Linus is certainly right, who hits the spot in an interview with Repubblica, when he theorizes that the Sanremo setting is functional to trigger social virality. And therefore, there is the tendency to divide, to discuss, to create hashtags and back-and-forth duels. And the key to this is the one that often opens the doors of the curtain, the political correctness that appears in attacks, veiled or not, against the government if this government does not fall into the cultural broth of progressivism. A universal rule in show business, seeing certain performances onstage on Oscar or Grammy Awards night. Or, precisely, in several editions of Sanremo, like the one a few years ago, in the middle of the discussion of the proposed Cirinnà law, in which many singers took the stage with a rainbow ribbon.
This is center-right Sanremo in government, and so the stage with everything around us becomes a launching pad for more or less explicit, but almost always hostile, messages.
As the culmination of the issue, which provoked the apogee of the conflict, that is, when Fedez, in his “free style”, snatched the famous photo of Vice Minister Galeazzo Bignami masked in a brown Nazi shirt, an image that goes back to the adolescence of politicians and that has been widely discussed over the years. Just as, on the same occasion, Fedez pointed the finger at Minister Eugenia Roccella, without naming her, for her positions on abortion. And again he, along with J-Ax, launched the “Giorgia, legalize her” plea in Friday night’s episode. Where the subject of the matter is cannabis. With a relative response from the Brothers in Italy: “This government will never legalize it”.
Without forgetting, then, the champion Paola Egonu.
At the press conference before his monologue, when asked if Italy is a racist country, he replied in the affirmative, “but that doesn’t mean that everyone is racist or ignorant. It’s a racist country, but it’s getting better. I don’t want to sound controversial or play the victim, but simply say how things are.”
In this case, the attack on the government is much more insidious. Oh yes, because painting Italy as if it were Alabama in the 60s, sounding the alarm against the stratification of racist sentiment that does not exist (net of regrettable episodes that unfortunately are not lacking in any country) is one of the recurring themes of progressive thinking squadron of various coinages.
And then there is another theme, this time from logicians to initiates. Roberto Benigni’s monologue on the Constitution, in the presence of the President of the Republic Sergio Mattarella, was certainly well constructed. But indirectly, he conveyed a message of the inviolability of the Charter that goes against a government that has a five-year perspective ahead and a work of reform that has presidentialism as its perspective. Finally, there are certain indirect references to sexual fluidity by some singers in the competition (such as the much-debated Rosa Química), who reproduce the well-known cliché of rainbow culture.
To frame all this, then, there is a certain press in the area, which tries to apply the oxygen cannula of this part of pop culture to a center-left in crisis. Francesco Merlo, in La Repubblica, went so far as to identify Sanremo as the “Party of the New Resistance, the most joyful and resolute opposition to Giorgia Meloni”, whose undisputed hero is the “gentle presenter” Amadeus, “who has become more powerful than than any Italian political power”. Obviously, in this general picture of the left substitute of the cathodic rite, there is no lack of good mathematical rules for any semblance of political correctness. That is, on this side any argument can be presented in the name of freedom, the latter is not recognized in the opposite sense. Because the sacrosanct faculty of not agreeing becomes censorship, gag, obscurantism. Nothing is saved, not even Salvini when he claims he has “more important things to take care of” at the request for comment about Fedez and Bignami’s torn photo. In short, those who praise their own dissent claim the obligatory consent of others. Script already seen.
Source: IL Tempo
Emma Fitzgerald is an accomplished political journalist and author at The Nation View. With a background in political science and international relations, she has a deep understanding of the political landscape and the forces that shape it.
