The bad singing

All inquisitors believe they have noble, or at least solid, motives for their inquisitions and their cars of faith. All, whatever the dogma that inspires them, end up being nefarious. You can ask the Spaniards, and what those who set the invention in motion, their very Catholic majesties Isabel and Fernando , believed they were finding the panacea to maintain the religious-political cohesion of their very different kingdoms.

The inquisitors of the moment scrutinize song lyrics and burn in effigy - this is, in absence, the derivative of the veto to their performances - to those who write and sing them. There are those who chase reds, and if not facades, or separatists, or macho. The human being has never lacked an argument, founded or gratuitous, to dispatch ostracism to his adversaries or to those who, for whatever reason, irritate or annoy. The sport of summer is the cancellation of unwanted concerts , for which there is no consistory that does not find an unappealable foundation.

There is an awkward edge in the concerts under municipal sponsorship: to what extent does this or that troubadour have a fundamental right to make public coffers the support of their finances. In the limit, all the subsidized concerts are debatable and suspicious : both the one to whom the contract resolved months ago can be complained as well as any taxpayer who is obliged to pay the pleasant trills to another that he perceives as insufferable croaking.

However, it seems that the notion that summer concerts are a public event that is likely to receive, in general, financial or logistical support from the municipalities in whose municipality they are held, for the recreation they provide to the population and enhancement seems to have been installed that give them to the festivities. Under these premises, a certain neutrality is required of the munícipes , or at least they do not proceed in such a way that the existing artistic diversity is severed and reduced to gratify only the taste of their parish. For that trip, that they pass the cap between affiliates and supporters and that they are the ones who propinch the convenient music. With everyone's euros, they are under scrutiny: if they decide that someone does not play, they will have to explain why another can play .

If a singer is separated by the macho bias of his compositions, verbigracia, it will be lawful to ask why there is no objection to singing at parties who miss those who bet on the back of the neck as a political action tool and proclaim their desire for revenge towards those who prevented the gunmen from continuing to passport people. Or why there is no problem that two grown-up guys sing their love, at least embarrassing, for a fifteen-year-old girl. Put to think badly, you can think badly of anyone , and it is not so much a question of who makes it easier or more difficult, but of who grabs the measuring stick to anathematize who.

Since the man is a man, he feels the legitimate impulse to sing as he pleases and as he pleases. Also since the woman is a woman: there is Safo de Lesbos so there is no doubt. Since men and women became civil and rights and freedoms were recognized, that impulse can only be limited when it seeks to cause someone specific harm, whether in the form of threat, slander or insult. Everything else is over-action that, from power, amounts to diverting it.

(There are, of course, songs that cannot be censored: those that nobody writes. This week a man died vomiting blood in Baghdad, the city where he was deported, ill, because of his Iraqi origin, although he had never stepped on Iraq. His name was Jimmy Aldaoud, its atrocious tragedy has no one to sing it, nobody needs to silence it, because it is consumed under indifference.)

According to the criteria of The Trust Project

• music
• C Tangana
• culture

Culture Miguel Delibes, village praise

Death of Andrea Camilleri Camilleri's Montalbano: Stoic, hedonistic, ironic

Literature The Man I Didn't Find