Covid and Pillon

These days I will start each post by specifying that I am fine, that I am twice vaccinated and queued for the third. I am doing teleworking because a foolish colleague from the East has been vaccinated "with sputnik" and is in hospital, but if you get vaccinated in Chernobyl, then the situation is perfectly under control, as they used to say at the time.

In any case, I'm fine, and the situation here is dramatic for essentially the unvaccinated. Reason for dedicating Darwin's bust to this post.

That said, let's move on to the funny part of the post. Because apparently Pillon's afraid the men's bra will come out. Considering the fact that Giuliano Ferrara has at least one C cup, it wouldn't surprise me, and personally I wouldn't find anything wrong with it.

Before speaking, however, I reveal my Bias on Måneskin. Musically they are not my thing, but:

1. Victoria calmly tames a Danelectro Longhorn and does some good things with it. It's not as simple as the handymen say. That girl is a powerhouse.
2. Damiano's voice improves, even though he is marching a lot on provocative clothing.
3. They are 20, so energy and vitality, and a lot of desire to fuck. And that's all rock has to be.
4. In general, therefore, I don't like music but I would go to only one concert to enjoy the energy.

Having said that, there is no X factor: in Italy a merger between two industries has succeeded, which Sanremo sought and eventually achieved. The two industries are music and Italian fashion. It is no mystery that the Måneskin are under the protective wing of the various fashion houses, from ETRO to GUCCI.

So, if you combine the music business with another hundred billion / year of fashion, it is obvious that the group has the ability to go very far: it is true that almost all famous singers have consultants and boutiques to deal with. of the look, but the Måneskin go far beyond:

So the "X factor" (which would cause their success) is not very difficult to find, indeed I would say that it is one of the things that are thrown under your nose all the time.

Please stop talking about the band's “anomalous” success, and the “mysterious” factor that leads them to success: it's a very clear operation of industrial convergence. And it is very visible, since practically any of their photos could be on the cover of a fashion magazine.

To make a difference, an American band that wants to be "glam rock" to the max does this:

which is cool, but there isn't a hundred billion / year fashion industry behind it, and it shows.

It is certainly not a small experiment, alchemy has succeeded in Italy, and the Americans will have to respond with something. I repeat: Lady Gaga is also famous for dresses, but a steak dress (albeit remarkable) does not come from an industry that intends to sell for billions of dollars / year. He has a famous atelier behind him, but the orders of magnitude are different.

Here's what I think in general, then. I think that some Major managers in the US have understood, and are asking themselves “and now what do we answer with?”. Because with the RAP the trick fails, and you have to understand well that having sponsors behind you with hundreds of billions of business makes you win anything.

Maybe in the world of K-Pop or J-Pop they could do something similar, however.

Okay, that said, let's go to the juice: Pillon attacking the Måneskin.

For one thing, the Måneskins were wrong to answer him. The propaganda of Catholics and the modern right is based on a technique facilitated by the mass media, which here in Germany several broadcasts and blogs are explaining very well. They are explaining it, with my great pleasure, even in different high schools.

If there are two groups, one with 99% and one with 1%, the smaller one will ask the media for a "cross-talk", where a member of each group will confront himself in a situation of "par condicio". The trouble is that the viewer sees a situation of 50% / 50%, and believes that the two groups are equally extensive, therefore democratically credible, according to the "one is one" principle.

Pillon extolling Povia against the Måneskin does nothing but convince those who still watch TV, that is, the old and the born old, that Povia and Måneskin is a Beatles vs. Rolling Stones thing. But in terms of sales and satisfaction, I don't even know if any young people know who Povia is.

One thing that therefore should NOT be done is to answer Pillon. Pillon's consensus is infinitesimal, and that of the League is vastly overestimated, especially in terms of social and cultural impact.

(even leaving out the fact that a Povia that sings "a family is made up of a mother and a father" in evening dresses would have the probability of success on a quantum level: it would have only one listener, Pillon, because even Povia if would be ashamed.).

But you may have noticed that lately, between the Fedez (beautiful idea of ​​pata-electoral domination) and Måneskin, Lady Gaga and co, it seems that the singers are returning to political commitment. Although it can be said that the Måneskins mark us with sexual fluidity, the kiss in Poland and the Bulgarian outfit are clearly provocations, because in both countries (in theory) they should have been arrested for "homosexuality propaganda". ".

The two governments did not want to open a casus belli and do not give in to provocation, but political action is obvious.

But why does it seem that political commitment is returning to musicians? The problem lies precisely in the equalization mechanism, which thanks to the internet has been skipped.

We need to take a step back, and go to the history of the “level playing field” laws. Berlusconi had just entered politics, and to prevent him from having more voice in the media (which he possessed) the left (which also enjoyed a conspicuous cultural hegemony at the time) decided to create the “level playing field” laws.

In practice, it was enough for a singer to say something with a clear political reference (think of a song like "Tell me the name" of Litfiba, at the time of the "Earthquake") and the law required the radios NOT to broadcast it, or to broadcast a song by equal duration but "opposite" contents.

Since there was little "Berlusconian" music, Italian musicians stopped making political commitment to survive and appear on radio and TV and newspapers. And thus ended the era of the political commitment of singers.

Then comes the Internet, and between streaming platforms and social networks, singers have another lever to be successful: they no longer depend on traditional media, but on new media.

the law on par condicio to Fedez or to famous people today gives him a wank, because when you are famous on social networks you do not need radio, TV and newspapers.

In practice, the Internet has removed from the mouth of the singers the cap put on by the PdS of d'Alema, in the old days.

Several factors are therefore overlapping:

• social media free singers from the shackles of a level playing field, and enable them to speak again.
• the Italian RAP is dying of the cringe and painful death it has always deserved. Singers, even those who come from "rap" like Fedez, are increasingly politically involved.
• the fusion between the fashion industry, historical refuge of GLBT people, and music, is bringing great visibility "POP" to some political messages.

against this, not even the classic propaganda doctrines are successful, because if we put money, sex and music together, even hatred is a losing product.

I'm not saying the Måneskin will save politics or anything like that. I simply say that it is the product of an industrial system that it is better not to oppose, unless you want to be crushed by it.

Because a few thousand Bots of the "beast" of a party would hardly resist the assault of millions of "fans", which, let's not forget, means "fanatics".

Bad time for Pillon.