Everyone has their flaws, and anyone who says it doesn’t is either insincere or a liar. It is not a right thing, but it is a common thing. Especially because we are so busy chasing today’s news that we don’t pay enough attention to yesterday’s goodies. And this is not fair, because making an excuse not to know a film, a book, a historical event or a character just because we were born after its appearance on this Earth is a nonsense that we should sooner or later get rid of. In fact, if this alibi held up, we would not be required to study literature and history at school, but not even recovering from the sofa at home the films and series that made the audiovisual industry great in the decades preceding our coming into the world – think, for example, of Trintignant’s death and the fact that so many thirty-somethings had no idea what is Overtaking -. Everyone has his flaws, we said, but this should be our business, not the others’ business.
The flood of insults that overwhelmed Fedez after the airing of the last episode of Wild Mosshis hilarious podcast with Luis Sal, it shows how much we prefer to throw ourselves at the shortcomings of others rather than worry about our own. For those who lived on Mars, the facts are these: at a certain point in the episode, Gerry Scotti recounts his brief foray into politics, explaining that the candidate who had been proposed a few years before him was Giorgio Strehler, a name that Fedez does not says nothing. “I nod pretending to know who he is”, says the rapper who, if he wanted to, could have sketched rather than recognized the flaw. Hence thousands of users ready to point the finger at the boy by calling him the ignorant and the goat, even if the big unspoken of this affront is that many Millennials will have heard Strehler from the stories of Ornella Vanoni and, before that, of Milva without having well in mind who Strehler was.
The problem, at this point, is not the ignorance of Fedez or anyone else, but the destructive fury that leads us to annihilate someone for not knowing something that we consider fundamental. Criticism, in this case, did nothing because its purpose was only to humiliate and demolish: of the thousand thousand comments expressed on Fedez’s cultural flaws there was not one who took advantage of his virtual space to explain who Strehler was and why his name was so important first for the Milanese theater and then for the European one. We do not endorse not knowing, but certainly a little indulgence towards a boy who does not hold a political position or an institutional role – it would be different if a journalist who leads a scientific program did not know the laws of thermodynamics – would not hurt. . Also because we are not so sure that if we asked you something about Oskar Werner you would not run to Google it.
The sweet life: the new catchphrase of Fedez is with Tatanai and Mara Sattei
The scar of Fedez’s courage
Fedez, the return to the stage after the operation (and the alleged peace with Rovazzi)
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Source: Vanity Fair
