Gustavo Cordera He is in the center of the scene again with an attempt to redempted that seems to be shipwrecked to start. The former Bersuit leader announced a show at the Works Stadium for November 1 and therefore sought to relaunch his figure through mass media interviews, but what he intended to be an artistic return became a new scandal. The talks with Pedro Rosemblat and Mario Pergolinithought of as apology and exhibition spaces, ended up being questioned by their lightness, while an old video of his again went viral on social networks, where he recognizes “receiving a fifteen -year -old girl”.
Like Ari Paluch, who seems not to understand the severity of his thought, the shadow of 2016 continues to project on Cordera. That afternoon at the Tea Arte School, the singer launched phrases that marked him forever: “It is an aberration of the law that if a 16 -year -old asshole with the hot shell wants to take with you, you can’t take them to you,” he said before a stunned auditorium. Added: “There are women who need to be raped to have sex because they are hysterical and feel guilty for not being able to have sex freely.”. And he completed: “If I have something good, it is the power to divert you like nobody in the world. I am talking about how you feel and understand you, but if you talk to me about rights I do not listen to you because I do not believe in the laws of men, yes in those of nature.”
The social repudiation was immediate. Cordera faced a judicial imputation for incitement to collective violence and although years later he was dismissed, his image was indissolubly associated with those statements. The industry discharged it with canceled festivals, radios that did not spread it and a media ostracism that the musician himself defined as “an organized persecution.” For almost a decade, his figure remained cornered on the margins of the cultural circuit.
Zero redemption. That silence broke with the interview that granted to Pedro Rosemblat in gelatinyour stream channel. Cordera tried to present himself as a victim of an unfair cancellation, speaking of years of professional closing. “That character that people murdered … was a character that I didn’t have left, I didn’t feel it,” he said. But the conversation, far from generating empathy, unleashed a wave of criticism towards the interviewer himself. Rosemblat was indicated for being condescending and not questioning against controversial statements. Days later, he made a mea blame: “Was it a mistake to make the note or was it a mistake how I did it?” He asked, recognizing that the tone was permissive and that he had ignored internal warnings that recommended him not to bring to Cordera to the program. The controversy reached him himself, to the point of turning his self -criticism into part of the scandal.
Almost simultaneously, Cordera appeared in the study by Mario Pergolini, where he sought to take a more explicit step in the field of apology. “I had the bad fortune and misfortune of having been wrong. I said something at a historical moment and in a place in a misplaced way, in a way that hurt many people, and I want to apologize publicly. I want to close that wound definitively,” he said before the cameras. With a solemn tone, he added: “I am not going to ask people to forgive me, but I am going to apologize. This society, which is so fractured, can also heal. Love is the only reparation before these things and it is what I want.”
The gesture seemed to point to reconciliation. However, while the order for forgiveness still occupied headlines, a 2016 video recorded in the back room circulated again in networks and collapsed any closing attempt. In the registry you can see Cordera telling, among laughs, that a 15 -year -old girl offered as a tip after a recital and that a song about “A love dissatisfied with a child under 15, and being an old self”. The festive tone was interpreted as apology for abuse and reinforced the idea of a pattern of speech rather than an isolated error. The indignation grew immediately and was no longer only the phrases of ASD, but of a naturalization of unequal relations with minors.
The hardest criticisms came from the feminist groups and, in particular, of figures such as Malena Pichot. The comedian talked about “disappointment” in front of Rosemblat’s interview, whom she accused of giving a “progressive” space to a speech that should be challenged firmly. “Che, Cordera, if you say that there are some women who need to be raped … do you say it because you violated any? Because if not, how do you know?”he launched, highlighting the lack of rechants in the talk. For Pichot and other voices of the movement, interviews of this type not only reopen wounds but also banalize a dangerous discourse against new generations that do not know the original controversy.
Neither forget or forgiveness. The coincidence between the interviews, the apology, the viralization of the video and the announcement of the show in works is hardly innocent. Cordera seems to use controversy as a fuel to reposition itself, even if the social cost is very high. His words, instead of sounding like a genuine act of repentance, are perceived as part of a marketing strategy. The problem is that, in that attempt to return, the wounds not only do not close, but they deepen. Under a media bolt, News failed to find the singer -songwriter to have his analysis of the situationbut on his Instagram he continues with the dissemination of his tour that includes shows in Paraná, Córdoba, Santa Cruz, Neuquén and Bahía Blanca. Meanwhile, he posted a video that says: “I no longer want punishment, for not doing what I owe”.
The discussion exceeds Cordera himself and covers all those who skid with thoughts that threaten women’s rights. The question is to elucidate whether his apologies “Pour la Galerie” are an act of repair, a sales strategy or if it is part of the freedom of media expression show an artist in fall, even when his speech continues to hurt sensibilities and revive the memory of victims of gender violence.
Less than two months after getting on an emblematic scenario again, Cordera travels the thin line between the artistic return and the memory of his own words. His music tries to sound again, but society reminds him that there are phrases that are not erased with a simple “sorry.” In the echo of 2016, in the voice of Pichot, in feminist indignation and in the fury of social networks, it is clear that the wound remains open.
