When Mahmood, in 2019, was proclaimed the winner of Sanremo, in Italy a case is mounted. Ultimo should have won, he told himself then. Alexander Mahmoud, of which Amadeus tried to tell, in a few words, the extraordinary successes, he returned to the Ariston stage with a medley of his most famous songs. Fast, Inuyasha, Neighborhood, Calipso. Then, Money. Mahmood retraced his career over the past twenty-four months in six minutes. He sang, danced, that tone that Twitter called “golden”.
“Mahmood you are the national pride”, it was read online, while in Sanremo, in the evening before the grand finale, Fiorello complimented an extraordinary young man. Which, today as then, has managed to demonstrate how, rarely and inexorably, substance can prevail over form, especially if attributed to us by others.
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