Kept On Loving You" was shopped by Roger (Nichols) and Paul (Williams). "Another Song"--very sixties--we came up with that piece of nonsense in '67. It was SO sixties with the wah-wah, the mystical stuff, and the recitative lifted from Handel. Though they differed in approach and sound from Offering, there was a little bit from that period of time in "Another Song," "Crescent Noon," and all. "Baby, It's You," I love--the arrangement, Karen's vocals, (Bob) Messenger's sax solo, Osborn's bass playing, "cheatin'"'s perfect fifths--everything about it, even the intentionally hokey major seventh ending.

MR: What are some of your favorite Carpenters recordings?

RC: I think "Close To You" is one of the best pop records ever made. I like "Superstar" a great deal, but not the way it's produced. Because we'd "hit" by then, we didn't have the time to lavish on each track, the way we did with "Close To You," since we were "famous" by that time. I always liked "For All We Know," "Reason To Believe," and "Crystal Lullaby" a great deal; I love "This Masquerade." And I think "Merry Christmas, Darling" is a terrific record, as well as "Ticket To Ride."

MR: When I was a kid, there was this commercial, I don't remember the product, but there was a beautiful song in the background. I remember being shocked to hear it on Now And Then, as "Heather"!

RC: [Laughs] It was used as underscore, if you will, to a Geritol commercial! Obviously, it was a soft sell because you heard that in the background. So, we tracked it down, it was written by Johnny Pearson, a popular band leader and composer in England, and it was originally called, "Autumn Reverie." We asked him if we could change the title. He was delighted we were doing it, and John (Bettis) came up with the title "Heather."

MR: Any career choices other than recording "There's A Kind Of Hush" that you might have changed?

RC: I said if I had it to do over again--of course, we all can say that--there are so many things I'd have done differently. First off, there was all that touring...I needed to spend more time on the music. I always said we were a recording act first and foremost. So you did certain things that you think will be a hit, but wished you'd never done, like "Please Mr. Postman." It's really an extremely well-performed and produced pop record. But we shouldn't have been doing any of those things (oldies) by that time. With side two of Now And Then, that should have been it. And beyond that, the very few times that I chose to use a synthesizer, I have regretted it. Every last time.

MR: Would Karen have had any do-overs?

RC: Karen never cared for "Solitaire"...and I'm not that crazy about it either! What I liked about it, more than anything, is that it shows off her voice so darned well. But, no, she never cared for that song.

MR: With that much success in the early days of A&M, your records funded much of the label's later projects that went on to become hugely successful. Were you conscious of that at the time?

RC: Yes.

MR: Did you feel the pressure of always having to deliver hits?

RC: Yeah, but it doesn't matter if you have a hundred hits...you want 101!

MR: What do you feel was your contribution to music through your records?

RC: Along with the gift of Karen's voice, musical and impeccably made examples of American pop.

MR: And Karen's vocals, especially on tracks like "Superstar," were unusually intimate for the era.

RC: So many people have said to us, "We can understand every word to your songs," which, with all the pop and rock records at the time, was difficult to do. When we were mixing, I remember saying, at least once, "Just a little more lead." The engineer looked at me and said, "More lead?" I made it a point to really feature Karen's voice. She was born to be recorded.

MR: Now in 2009, forty years later, Carpenters still are having big international hits. That's huge, I don't think any group, even Abba, can claim that. What's the story on this latest collection for Japan?

RC: It debuted at #3 on their domestic chart, it's the highest debut of our career in Japan. 40/40 is a new compilation for their SHM (Super High Material) CD format. It's got forty tracks celebrating forty years with A&M Records. After all these years, the music Karen and I made is doing really well!

MR: There are many countries around the world, especially England and Germany, that still go nuts over Carpenters collections. Carpenters Gold is a modern classic in many European countries, and the U.S. version sold incredibly well. What in the creative process of this compilation differentiates it from the others?

RC: The project's concept was put out to the fans, the Japanese people, and they would vote on their favorite tracks. Obviously, it had to have core titles included.

MR: I imagine you had to help decide what made the final cut.

RC: Sure, because it had the subtitle, The Best Selection. Of course, if I had it to do over again, I'm like most artists who wouldn't have done over 50% of what they did. I really believe that. So, there are certain recordings like "There's A Kind Of Hush" that are very well made, but pop fluff. Love the song, but we never should have made it.

MR: Beyond the quality of the music and the love your fans still feel towards you and Karen being at the heart of its success, how did Universal Japan market the package?

RC: As far as promotion, they absolutely wanted me over there by April 22nd, the date we signed with A&M. So I flew over and did some really big TV specials. Some of the biggest ones hadn't even aired by the time the album came out. I visited record stores and met the fans. It was really marvelous, and the next day, it was #3.

MR: With the music industry in the shape it's in, I imagine Universal Japan wants to strike while the iron is hot. What are they putting out next?

RC: On May 27th, they're going to release a box set with the core catalog, the studio albums, all on SHM CD with a much more deluxe approach. This thing's as big as a breadbox, and each album has its own hard cover book.

