But what if his name was Michele, if he had been hopelessly Italian, if his musical genre hadn't been Moroccan pop, as he himself defines it, Mahmud or Mahmood Sanremo would have won? I'm not a song expert, I don't follow Sanremo, I don't pretend to judge a song. And I find Mahmud a nice guy, and probably a good singer. But if the popular jury had indicated another singer, if the Sanremo audience rose up for the verdict, if the mass media favored other songs, if the critics hadn't considered that the Italian-Egyptian boy's song stood out above the others, then I wonder: what is the added value, the decisive reason for the award to Mahmud? It's the message, as the media have already begun to say, that is, rewarding a boy named Mahmud, half Italian and half Egyptian, his Arabic singing style, his genre Morocco-pop. If he had been the best, the best, nothing to complain about. But it is the message that justifies the award.
After all, that boy, within two months, much to his surprise, as he candidly said to the microphones, win first Sanremo young people and then Sanremo-Festival, it doesn't make you understand that that is the determining motivation? That message is always - but look at it - a predictable controversy in Salvini's time and the denied landings of migrants.
As well as global, Mahmud is Italian in all respects, he has all the rights of Italians; it should neither be discriminated against nor favored due to its origin or mix.
I don't want to say anything else about Sanremo, if not the most sincere wishes to the winner. But let me say that this cunning of also using a singing festival, indeed the Italian song festival, to send the usual little message and resume the usual global action, It seems a little petty to me, as well as obvious, well known, and also a bit of a pimp, moralist and conformist.
Instead, once again the message won that the best Italians are always the least Italian and as foreign as possible or a bridge with foreigners. There are those who wave the French flag and even support Macron, detested in his homeland, just to do to spite Salvini and the Italiots. There are those who side with Juncker and Moscovici, for the IMF and for all those who want to penalize us, initiate infringement procedures, put us through trouble. And there are those who are on the side of illegal immigrants whatever they do. They consider the landings a categorical imperative that we cannot escape and they have this strange idea of law: anyone who decides to come and live with us has the right to do so and doesn't even need a passport. His desire coincides with his right. Our rights, Instead, coincide with our duty to welcome them. Welcome to Bergoglia, once called Italy.
In this context you understand well why a singer who evokes the Arab world and the melting pot is rewarded, instead of another sadly homegrown singer. And it's not just about the song, as we well know; other awards in the world of cinema and literature and every other field, they now see only one Code in force: priority to those who are black, Arabic, rom, or gay, lesbian, trans, distant descendant of deportees but not from the communist gulags, and others still, as well as the disabled.
Ora, I promise you, I will no longer argue with the prizes awarded to everything that smells of politically correct, of ethical racism, of valorization beyond any honest evaluation of ideologically protected categories. On the contrary, while we're at it, eager to respect the ideas or ideologies of others, wanting to try to reconcile reality with its representation, the so-called elites with the plebs, merit with “correctness”, I suggest adopting a revolutionary method from now on. I'll call him the Spike Lee Handbook, black-American variant of the Cencelli Manual, the one that was used by us for the subdivision. It is named after the black director who everywhere, in film awards as in hiring, in high fashion and in every other field, calls for mandatory black quota, regardless of merit and ability.
Here is the proposal: from now on every music festival, every film festival, every literary and artistic prize, every Miss pageant, every public recognition is divided into two sections: we give a prize to the poor guy who deserves it, and we give another prize to those who express political correctness. That is, to those who belong to the protected categories mentioned above or deal with topics relating to the same categories, with “correct” spirit. Then perhaps the media factory will valorise the latter more. But please save that little one, valiant category of those who receive prizes for songs, film, books, works of art, fashionable, even Nobel, or whatever you want, just because they deserved it. I'm asking too much, it is racism to admit at least two selective criteria? Double prize to please everyone.
MV, The Truth 11 February 2019
source – http://www.marcelloveneziani.com/articoli/sanremo-marocco/
