A stone's throw from Italy and the world it rises Trombon Valley, media citadel inhabited by intellectuals and besieged by plebeian ghosts. The Valle dei Tromboni is a stone's throw from the city where ordinary people live but is light years away from everyday reality. In the Valle dei Tromboni a country is denounced every day, one World, inhabited by racists, led by fascists, crossed by armed herds of xenophobes, homophobic, sexists, Nazis. In the Valle dei Tromboni the red alarm bell continuously rings. If the sovereignists hold on to fear, the Trombone Masters live on Terror.
The year that is leaving us was the year of the Trombone: this special ethnicity has raged on all wheels, tv, newspapers, radio, books, cinema and theatre, peeking into the music, in football, school and university. An ideology was born, trombonism, which is a vision of the world or rather of the condominium applied to the world. Who is the Trombone? An enemy of the present who fears the future and clings to the past by attacking the past.
A writer who with racist contempt defines himself as "genetically anti-fascist", the pure trombonian Maurizio Maggiani, he exposes his Metaphysics of Evil in la Repubblica: “I go out of the house and listen, thin and dull and persistent, the dull hum of a background noise of unhappiness, this era has become pregnant with fascism..." I quoted the lightest phrase of this "mass psychology of fascism" founded on the "suppuration of unhappiness" everywhere. Oh mama, how disgusting, it's terrible, I don't know where Maggiani lives, I assume in the same locality where the others live, a Trombon Valley, a stone's throw from the real world but without ever really seeing it. Dostoevskian the connection between unhappiness and fascism, wherever unhappiness appears there arises a fascist. Leopardi is warned.
Visibly terrified, Sandro Veronesi summarized Trombon Valley's cry of pain from Gruber: it starts with racist slogans, then the acts follow, the squads, the decrees of the Minister of the Interior, then the hunt for blacks and migrants, Sinti are persecuted (perhaps he was referring to the demolished houses of the Casamonica family), then it will be the turn of the paralytics... A science fiction horror, but set where? In the Trombon Valley studios, naturally.
Nanni Moretti has found the precedent for this living nightmare, it is Pinochet's Chile to which he dedicated a film of monstrous relevance. Thus began the dictatorship, warns, just like what is happening with us now. Thus it began is the usual incipit when one wants to establish a parallel with Hitler, with Mussolini, with every dictatorship, as long as it's black. This is how it began before the racial laws, use Camilleri, to whom the consensus towards Salvini reminds him of that towards Mussolini. The infamous people regain virtue when they turn into an audience and follow Inspector Montalbano. Even Rigoletto by Verdi brought to the stage by Daniele Abbado, it was set in the times of the Republic of Salò and alludes to today. If Aeneas or Ulysses is brought on stage, the theme is migrants; and so Sophocles, Dante o Shakespeare. Everything is reduced to today, to feminism, homophobia, racism. I'll spare you the bluster Fabio Fazio, the inspired sermons of Roberto Saviano, the dementia meters of Michela Murgia, Paolo Giordano's cry of anguish at the spread of the Duce's calendars (the stupidity of prime numbers) and many books, film, authors awarded because they had a trombone in the plot in the expected variations. Not to mention the classics of trombonism, from Furio Colombo to Oliviero Toscani, to Gad Lerner and Ezio Mauro, de Monticelli and Di Cesare, not to mention the institutional trombones, between presidents in office or recently discharged... Gustavo Zagrebelski he suffered and proudly denounced three para-fascist dictatorships in the space of ten years, that of Berlusconi, then Renzi, Salvini time. The trombones wish the death of a child on the boats just to get Salvini into trouble (Edoardo Albinati) or they hope that he and his men will end up hanging in Piazzale Loreto (Maurizio Crosetti of la Repubblica). If they rape a woman they hope that the rapists are Italian (Michele Serra), never migrants.
The Trombone loves migrants and hates the residents, it idealizes humanity and disgusts the people, he sympathizes with remote people and cannot stand others in the sense of proximity, that is, the neighbors. Tolerate other people's religions and traditions, he disgusts his own. He hates the nativity scene if it doesn't allude to a reception center. He rages if a carrot is genetically modified but rages if someone has the same reservations about genetically modified humanity (i transgender). He loves zero kilometer artichokes, he hates the local villagers. He worries about his family, for campaigns in favor of fertility, if not from wombs for rent for homosexual couples.
It lumps together all the rubbish of the past and the classics, it brings everything back to the present and judges every era, every civilization with its own small measure. He calls for scientists to be erased, artists and geniuses of the past if they said or did something "racist"; requires a purified memory, an ethical toponymy, reserved for the victims of Evil or the apostles of Good.
How to become a trombone? When the world does not correspond to the ideological crack of your brain you think you are a Beautiful Soul who has fallen into hell, you convince yourself that the world is wrong and you want to convince others to rally against the devil in action. This time Evil doesn't creep around corners, it doesn't threaten from afar: is in power, it is by a large majority, it's pop, coincides with reality. To fight trombonism you don't need an opposite ideology. You need to open the windows, discover reality with its imperfections, variety and dissonance. Return to earth.
MV, panorama n. 52 2018
source:http://www.marcelloveneziani.com/articoli/fenomenologia-del-trombone/