MR: I imagine each book is fleshed-out with lots of photos. What was the discovery process like?

RC: Between going through not only my photos, but those from the A&M archives, exhaustive. I did find a few I hadn't seen before, and had copies made; dated for posterity or...just in case...the 50th!.

*And here's another interview with Richard. On November 25, 2009.

Con cariño: Ignacio. 

sábado, 7 de julio de 2012


Este es un documental narrado que explora la historia de The Carpenters, sus inicios, sus grabaciones, y su legado musical.

Con todo mi amor: Ignacio.

viernes, 6 de julio de 2012


Entrevista de Radio al Teclista de The Carpenters, en la cual promociona el álbum Lovelines.

Con todo mi amor: Ignacio.



Una explicación sobre la valiente lucha de Karen Carpenter a lo largo de los años contra la anorexia nerviosa

Por Richard Carpenter.

Hace nueve meses la cantante Karen Carpenter fue víctima de una insuficiencia cardíaca después de una lucha de ocho años con la anorexia nerviosa. Ella parecía estar a un paso de la recuperación cuando murió a la edad de 32 años. Después de pasar casi todo 1982 sometiéndose a tratamiento para el trastorno de la alimentación que sufría, Carpenter había logrado aumentar su peso de unas frágiles 80 libras a unas casi normales 110.

A pesar de que había sido testigo de su larga lucha, Richard, su mentor y hermano único, fue sorprendido por la muerte repentina de Karen. Poco antes, los dos cantantes habían estado trabajando en “La Voz Del Corazón”, su álbum número 12.

Decidido a no dejar que su proyecto final quedase en el limbo, Richard regresó al estudio de grabación en marzo pasado. La tarea de meses de duración de agregar a su voz las canciones completadas, resultó conmovedora: "La grabación es tan sofisticada en estos días que sonaba como si estuviera allí mismo", dice Richard. En octubre, mientras la voz del corazón estaba ya publicado (y él partió en un viaje promocional a Japón y Australia), Richard Carpenter, de 37 años, se sentó con la corresponsal Suzanne Adelson en la sala soleada de su casa de Downey, California, y habló por primera vez acerca de los últimos años de Karen, sus problemas, y de su propio esfuerzo para hacer frente a su muerte.

No hay preparación para ese tipo de pérdida. Hubiera sido suficiente un shock si hubiera estado enferma en fase terminal, pero yo había hablado con Karen el día antes de morir, y ella parecía absolutamente bien, me llamó desde Century City para preguntarme acerca de una grabadora de video nueva que quería comprar.

Yo estaba todavía durmiendo cuando recibí la llamada telefónica de mamá a la mañana siguiente. Karen sufrió un colapso en la habitación que sus padres, Agnes y Harold tenían para ella en su casa. Desde que ella necesitaba un nuevo vestuario después de ganar peso, Karen había planeado un viaje de compras con su madre y había dormido toda la noche. Mi Madre estaba tan histérica que apenas podía entender lo que decía. Tan pronto como pude comprender lo que sucedió, me levanté de la cama y me dirigí a casa de mis padres, lejos a unos pocos kilómetros. Llegué en el momento en que Karen estaba siendo sacada de la casa en una camilla. 

Mamá, papá y yo nos sentamos en la sala de espera [en el Downey Community Hospital] después de que Karen fuera considerada un caso de emergencia. Después de unos 45 minutos nos dijeron que se había ido. Mi reacción inmediata fue de enojo, ira por la pérdida de su vida y la pérdida de su talento.

El golpe fue tremendo, yo sabía que ella estaba enferma, pero no que su gravedad fuese extrema. Pero cuanto más miro hacia atrás en su vida, más puedo ver las indicaciones de que esto era así. 

Karen había sido un poco regordeta en la adolescencia-amaba los tacos y el chile-. Pero nunca se burlaban de ella, para nosotros, ella no estaba gorda. Cuando tenía 17 años, siguió la dieta Stillman con la orientación de un médico, y ella perdió entre 20 y 25 libras. Ella estaba en su mejor peso entre 115 y 120 hasta 1975, cuando la enfermedad por primera vez se convirtió en algo serio. 

Ese año tuvimos que cancelar una gira por Europa y Japón debido a que su peso caía en picado. Ella se cansaba fácilmente, estaba agotada. Habíamos pasado de grabar Horizon a la carretera durante la gira de verano, y luego a Las Vegas, donde hicimos dos shows por noche, a finalmente entrar en el hospital durante cinco días de reposo en cama, y luego pasó casi dos meses en la cama con nuestros padres. 

Fue justo en ese momento que oímos hablar de la anorexia. No recuerdo cómo nos enteramos de ello, principalmente todos la animábamos a comer más. Mamá cocina buenas comidas saludables. Pero Karen no estaba por darse atracones de comida, se limitaba a picotear de lo que tenía en el plato.

La gente siempre está tratando de encontrar un vínculo entre la enfermedad de Karen y una sola angustia, pero no lo asocian con cualquier cosa. Definitivamente no estaba relacionado con un romance trágico, como han dado a entender. [Antes de su breve matrimonio con Tom Burris] tenía un romance con Terry Ellis [un ejecutivo de Chrysalis Records], que no funcionó, pero siguieron siendo amigos. 

