One day you have the first Panettone, the next day it’s Sanremomania. On Sunday, December 3, the prince of the Italian Song Festival unveiled the names of the 27 singers in the race, to which are added the three Sanremo giovani. THIRTY artists: it promises to be yet another after with the Amadeus & Co., as well as a FantaSanremo of complicated joints. To anticipate the bets on the next winner of the Golden Lion, however, we think the debate on the excluded bigs this year. But what were the most discussed exclusions in the history of Sanremo? Let’s go over some of them.
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Fiumi di parole, and memes, were spent on the Jalisse, the eternal discarded. Since 1997, the year of their victory, they have collected 27 consecutive rejections: if resilience is today a decidedly inflationary word, in the near future Jalisse could easily become a synonym. The Veneto-Roman duo is not going to give up: in an interview with Corriere, they said they have songs to propose for another 28 years. Meanwhile, they can enjoy the title of king and queen of the excluded.
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Among the excluded of this edition, the name of Arisa is certainly the most discussed. The singer, already winner of the 2014 edition with Controvento, has not competed at Ariston for 3 years. The artist from Basilicata has never hidden how much he cares about the competition in Sanremo, nor she has ever spared the owner of the house: excluding 2022, he assumed that someone, after seven Sanremo, thought there were too many; for this edition, in response to a wish of participation of a friend, responded via social with a net " instead I care a lot".
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Festival and political conspiracy go hand in hand for two artists like Anna Oxa and Povia. The first is not unrelated to quarrels and statements against the organization, behind the stage as in the press conference. In 2013, she said that she was excluded from the demonstration for political reasons, not missing an appeal to abstention as a means of protest (in view of the general elections of the same year) against an Italy "that is no longer a democracy".
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Even Povia, ready every year with a new song, was excluded for the 14th time: the last time dates back to 2009 Luca era gay. To decree his long absence, according to the singer, would be the lack of influential friendships, an audience accustomed only to love songs and an ideological balance that does not want to be disturbed. You just don’t see chemtrails and lobbies.
There was talk of "censorship" for Caramelle, a song that dealt with the theme of pedophilia, presented by Pierdavide Carone and Dear Jack in 2019. A taboo for the small screen.
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Every year, we try to reconstruct the list of excluded, abstract and potentially endless entities. To outline the boundaries, rumors of the insiders and social arrows of those concerned. The Festival is indeed an institution over the age of seventy, but capable of intercepting what the public wants to hear or, from the point of view of the excluded, won’t listen. The Amadeus method is the proof: on the margins the so-called big (this year only Fiorella Mannoia, Loredana Bertè, Ricchi e Poveri and Il Volo, the latter very much appreciated by the same audience of the big ones) and space to the new levers that on Spotify already collect successes. And why not, also a certain attention to the social resonance that can give the event: because Sanremo is no longer the festival of the song for years, but how much we like that it is not only this!
Two months after the beginning of the Festival, the theme song of Eurovision is already in the air.
Illustration by Gloria Dozio - Acrimònia Studios
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