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Life of Gustavo Cerati, recreated by his feelings




The document contains unpublished archival materials, such as this picture of the artist in childhood and anecdotes narrated by his family, friends and former Soda Stereo Zeta Bosio and Charly Alberti Credit: NatGeo

Yesterday evening the premiere of Nat Geo took place
BIOS: Life that meant yours, dedicated

Gustavo Cerati

In two subsequent, one-hour episodes, a documentary produced by Sebastian Ortega and led by the Chilean Javier Mena allowed to recreate the leader's life

Stereo Soda

And he did it through the direct testimony of his former companions, musicians who accompanied him at various stages of his solo career; his mother, Lilian Clark; his sister, Laura and Estela and their children, Benito and Lisa. And Cerati himself, who tells his story in interviews, some of them are unpublished, along with extensive archival material.

After Shakir Zeta Bosio and Charly Alberti described the music based on his own opinions ("I think it gave him great pleasure and did not know how to limit the things that pleased him", the bassist maintains bluntly) The action begins with Mena, who he arrives at Clark's home for a family lunch with the whole Cerati clan. After watching the room where the musician lived until the presentation of the first Soda Stereo album, Laura listens to a recording from the era in which Juan José, his father, pretends to be a radio announcer who presents his listeners with a new talent: his son Gustavo, only six years old who sings a song.

This sound acts as an impulse to emphasize the support Cerati has always had for his family. "If there is something you do not need to regret, follow the calling of children, whatever it is, do not upset them at all," says Clark, who also points out that her husband was responsible for delivering records and instruments to the son every time, when he traveled to work to the United States. Gustavo himself emphasizes the support given in the 1990 interview, in which he states: "They still protect me, every time I record, I show them and I hope that they will embrace me and come closer."

Zeta Bosio is responsible for explaining how they met at the Universidad del Salvador examining the ad, while Ana Saint Jean, Cerati's girl at the time, presents a cassette with an unpublished song that Cerati composed when they were together, Melody remembers "Your Madness" , which he later recorded in his solo career. The discussion becomes an aesthetic obsession of the group from the very beginning, supplemented with old photographs and testimony of Cerati's act, which recognizes between laughter: "We were a comb and three people".

A visit to Marabú, where Soda Stereo appeared for the first time together with Adrián Taverna, the trio's historic soundman, serves as a starting point for a quick review of the group's development. The dizzy rhythm does not allow you to focus on specific periods, but there are many unpublished materials, such as images of shows during Sodamania, arrows in changing rooms or transfer from one destination to another, and a new Cerati test certificate in which he recognizes it. separate the team from the tired top at the airport in Costa Rica. The success of the game Doble vida and its subsequent presentation in Buenos Aires leads to the recording of the song Animal Song in the United States, with the shots of the group leader, recording the guitars "Entre caníbales" and "Million light years". You can also see how the inclusion of Melero generates a symbiosis with Cerati and friction with colleagues, which triggers his subsequent move to Chile, with recording
Yellow love and the birth of his son Benito as the pillars of the new era.

The search for a new horizon also works as a prelude to the Soda Stereo distribution. The chaotic and not very inspiring show at the Ferro Alternative Festival and the arrival of his daughter Lisa are preamble
Last concertat the River Stadium in 1997. After omitting the period in which he was responsible for the electronic project V Plan, Leo García interprets the genesis
Bocanada and says how many texts inspired the book Seven Spiritual Laws of Success, by Deepak Chopra.

Cut on the timeline situates as heroes Benito and Lisa, to emphasize the most intimate side of Cerati: his aspect as a father. Images of games between home, family vacations in San Martin de los Andes and acid-house album, which the oldest of his children wrote together with him at the age of five.

It is Benito who analyzes how it happened that Cerati decided to return to rock guitars. "He was frustrated that he got things that he did not do well, though he did what he wanted", an indirect reference to the transition
It is always today and
Let's go.

From the success of the fourth solo album to the successful return of Soda Stereo, with the level of mystery in which it was created, and tedious negotiations that manager Daniel Kon had to keep together with three team members so that they could be agreed on the contract clauses that they eventually sign. The health of the author of "Light Music" gives the first alarm signals when the thrombosis has forced his doctor's warnings to recurring topics on this route, although, García said, "he made the decision to live fully and take the consequences."


The Cerati family at the home of Lilian Clark, the home where Gustavo's youth room is still located
The Cerati family at the home of Lilian Clark, the home where Gustavo's youth room is still located Credit: NatGeo

With pictures from the last Soda Stereo show back on the screen (and he mentions several conversations and discussions to seal up pending problems and injuries), Charly Alberti makes a revelation stating that out of three musicians he proposed not to put his own final story: "We said : "Let's stop now", and every four or five years we send a trip about them, we had a spectacular time, we made a record, and then everyone continues their own, and that's what we left. " Following the rhythm of this plan, there is a recording of Fuerz's natural album, his last studio album and the only one which has been documented in depth in Bios. Everyone involved emphasizes how Cerati felt a special relationship with the present and here and now, something that the musician himself develops from an interview in which he states: "There, for more than a century, a sum of miles in life, it is more necessary to enjoy traveling and enjoying each and every time next moments. " This is evidenced by the backstage footage, to present the album, and the atmosphere of camaraderie that he maintained with his musicians.


Javier Mena, in the role of conductor and interviewer, and Benito Cerati
Javier Mena, in the role of conductor and interviewer, and Benito Cerati Credit: NatGeo

A fragment of his last performance in Caracas and the scenes from the picture he took with his band when he finished playing (and while he was already experiencing the first ACV symptoms that became his death four years later) is a prelude to the end of his own story in which Bosio and Alberti describe their last meeting with him at the Alcla clinic and where you can appreciate the immense honesty with which Lilian Clark has gone through these long four years.

At the end, his family and his friends meet in Unison to interpret the version of "Natural Force", which changes to fragments of the original. The use of editing and shades of the picture plays to give the impression that Cerati is present with them in the studio, one of the greatest documentary achievements.

Even with serious shortcuts (his electronic projects, recording Dynamo, Sueño Stereo and much of his solo discography) and omitting key accounts (Richard Coleman's absence is marked in the story), Bios is in possession of an emotional value to open the gap in the dynamics of character from talent and the secret with which he managed his private life.


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