Cuando apareció la anorexia, las cosas iban bien en nuestras carreras y era aparentemente feliz. Sin embargo, ella no comía lo suficiente para el ritmo de vida que llevábamos, se obsesionó con las ensaladas, el pan tostado, tal vez para el desayuno. Desde principios de 1975 yo había intentado todos los métodos que conocía para hacerla comer. Yo la regañaba y ella me decía que estaba molesto por nada. Hubo momentos en que perdí mi temperamento, pero siempre fue por amor. 

Karen siempre estaba preocupada por el aspecto que tenía, así que trató de apelar a eso. Le dije que estaba demasiado delgada y que la gente se daba cuenta. Y que ella no sería capaz de continuar con nuestro programa, si no se alimentaba más y mejor. Aunque su voz nunca se vio afectada, se podían oír gritos de asombro de la audiencia cuando subia al escenario, y recibimos muchas cartas y comentarios de fans preguntando qué le pasaba. Eventualmente, sin embargo, mis padres y yo nos dimos cuenta de que no había nada que pudiéramos hacer. Nunca supimos cómo ayudarla. 

A fines de 1981 llegó el momento en que ella vino a mí y dijo: "Richard, me doy cuenta de que estoy enferma y necesito ayuda." Fue entonces cuando ella decidió ir a Nueva York... alguien-no recuerdo quién- había recomendado ese tratamiento para ella, y parecía que era la única manera. Nunca había estado en terapia antes, ni sentía la necesidad. Ninguno de nosotros eramos grandes creyentes en la misma.

Ella hizo el viaje a Nueva York, que fue toda una ruptura, dejando todo atrás y vivió sola durante meses en el Hotel Regency, mientras estaba en terapia. Llamaba a casa con frecuencia y hablaba desde la nostalgia, pero ella estaba decidida a aguantar.

Tengo que ser honesto, estoy amargado por el trato que recibió.

Mientras que el terapeuta está trabajando con una anoréxica, esto lleva meses, si no años, para superar la enfermedad. Y durante la terapia, la persona está literalmente matándose de hambre a sí misma. Esto hace mucho daño al cuerpo.

Karen había estado en terapia durante nueve meses más o menos, y el terapeuta no conseguía nada. Ella no ganaba nada de peso, en todo caso, estaba perdiendo. Yo estaba muy molesto por eso. Finalmente Karen ingreso en el Hospital Lenox Hill [con un nombre falso] para que la alimentaran, forzada a ganar algo de peso.

Todos fuimos a verla al hospital. Ella había bajado 80 libras, y llegó a alrededor de 110 cuando regresó a casa a Los Ángeles para Acción de Gracias de 1982, cuando comimos el pavo y todas las guarniciones. Ella se había mejorado, pero había indicios de que no estaba al cien por cien recuperada. Todo se dio la vuelta, ella estaba escarbando de nuevo en la comida, y tenía ciertos rituales en la comida. En un restaurante, había ciertas cosas-como los huevos y las patatas-que ella dejó sin tocar.

Por haber estado en un hospital durante siete semanas, y luego volver a casa se lo tuvo que haber tomado con calma, pero no fue así para Karen. Después de ser dada de alta del hospital, ella estaba dando vueltas alrededor, yendo de compras. Parecía decidida a caminar lo más que pudo. [Sus informes del terapeuta revelan que compró al menos 30 pares de zapatos para hacer jogging en Nueva York]. Obviamente eso no era bueno para ella.

Nunca hubo un punto en el que ella actuara como si estuviera enferma, se mostró enérgica hasta el final, y comió bien en sus últimas semanas. Para el 25 aniversario de los Grammy [el mes antes de su muerte] se presentó en la CBS Television City para las fotos con sus compañeros. Después me llevó a St. Germain [un elegante restaurante de Los Angeles] para la cena. Ella tomó un aperitivo, pan francés, vino, plato principal y todo lo que vino con él. Yo sabía que ella había vuelto a comer Tacos, y que estaba comiendo Chile de nuevo, uno de sus favoritos.

Sé que nunca lo sabremos todo acerca de la enfermedad de Karen, pero creo que todos esos años de hambre se hicieron sentir-que ganó peso demasiado rápido en esas semanas en el hospital, y puso una tensión indebida en su corazón-. Me han dicho los médicos que meterte tal cantidad de calorías en un breve periodo de tiempo provoca eso.

Hice un montón de examen de conciencia después de su muerte, y ahora me doy cuenta de que hice todo lo que pude haber hecho. Todos los que la amaban lo hicieron. Pero todavía no puedo creer que ella se haya ido. Pasamos tanto tiempo juntos.... Hay un vacío allí. La extraño más y más cada día.

Hay un aislamiento natural al principio, un obstáculo que se presenta por un tiempo, pero nunca llegas a superar una pérdida así. Simplemente tienes que tratar de vivir con ello. Y yo lo estoy haciendo lo mejor que puedo. 

Con mucho cariño: Ignacio.